The first stone living quarters in the royal palace, later called the Terem Palace, were built in 1635 - 1636. for Tsar Mikhail Fedorovich.
The stoneworkers Bazhen Ogurtsov, Antip Konstantinov, Trefil Sharutin and Larion Ushakov were building
The basis for the newly erected three-story chambers were:
- the lower tier of the northern part of the palace, built by Aleviz Fryazin in 1499-1508. And
- Workshops of the Chamber, built over it in the second half of the 16th century.
The Terem Palace was designed according to the type of Russian wooden houses:
- features of which are manifested both in the exterior and in the layout of the building.
- The palace is a multi-tiered building.
- New floors were erected at some distance from the old walls and rose up in stepped tiers.
Each tier, as it were, grows out of the previous one like a pyramid:
- the talent of the creators of the palace was fully manifested
- limited by space and proximity of neighboring buildings
- they managed to create a masterpiece of architectural art, pleasing to the eye with its festive splendor.
Features of Russian wooden architecture can be traced
- not only in a tiered structure, but also
- in the nature of the roof, the solution of the porch with a gable roof and in the layout of the rooms,
- reminiscent of the interior of a Russian hut, which is based on a crate (a log house usually with 3 windows along the facade)
- White-stone window frames and portals are decorated with floral ornaments depicting birds and animals 
Window of the royal chamber:
- decorated with a high pediment, but which depicts a coat of arms supported by small columns;
- the bases of the columns are presented in the form of stone sculptured lions
Guard tower with decorative kokoshniks and 8-sided roof
- was attached to the Terem Palace on the western side
- Even before the construction of the Grand Kremlin Palace
- From the height of this tower, a beautiful panorama of the city opened
- Portals with triangular pediments framing the windows of the tower with colored glass:
--- oriented to the cardinal points,
--- reminiscent of the carved frames of the windows of the Terem Palace
Steep hipped roof
- with a patterned design of gilded metal and small flags, it successfully complements the palace ensemble
For its time, the Terem Palace was a fairly tall building.
- "golden top" is located at the level of the 4th floor of a modern house,
- but the Grand Kremlin Palace, in the courtyard of which the TD is located, almost completely hides it from view.
Coats of arms in the Cross Chamber
Facades of the Terem Palace
- can only be seen through the windows of the Grand Kremlin or the State Kremlin Palaces
- Only the facade of the Golden Chamber of the Queen and the domes of the house church are visible from the Cathedral Square
- From the Armory, however, you can see the gilded dome of the Church of the Nativity of the Virgin. 
Each floor had its own purpose and lifestyle.
- The premises of the basement were used for domestic purposes
- It contained rooms for domestic purposes, as well as
- stocks of water and candles, preparations of vegetables and pickles 
On the 1st floor were the workshops of the queen
- All kinds of clothes, linen and other fabrics for the household of the royal family were prepared here
- Here court embroiderers decorated clothes with silk, gold embroidery and pearls. 
3rd room on the 3rd floor of the palace - Throne, or royal office
- In the "red" corner of the room is a royal chair covered with velvet
- In the 17th century, it was the most beautiful and most inaccessible room in the entire palace
- Only in the mornings, the boyars closest to the tsar "waiting for time" entered it to beat with their foreheads 
The middle window of the room, decorated from the facade with a carved white stone platband, was called the Petition
- A box was lowered from it, where everyone could submit a petition to the tsar
- In the common people, this box was called the Long one, since the petitions lay here for a long time, unreadable by anyone
- This is where the saying came from: "Don't procrastinate" 
The chambers of the royal family were also located here during their stay in the Terem Palace
- the rest of the time the family lived in a wooden palace,
- which, according to contemporaries, was considered more beneficial to health 
The royal chambers occupied the 2nd floor of the palace
- These were 4 chambers of relatively small size,
- covered with closed vaults with stripping
- Entrance halls, the Cross Chamber, the Altar and the Bedchamber.
- In the layout of the rooms, as well as in the overall composition of the architectural volumes,
- still makes itself felt the impact of wooden architecture, in particular,
- wooden mansion, erected on the principle of connecting individual stands
- The walls and vaults of the chambers at the end of construction were painted with floral ornaments
- Then, under Tsar Alexei Mikhailovich, painting was resumed by S. Ushakov.
The current painting
- made in 1836 according to the drawings of F.G. Solntseva and T.A. Kiseleva
On the 2nd floor there was also a personal bath of the king
- Water was supplied here by means of a pump from the water tower
- A spiral staircase led from the bath to the royal bedroom
- The rooms located on this floor were often rebuilt and their purpose changed accordingly
- In the XIX century. an archive settled here, in which the most important state papers were stored 
On the 3rd floor were the private chambers of the king:
- large "rooms with three windows" overlooking the Moscow River
- The enfilade of rooms on this floor ended with the Bedroom and Chapel. 
In the bedroom
- there was a gilded carved bed with a luxurious canopy,
- embroidered in gold on a red background with numerous inscriptions
In the chapel
- 2 carved iconostasis were installed,
- covered with embroidered gold,
- with icons of the XVII-XVIII centuries. 
The northern wing housed utility rooms and a narrow corridor
- According to legend, the bride of the most beautiful girls took place here,
- among which the king had to choose his bride.
- He had to go through the corridor three times and
- give a towel to a happy darling 
The 4th floor, or mezzanine, was sometimes called the Golden Top
- because the roof was covered with gold and silver sheets and painted in different colors
- In the spacious, well-lit room of the golden top, the wall painting attracts attention,
- made in the middle of the last century in the so-called "Russian" style. 
3 galleries surrounded the palace in tiers:
- lower Boyarskaya platform, or Bed porch
- located at the level of the overlap of the Alevizov basement,
- where the Vladimir Hall of the Grand Kremlin Palace now stands. 
From this level, an open staircase led to the Front Stone Yard.
- arranged on top of the leveled vaults of the Master Chambers,
- on which, in fact, 3 floors of the Terem Palace were built on. 
The exit to the middle abyss was later closed with a golden lattice
- representing a unique example of blacksmithing skills.
On the eastern side of the Terems was the Front Golden Porch
- along which they climbed to the 2nd floor to the living quarters of the king
The last tier of the built chambers is the golden-domed Teremok
- located in the center of the building
- surrounds the 3rd platform - the Upper stone yard. 
The unusual picturesqueness and elegance of the new palace is created not only due to the complex space-planning solution of the building, but also due to the richest decorative design of its facades.
Profiled pilasters between the windows, carved and majolica cornices, complex white-stone frames of openings with hanging weights and triangular pediments, covered with carved ornaments, tiles and carvings in the widths of the parapets of the mounds, gilded roofing - all this is in harmony with the polychrome coloring of the walls and white-stone details, restored during restoration of Terems in 1966-1969. In general, the palace gives the impression of a precious piece of jewelry.
From the Verkhnespasskaya platform to the second floor of the palace led the Upper Golden Porch, crowned with a tent and served as the main entrance to the royal chambers. With T.D. From the Boyar site to the Upper Spas site, an open staircase (Lower Golden Porch) rose, which at the Upper Pass site was locked with a gilded copper lattice (therefore, the church is sometimes called the Church of the Savior behind the Golden Bar).
The Boyar site and the Church of the Savior behind the golden bars in the Moscow Kremlin. 1838. E. Gilbertzon.
In the western part of T.D. The Church of the Nativity of the Mother of God “on Senyah” is located, notable for the fact that in its basement a four-pillar white-stone church of the late 14th century has been preserved. - the most ancient of the Kremlin buildings that have come down to us.
Simultaneously with the traditional methods of decorative decoration - fly, ornamental braiding, polychrome, tiles, carved gilded comb on the roof ridge, the architects of T.D. used classical order forms. At this time, the Order of Stone Affairs paid great attention to familiarizing Russian architects with Western European building experience.
>
From multi-colored glasses, tiled stoves and painted walls of Teremov, it smells of distant, fabulous antiquity. Furniture - in the style of the XVII century. Benches and chairs are upholstered in Venetian velvet. Once the cupboards and cabinets were filled with gold and silver utensils, which are now preserved in the Armory. Songbirds sat in golden and silver cages.
When painting the Terem Palace, gold was not spared. According to the chronicles, even the roofs and gutters were painted and gilded, and the doorways were decorated with painted and gilded carvings.
The interior of the chambers T.D. it was very picturesque: bright ornamental painting with heraldic signs woven into it covered the surfaces of walls, vaults, formwork and even window sills; biblical scenes in a symbolic form illustrated the monarchical idea. Painted by T.D. (when it was resumed under the reign of Alexei Mikhailovich) Simon Ushakov took part. The painting has not survived.
The architectural ensemble of the Terem Palace also includes the Golden Tsaritsyna Chamber of the 16th century and the house churches (of the Resurrection of the Word, the Savior, the Chapel of the Crucifixion, etc.), which in 1682 were brought under one roof and placed on it 11 domes on necks decorated with tiles. The construction work was supervised by the architect Osip Startsev, the drawings for the majolica and crosses were made by the carver, the elder Ippolit.
All restoration work was carried out on the basis of the architectural support of N.G. Mukhin (Mosproekt-2, workshop No. 13) and on the recommendations of the technologist TsNRPM M.P. Ievleva.
The original interior decoration of the chambers, with the exception of individual fragments, was not preserved and was re-made under the guidance of the artist F.G. Solntsev in the style of the 17th century. These works were carried out in 1836-1837. during the restoration of an ancient monument, which was subsequently included, during the construction of the Grand Kremlin Palace, into a new complex of palace buildings.
Alekseev F.Ya. View in the Kremlin on the Terem Palace and the Church of the Savior on Bor. 1800s
Fedor Yakovlevich Alekseev. Boyar playground in the Moscow Kremlin (1801)
Boyar site in the Moscow Kremlin. (before 1838)
Terem Palace in the Moscow Kremlin. 1635 - 1636. South facade. Engraving from the 1870s
Located on a high Kremlin hill, the TD building
- it was turned by the main facade to the south, to the Moscow River
- Crowned with a gilded attic roof
- surrounded by open walkways with hipped porches
- TD dominated the Kremlin chambers and the mansion building and
- was an integral part of the entire Kremlin palace ensemble
Currently TD
- as part of the Grand Kremlin Palace
- is the Residence of the President of the Russian Federation
________________________________________ _____________________
Some photos.
Through the work of the architects of the 17th century, Moscow and Russia were transformed ... mamlas wrote on May 19th, 2016
More about
Rise of Russian architecture
Architects and masters of pre-Petrine Russia / Creators / Article 2007
To this day, in Moscow and some other ancient Russian cities and monasteries, outlandish buildings of the 17th century have been preserved, in which Russian art was not yet too subject to foreign influence. In that distant pre-Petrine century, the rise of Russian architecture became especially noticeable. Also in "Creators"
Newly built Izmailovsky Kremlin, built in the style of "pre-Petrine" Moscow
Under Tsar Mikhail Fedorovich and his son Alexei, wonderful “stone and wood craftsmen” worked - Bazhen Ogurtsov, Trefil Sharutin, Semyon Petrov, Averky Mokeev, Ivan Belozer, Pavel Potekhin, Axis Startsev, Yakov Bukhvostov and many others. Through their labors, the wooden and stone architecture of pre-Petrine Russia reached its peak. Terem Palace in the Kremlin
At first, after the devastating Time of Troubles, it was only about recreating the ruined and dilapidated buildings of the Kremlin. Some of them were repaired already in 1613, on the day of the wedding of Mikhail Fedorovich Romanov to the kingdom. Then new big works began - in 1625, to install a clock over the Frolovskaya (now the Spasskaya Tower of the Kremlin), a three-tiered top was built under the "supervision" of stonework by apprentice Bazhen Ogurtsov and his comrades Stepan Osipovich Karaulov and Grigory Zagryazhsky. In the design and construction of the tent and the clock took part "the English land clock and water platoon master" Christopher Galovey.
Terem Palace in the Kremlin
Soon, a new, even larger-scale construction began in the Kremlin. Frequent fires in the first half of the 17th century continued to destroy the wooden buildings of Moscow, not sparing the splendor of the Kremlin towers. It was then that it was decided to build a new stone royal palace. It became an undoubted masterpiece - the Terem Palace in the Kremlin, which has survived to this day, albeit in a greatly altered form. It was built in 1635-1636 by Bazhen Ogurtsov, Antip Konstantinov, Trefil Sharutin and Larion Ushakov. The palace was a three-story building. The foundations of the palace were the basements with open galleries erected in 1499-1508 by the architect Aleviz Fryazin, and the Workshops of the 16th century, the time of Ivan the Terrible, standing on these basements.
Three floors of the Terem Palace were erected on the aligned vaults of the middle part of the Master's Chambers.
It was crowned with a high "teremok", the famous "top" with an open terrace located around it - "ambulance". A gilded gable roof and two belts of azure tiled cornices, stone carvings, and a richly decorated front golden porch gave the palace an elegant, fabulous look typical of that time. The palace is distinguished by an abundance of carved stone patterns, floral ornaments, images of birds and animals on the white stone window and portal frames. The ceilings of the palace are relatively low. The very thick walls are also densely painted with floral and plant designs. In the chambers there are tiled stoves, which are also decoration of the premises. The layout of the rooms clearly resembles the interior of a Russian hut, which is based on a cage (a log cabin, usually with three windows along the facade). Here in the Golden-Domed Tower, located above the personal chambers of the tsar, there was a hall where the princes played and the Boyar Duma met. The unique Golden Tsarina's Chamber, rooms for the king with a bedchamber, a vestibule, a throne room and an entrance hall have been preserved. Through a system of covered passages, galleries and other outbuildings, the palace was connected to other buildings - cathedrals, the patriarch's chambers, and service premises.
Simultaneously with the construction of the Terem Palace in 1635 above the Small Golden Chamber, at the level of the Front Stone Yard, the same craftsmen erected the Church of the Savior Not Made by Hands (later the Verkhospassky Cathedral), with a chapel of John of Belgorod (now John the Baptist). Soon after this, Antip Konstantinov built a unique temple of Hodegetria of Smolensk in the Vyazemsky John the Baptist Monastery, which had three stone tents-completions arranged in one row.
"The eighth wonder of the world"
An exemplary building of the 17th century, made of traditional wooden structures, was the palace of Tsar Alexei Mikhailovich in the village of Kolomenskoye near Moscow. It was built in 1667-1678 by an artel under the command of the headman Semyon Petrov and the archer Ivan Mikhailov, who was engaged in carpentry, in the form of several towers, interconnected by bizarre transitions. Unfortunately, the palace itself has not been preserved - having stood for about 100 years, it became very dilapidated and was dismantled in 1768, but its images on engravings and enthusiastic descriptions of contemporaries have been preserved.
Palace of Tsar Alexei Mikhailovich in the village of Kolomenskoye near Moscow
The palace consisted of 270 rooms with 3000 windows and windows. From the side, it looked like a whole town with turrets, scaly roofs, "ambulances", kokoshniks, porches with twisted columns. Different parts of the palace were built in an individual manner, they did not resemble each other. The volumes, forms of coatings, decorative techniques were varied. All this gave a remarkable picturesqueness to the building. Master-carvers Klim Mikhailov, David Pavlov, Andrei Ivanov and Gerasim Akulov worked on this unparalleled architectural decoration with its openwork carving under the guidance of the elder Arseny. Kolomna Palace was called "the eighth wonder of the world". Simeon of Polotsk praised the beauty of this palace, comparing it with Solomon's temple. Yakov Reitenfels in his book "Tales of the Most Serene Duke of Tuscany Kozma the Third about Muscovy", published in Padua in 1680, called the palace of Alexei Mikhailovich "a toy just taken out of the box." In 1681, it was partially rebuilt by Savva Dementiev.
In addition to the Kremlin, another well-known Moscow tower has come down to us, built in 1693-1694 by Osip Dmitrievich Startsev and Larion Kovalev. Teremok is located in the Krutitsy Compound and is a real gem of architecture. The Krutitsy Compound has been known since the end of the 13th century; It was located on the high bank of the Moskva River, on Krutitsy. Buildings that have come down to our time appeared at the beginning of the 17th century.
The most well-preserved are the main Holy Gates with the famous gate tower. Its front side was entirely covered with tiles. The gate, decorated with Teremk, led to the metropolitan's garden, which was called paradise.
Special mention should be made of the main builder of the Krutitsky Teremka.
Osip Startsev developed special methods of stone decoration. "Cockscombs", set by him on the fence of the courtyard of the boyar I.M. Yazykov on Bolshaya Nikitskaya, subsequently widely used by many Russian architects.
Another innovation that also entered the building practice of that era was the circular open ambush designed by Startsev in the Church of the Resurrection on Presnya. In 1684, Startsev remade the originally Gothic windows of the Faceted Chamber, decorating them with white stone architraves with elegant columns twined with vines, a technique he repeated in his work on the Krutitsy Teremka.
One big thing is followed by another - in 1685, Osip Startsev completed the construction of the Refectory in the Simonov Monastery, begun in 1677 by the apprentice Parfen Potapov.
Other works of Startsev are also known: in 1676 he supervised the tiling of the Treasury Yard. Since 1681, he was engaged in the restructuring of the terem churches and the construction of the Verkhospassky Cathedral, the dismantling of the cooks of the Kormovy, Khlebny, Sytny yards, and the restructuring of the Order of the Grand Palace. In the 1690s, he rebuilt the chambers of the Posolsky and Little Russian orders.
Another well-known architect, Averky Mokeev, builds the Patriarchal Chambers in the Moscow Kremlin (1643-1655), a number of buildings of the Valdai Monastery (1650s) and, finally, the Resurrection Cathedral of the New Jerusalem Monastery (1656-1685) on the Istra River near Moscow - the largest building in the church architecture of that era. Another Moscow master Ivan Belozer helped him to realize the grandiose plan of Patriarch Nikon. The architects were given the difficult task of creating a monastery on Russian soil, the main cathedral of which would reproduce in terms of the Church of the Resurrection of the Lord in Jerusalem. In the course of the work, Mokeev and Belozer used an accurate model and drawings of the main Christian shrine and successfully completed the honorable and complex patriarchal order.
The temples erected by Pavel Sidorovich Potekhin are very interesting: the Church of the Trinity in the village of Ostankino near Moscow (1678-1693), the Church of St. Nicholas in Khamovniki (1679), the Church of St. Kozma and Damian in Sadovniki (1657-1662). ). In the Makariev-Zheltovodsky Monastery, Potekhin is building the Holy Gates and the gate church of Michael the Archangel. 93 craftsmen worked in his famous artel, among whom were not only masons, but also stone and wood carvers, carpenters, blacksmiths, and even icon painters and gilders. All of them were professionals of the highest class, but each of them could, if necessary, replace each other.
Moscow baroque
At the end of the 17th century, noticeable changes took place in Russian architecture, as a result of which a new direction was established in architecture, known as the "Moscow (or" Naryshkin ") Baroque". The classic example of the construction of this style is the Church of the Intercession in Fili (1693-1694), created by order of the uncle of Tsar Peter I, Lev Kirillovich Naryshkin, presumably by Yakov Grigoryevich Bukhvostov. Not inferior to her in beauty is the Church of the Savior Not Made by Hands (1693-1697) in the Ubory near Moscow, the builder of which was undoubtedly the same Yakov Bukhvostov. The temple was built by him "like under the bells", that is, the upper tier of the high temple served at the same time as a belfry.
Church of the Intercession in Fili
Yakov Bukhvostov, an outstanding architect, came from serfs and was a native of the village of Nikolskoye-Sverchkovo, Dmitrovsky district, now located on the territory of the Klin district of the Moscow region. His first major work was the erection of stone walls and towers of the New Jerusalem Resurrection Monastery (1690-1694), which replaced the original wooden fortifications of this monastery. The length of the walls reaches 930 meters, their height currently ranges from 9 to 11 meters. On the inside of the walls, a semi-circular open arcade was arranged, above which a covered battle passage, fenced with a parapet, passed along the entire perimeter of the walls. Above the main entrance to the monastery was built over the gates of the Church of the Entrance to Jerusalem. At its base there is a central passage covered with an arch and two side passages. In its appearance, it resembled the famous temple in Fili in Moscow. An interesting and rare feature of the gate church was the colored tiled floor. Large square floor slabs formed an unusual geometric color pattern that gave the interior of the temple elegance and color.
The church was tall and slender. However, during its existence it was rebuilt, and its original decoration, typical of the Russian baroque of the late 17th century, has not been preserved.
Bukhvostov also built the Assumption Cathedral in Ryazan (1693-1699). While designing it, the architect kept the scheme dating back to Aristotle Fioravanti, however, he placed the temple building on a basement-gallery and decorated it with three tiers of elegant windows. Thus, Bukhvostov was the first in cathedral architecture to use the division of facades into tiers using rows of windows. Thanks to this, the Assumption Cathedral turned out to be very bright. During his stay in Ryazan, Bukhvostov erected stone barns and other outbuildings for the local metropolitan, as well as several parish churches that have not survived to this day. The last known building of Bukhvostov was the Church of the Deposition of the Robe on Donskaya Street in Moscow (1701-1708). Here the architect does not use the typical Baroque tiered form of "octagon on a quadrangle", he builds a church in the form of a simple quadrangle, the prototype of which was the wooden "klet" temples of Ancient Russia. There is an assumption that the Trinity Church in Troitsky-Lykovo and the Intercession Church in Fili were also built by Yakov Bukhvostov.
It has long been noted that the temples of Bukhvostov were not rebuilt - their form was so perfect.
Through the work of the architects of the 17th century, Moscow was transformed. Let us refer to the opinion of Pavel of Aleppo, secretary of Patriarch Macarius of Antioch, who visited the Russian capital at that time. About the buildings of Moscow, Pavel Aleppsky wrote: "... we marveled at their beauty, decoration, strength, architecture, grace, many icons and columns with carvings, which are on the sides of the windows, to the height of the floors, as if they were fortresses, at their huge towers, on abundant coloring with multi-colored paints outside and inside ... ".
Some of this beauty has survived to this day. Will it be preserved, will it not be lost behind the strange-looking new skyscrapers that scratch the sky?..
Photo: Kremlin's Terem Palace and Verkhospassky Cathedral
Photo and description
The first royal chambers made of stone, which appeared on the territory of the Moscow Kremlin at the beginning of the 17th century, were built by order of Tsar Mikhail Fedorovich and were called the Terem Palace. The royal residence Terem Palace and the Verkhospassky Cathedral, which since 1636 has been part of the complex of house churches of Russian tsars, are part of the architectural ensemble of the Grand Kremlin Palace.
Grand Duke's Chambers above Borovitsky Hill
The great Moscow princes always settled on a high place. Their residences were built over Borovitsky hill from where there are magnificent views of the area. He was the first to build a palace on a hill Ivan Kalita. Later, on the edge of Borovitsky Hill, mansions were erected for Sofia Vitovtna, wife of the Grand Duke of Moscow and Vladimir Basil I.
At the end of the 15th century Ivan III undertook a global reconstruction of the Kremlin buildings. Under him, the old walls, built of white stone, were torn down, and new, brick ones began to be laid. Several new structures were built on the territory of the Kremlin, which are now included in the lists of the most important sights of Moscow. Stone residential buildings also began to be erected at this time, and in the Kremlin, in addition to the Assumption Cathedral, the Faceted Chamber and the Archangel Cathedral, buildings of the Sovereign Court appeared at the end of the 15th century. Their project belonged to Aleviz Fryazin, an Italian who worked for the great Moscow princes for a long time.
Construction of the Terem Palace
The Time of Troubles, which devastated the Russian land, brought a lot of destruction to Moscow. The Kremlin Palace of the sovereign by 1630 fell into disrepair and was actually abandoned. The first king of the Romanov family Mikhail Fedorovich ordered the construction of new quarters. Subsequently, the royal stone residence was called the Terem Palace.
architects Bazhen Ogurtsov, Antip Konstantinov and Trefil Sharutin used many new technologies. "Iron ties" allowed them to strengthen the walls, leaving them quite thin. Innovations contributed to an increase in the internal area of \u200b\u200bthe structure, which was a very progressive direction in ancient Russian stone architecture.
The walls and foundations left from the chambers of Ivan III were taken as the basis of the Terem Palace. Two tiers of the old building were built up with three new ones, and a teremok appeared at the very top. The interiors were decorated richly and bizarrely. The roof of the choir was painted with silver paints and gold leaf, the window openings were covered with translucent mica glass, and the walls and ceilings of the chambers were painted by the artel of icon painters, which was led by Simon Ushakov- a highly developed and talented artist, technically far ahead of his time.
The new royal mansions looked like a very large and even monumental structure. The architect skillfully combined in it the features of ancient Russian classics and elements of Italian architecture:
- The palace is mostly built from brick, but the architraves, portals, parapets and pilasters are made of white stone.
- Used in decoration traditional techniques of Russian stone architecture- tile tiles on the cornices of the fourth floor, ornamental stone wickerwork, carved window trims, flyers on the parapets of the ambush, pilasters in the piers between the windows and a gilded comb on the roof.
- Tiered step design buildings demonstrates the typical features of the mansion buildings erected by ancient Russian architects. However, the interior rooms were arranged in the form enfilade, which is typical for the later period of Russian stone architecture.
- The palace was heated with a system ovens. Each stove was decorated glazed tiles different colors and shapes.
- Into the front chambers golden porch, which connected the Verkhospassky site and the second floor of the Terem Palace. The entrance, painted with gold, was crowned with a pyramidal tent.
The Terem Palace became one of the buildings of the Tsar's Court, which occupied a large territory and included many buildings, including the Faceted and Dining Chambers, the Bed Mansions of the Royal Family, the Embankment Chambers and several house churches.
What to see in the Terem Palace
Each of five floors The Terem Palace had its own purpose. The three lower floors, located on the basements of the 16th century, served for economic needs. In the cellars and storerooms, supplies and food were stored here, and jewelers, gold embroiders, gunsmiths and lacemakers worked in the workshops.
Royal chambers located on the third and fourth floors. The first room where the sovereign and members of his family got into were walk-through canopy. They were covered with low vaults, and the front hall was illuminated by paired lancet windows. The entrance halls were heated by stoves decorated with tiles. In the living room, the tsar communicated with the boyars and sometimes received foreign ambassadors.
golden chamber was the most richly decorated room of the royal residence. The walls of the chamber were decorated with gold painting, the vaults were painted with images of the Savior and saints, and the royal throne, which stood in the throne room was covered in velvet. The saying about the long box was born here. In the Golden or Throne Chamber there was a box where petitions were submitted. Since the petitions were considered for a very long time and reluctantly, the box began to be called "long".
A unique painting in the form of ornamental patterns has been preserved on the walls of the premises adjacent to the Golden Chamber. They called him pantry and stored crockery and cutlery in it.
IN royal bedchamber there is a bed made by skillful wood carvers and decorated with a canopy made of natural silk. The royal bed was made in the 19th century, when one of the reconstructions of the residence took place.
On the top floor of the Terem Palace there is a stone attic, which was called Golden-domed tower. Its roof was covered with gilded sheets, which gave the attic its name. Meetings of the boyar duma were held in the Golden-Domed Tower. Adjacent to the tower lookout tower, in the windows of which ancient colored glass has been preserved.
Verkhospassky Cathedral
The complex of house churches of the Moscow Kremlin includes Cathedral of the Holy Image, often called Verkhospassky. The temple was built in the first half of the 17th century and is located above the throne chamber on the upper tier of the Terem Palace in its male half. From the north side Mikhail Fedorovich Romanov ordered to build a small side church for Evdokia Lukyanova- his second wife and mother of the prince.
The architects who worked on the project and its implementation were well known in Russia. Bazhen Ogurtsov, who led a team of builders and architects, worked in the Moscow Kremlin for about ten years. He participated in the reconstruction of the Assumption Cathedral, erected a powder store, supervised the construction of an extension in the bell tower of Ivan the Great, but his main creation is called the Terem Palace and the Verkhospassky Cathedral under it.
In the 60s of the 17th century, a refectory, and on the flat roof of the lower chambers - porch, connecting the chambers of the sovereign with the cathedral. At the same time, the facades were painted, five domes of the temple were gilded, and a few years later the walls inside the church were painted by icon painters, led by Simon Ushakov. In 1670, a gilded copper grate was installed, blocking the stairs from the royal chambers that led to the cathedral. The temple was named Spasom behind the Golden Bar.
All house churches of the Terem Palace in 1682 were brought under a single roof. The complex was crowned with eleven domes with carved crosses. To strengthen the structure, the architects had to build an arch on wide pylons.
In the XVIII-XIX centuries, the temple was restored and repaired more than once. The reason for starting the next work was most often fires. One of them, Troitsky, damaged the iconostasis and had to be rebuilt. Large funds for the repair of the Verkhospassky Cathedral were allocated by the maid of honor Matrona Saltykova. Thanks to her, the altar frescoes were restored in the church, new royal doors were made, and the iconostasis was covered with silver niello frames.
IN 1812 the French plundered many churches, and the Verkhospassky Cathedral was among the victims. Fortunately, it was possible to evacuate the most valuable church utensils in advance, but a lot had to be restored.
The house church at the Terem Palace was repainted in 1836. The order for the next restoration came from the sovereign Nicholas I. The construction of the Grand Kremlin Palace, which began next, also made some changes to the layout of the Terem Palace and the Verkhospassky Cathedral. The staircase adjacent to the temple was dismantled, the Verkhospassky platform was blocked, and the Golden Lattice was inserted into new arched openings. The west-facing wall of the refectory was moved. Now it had three doors, each of which was decorated with decorative grilles, stylized as the 17th century.
Damaged by artillery shelling during the armed rebellion of 1917, the corner of the cathedral was restored in 1920, but the temple had already been closed by that time and since then worship services have not been held in it.
Iconostasis of the Savior behind the Golden Bar
The author of the iconostasis of the Verkhospassky Cathedral is a cabinet maker Dmitry Shiryaev who skillfully carved it from wood in the 18th century. In the central part of the iconostasis stands out a frame of blackened silver, made in 1778 at the expense of maid of honor Saltykova.
The most valuable icons of the Verkhospassky Cathedral were painted by artists S. Kostromitin and L. Stepanov. They are located in the local row. Draws particular attention image of the Savior Not Made by Hands, surrounded in the margins by twenty separate compositions called hagiographic hallmarks.
In the aisle of the cathedral, consecrated in honor of John the Baptist, you can see ancient images painted in the 17th century. The most revered of them are icons of Our Lady of Smolensk and St. John the Baptist.
Stone work apprentice Antipa Konstantinov
We find the initial information about the architect in the affairs of the Nizhny Novgorod Caves Monastery in 1631. The monastic authorities turned to Moscow with a request to complete the already laid cathedral "to give their Sovereign apprentice Ontip Lavrentiev's stepson Vozoulin and the Nizhny Novgorod and Balakhon masons and brick-makers who made with him the cathedral church of the Archangel Michael" * . Here he is named the adopted son of the chief builder of the Archangel Cathedral, stone worker Lavrenty Semenovich Vozoulin.
* (Acts of the Nizhny Novgorod Pechersky Ascension Monastery. - M., 1898, p. 164.)
L. Vozoulin was not only a stepfather for Antipas, but also a mentor in comprehending professional secrets. This is evidenced by the fact that in 1631 Antipas acted as an experienced organizer of the construction, who was entrusted (apparently after the death of Lawrence) with the completion of work on the Archangel Cathedral *.
* (After 1630, the name of Lavrenty Vozoulin disappears from Nizhny Novgorod sources, and is not found in the files of the Stone Cases Order. Acts of the Pechersk Monastery of 1631 as the builder of the Archangel Cathedral are called only "Antipa Lavrentiev's stepson Vozoulin", moreover, in the rank of "apprentice of the sovereign's stone affairs.")
The place of birth of Lavrenty Vozoulin and his stepson is not known. But in the Moscow acts of 1626, another apprentice from the Vozoulins family is mentioned - Fedor, who, together with Vazhenka Ogurtsov, built the stone fortress of Mozhaisk *. And if we consider that in the "troubled time" of the beginning of the XVII century. stone work in Russia ceased everywhere for almost two decades, it can be assumed: the Vozoulins went through a construction school at the work of the Order of stone affairs during the time of Boris Godunov, since in the 20s. they have already been called apprentices of stone work, i.e., highly qualified organizers of construction work.
* (Mozhaisk Acts (1506-1775). - St. Petersburg, 1892, p. 127.)
After some stabilization of the internal political situation in the state, the Romanov government decided to note the special role of the Nizhny Novgorod militia of 1611-1612. in the liberation of Russia from the Polish-Lithuanian invaders.
On December 3, 1627, a decree came to Nizhny Novgorod on the resumption of the dilapidated Kremlin Cathedral of Michael the Archangel, and in the spring of the following year, Lavrenty Vozoulin and his stepson Antipas arrived in the city on the Volga. April 23, 1628 * Construction work began on the Clock Hill of the Kremlin hill.
* (TsGADA, f. 137 he. 1, N. Novgorod, d. 476, l. 538.)
The walls of the white-stone cathedral of the XIV century. were dismantled, because back in 1621 it was reported that "the church of the Archangel Michael is a stone dilapidated, collapsed and there has been no service in it for a long time ..." *, and with a slight shift along the east-west axis, they dug new ditches under the foundation of the fourth of the same name temple **.
* (RIB, vol. 17, St. Petersburg, 1898, p. twenty.)
** (Initially, together with the foundation of Nizhny Novgorod in 1221, a wooden church was cut down; was rebuilt as a cathedral at the Grand Duke's court.)
The builders preserved the plan of the ancient cathedral with three porches in the cardinal directions and an altar three-apse part in order to include the grand ducal burials within the new temple square, and on an almost square base (9.73 × 9.69 m) they erected a tent-shaped memorial temple.
The well-known researcher of ancient Russian architecture P. N. Maksimov notes: “The tower churches, a number of which were built in the 16th century, appeared, apparently, in connection with the growth of national self-consciousness and the desire to celebrate the most important events in the life of the Russian state by their construction. This was done before, but the former churches, erected in honor of memorable events, did not differ significantly from others.Now, the theme of the monument, the memorial building, stood in the foreground.Height was the main feature of such buildings, which were supposed to be visible from afar, dominate the surrounding buildings or the terrain and draw general attention to themselves. The usable area of such buildings was small..." * .
* (Maksimov P. N. Creative methods of ancient Russian architects. - M. 1976 p. 196-197.)
By the beginning of the construction of the Nizhny Novgorod Archangel Cathedral, Russian architecture had magnificent examples of stone tent churches of the 16th century. But the three-hipped church of the Alekseevsky monastery in Uglich, later nicknamed "wonderful" by the people, was still under construction, and erected not far from the Trinity-Sergius Lavra, in the village. Deulin, the temple could hardly be called an outstanding building and its architecture rather testified to the loss of skill by Russian builders during the years of "hard times" * .
* (Ilyin M. Way to Rostov the Great. - M., 1973, p. 78-80.)
Under these conditions, the beautifully developed image of the Archangel Cathedral in the Nizhny Novgorod Kremlin, which opened a special row of tented churches in Russian stone architecture, remains its important link. In addition, the cathedral is a temple building rare for its time, where the hipped bell tower is combined with the volume of the church and thus an asymmetric composition of two different-sized tents is created. To harmonize the architectural masses, the architect made a number of amendments to the outline of the plan and the placement of volumes: the western porch was shifted to the north and the main entrance to the cathedral turned out to be shifted from the central axis, which in turn made it possible to make the internal staircase to the bell tower flatter, more convenient for use.
The plan of the northern porch took a trapezoidal shape. The rapprochement in the northwestern part of the volumes of the two porches made it possible to balance the bell tower with the narthexes and the high tent of the church, and thereby achieve their harmonious unity in the overall architectural ensemble.
The consistency of all parts of the building, proportionate to a person and not overwhelming him, the upward aspiration of volumes and the courageous simplicity of their decorative solution - all this testifies to the great taste, high professional training and skill of the architect, who set out to glorify the heroic deeds of man with his art.
Mikhailo-Arkhangelsky Cathedral was built in the rough for two construction seasons. By the end of 1629, it was reported to Moscow: “In Nizhny Nova, the stone cathedral church of the Archangel Michael was completed, and stone work was done in the current year in 137, the church walls and the osmerik, and the tent, and the neck to the poppy head 13 sazhens with half a sazhen ... And according to the books, the church affairs of the kissers Efimka Oshchoulov, Kirilok Kunkin with comrades, apprentice stone work Larka Semenov and a bricklayer, and a sergeant, and a carpenter, and a daily feed worker for those days, while they were in the church stone business, 305 rubles 21 altyn 4 money..." * .
* (Filatov N.F. Monument of military glory. - Sat: Notes of local historians. Gorky, 1975, p. 151.)
However, the consecration of the cathedral was delayed for another two years. Finishing work was completed, apparently, by Antipas alone. The name of Lavrenty Semenovich Vozoulin disappears from the documents. At the same time, in the synodikon of the Nizhny Novgorod Caves Monastery, among the deceased brethren, without indicating the usual monastic rank in such a case, Lavrenty * was recorded. Perhaps this was the architect who found his last resting place on the churchyard of the Pechersk Monastery.
* (GAGO, f. 2013, he. 602a, d. 1, l. 29.)
In 1631, the authorities of the Caves Monastery tried to involve Antipas in the construction of a stone cathedral. They repeatedly sent petitions to Moscow about this, but received the same answer: “In the summer of 139, stone needs to be made, and churches not to be made, while in Vyazma a mason will finish off the city’s stone work” * , from which it can be reasonably assumed that Antipas in At that time he was already at the western border.
* ()
The fortress in Vyazma was ordered to be built back in 1629 by Prince Andrei Khovansky, however, even after two years the city was still left without reliable fortifications. But the constant threats of Polish-Lithuanian aggression required the Russian government to urgently fortify Vyazma, the last frontier point on the way to Moscow. In the spring of 1631, letters were sent to Belozersk, Vyatka and Nizhny Novgorod on the urgent dispatch of craftsmen for stone work. So Antipas ended up at the construction of a fortress in Vyazma, although in the same year he also visited Moscow, where he laid out "the sovereign's kitchen in the stern yard", for which he was awarded a cloth * . Construction stone work in Vyazma lasted two years. Six towers of the "Big City" were rebuilt, which from now on became strongholds for the defense of the border fortress.
* (Speransky A. N. Essays on the history of the Order of Stone Affairs of the Moscow State. - M., 1930, p. 212.)
With the completion of construction in Vyazma, Antipa was recalled by the Order of Stone Works to Moscow, where, after the devastating fire of 1626, many work began to restore the capital and experienced master builders were required.
He again found himself among people who, apparently, knew both his real father and stepfather. Lavrenty Vozoulin was no longer alive, and therefore Antipas took the "title" from his own father, and if in Nizhny Novgorod he was called "Antipas the stepson of Vozoulin", now they began to call him "Antipas Konstantinov's son." This is how one can decipher the record of the stone work of the apprentice Antipas Konstantinov in the synodics of the Nizhny Novgorod Spaso-Preobrazhensky Cathedral, where Konstantin's own father, and then his stepfather, Lavrenty, are named.
Throughout the summer of 1634, Antipas with Trefil Sharutin was "at the factory and at the decree" in the Alekseevsky monastery on the construction of the Transfiguration three-tented church *. It has not existed for a long time, but the surviving image of the temple of the first years of the 19th century, however, without the central, highest tent, allows us to judge the architect's adherence to the tent temple type and the constant search each time for new solutions, in this case - in a multi-tent composition.
* (Uvarov A.S. Collection of small works. - M., 1910. T. 1, p. 383.)
But the main business of this period in the life of Antipa Konstantinov was the construction of the Terem Palace in the Moscow Kremlin (1635-1636), to which, besides him, the then famous architects Vazhenka Ogurtsov, Trefil Sharutin, Larion Ushakov were involved. Antipas connected with them either through acquaintance through relatives (B. Ogurtsov), or joint work (T. Sharutin), or commonwealth (L. Ushakov would later be a permanent executor of work on the estimated paintings of Antipa Konstantinov).
The fire of Moscow destroyed many palace buildings in the Kremlin, therefore, on the old two-story part of the white-stone chambers of the 16th century, it was decided to build on the third floor for the royal workshops, the residential fourth floor of the chambers, and on it - the attic, or "terem", with a spacious chamber and a wide ambush for games of children of the royal family.
All these floors were connected at the level of the third by the so-called "boyar platform", from which one could either get down to the square in front of the palace, or go up to the royal "halls" to the front and throne chambers. The decoration of the palace was distinguished by richness and subtlety, especially carved white-stone portals and window frames with polychrome tiled inserts and coloring, gilded forged combs, valances, roof ensigns and the so-called "golden lattice" of the front shoot. Together with the gilded cupolas of the house churches, the tents above the entrance to the entrance to the canopy and the turret of the abyss - all this created a truly fabulous spectacle and for many years served as a "training aid" for Russian architects and was used by them in new buildings. And when we talk about "patterning of the 17th century," the decoration of the Terem Palace seems to us the most perfect, in the creation of which there is a significant contribution of Antipa Konstantinov.
Like most Russian cities, Vladimir on the Klyazma was seriously damaged during the years of "hard times", and the Golden Gate, together with the gate church of the Deposition of the Robe, personifying the glory of ancient Russia, were partially destroyed. In 1641, Antipa Konstantinov was sent here to organize their repairs * . We do not know what work was carried out, but on the plan-drawing of the city in 1718 above the Golden Gates, a hipped temple ** is clearly visible, erected, as one might assume, according to the estimate of A. Konstantinov.
* (Speransky A. N. Essays ..., p. 212.)
** (Tverskoy L.M. Russian urban planning until the end of the 17th century. - M.-L., 1953, p. 29; Voronin N. N. Vladimir, Bogolyubov, Yuriev-Polsky. - M., 1965, p. 25.)
In the summer of 1642, it was decided to carry out a new fresco painting of the interiors of Russia's main church - the Dormition Cathedral of the Moscow Kremlin. 92 icon painters gathered from different cities, before knocking down the gesso, removed drawings of the old painting, prepared paints in clay pots, under the guidance of apprentice Larion Ushakov, stoneworkers, put up scaffolding, and master masons immediately stuffed nails into the walls for new plaster. By the spring of 1643, everything seemed to be ready for the beginning of the painting, but on May 28, cracks were discovered in the vaults of the Assumption Cathedral.
A representative commission headed by the steward G. G. Pushkin, the deacon S. Ugotsky and apprentices A. Konstantinov and L. Ushakov was urgently called to the place. At the same time, an inventory of upcoming affairs was drawn up: "... from the bottom, strengthen with an iron wedge from a grove and hammer it firmly with gesso, and pour boiled resin with sand from above and for the fortress put iron ties at an angle and go through the walls with bores on both sides ... " * . In general, a significant repair was to be done, and Larion Ushakov was instructed to manage it, but under the unremitting supervision of Antipas, who was more experienced in the construction business.
* (Viktorov A. Description of notebooks and papers of ancient palace orders (1613-1725). Issue. 2. - M., 1883, p. 417.)
Even earlier, on March 17 of the same 1643, according to the "inspection and estimate" of Antipa Konstantinov's stone work, apprentice Davyd Okhlebnikov began work on dismantling the dilapidated buildings of the Kremlin Patriarchal Palace. After clearing the place of the old choirs, Yaroslavl masons, headed by T. Timofeev and Z. Ostafiev, were involved in the construction of new ones and the repair of the remaining buildings, who contracted for 120 rubles. "to do stone work for them in the patriarch's court ... so that it is strong, and all sorts of bad, damaged places in those floors that the sovereign's apprentice Antipa Konstantinov will indicate, and they should listen to him in everything, and all those places should be made anew and repaired, where Antipa is in he will not indicate those poles ... " * .
* (Zabelin I.E. Materials for the history, archeology and statistics of Moscow churches. - M., 1884, p. 929.)
Despite the need for the constant presence of the architect in the Kremlin during such important work, Antipas was constantly used "on calls" by the Order of Stone Affairs, either to inspect the buildings of state institutions, or to inventory the stone houses departing "for the sovereign", for example, the chambers of the royal doctor Vindelin Sibelist. Noting the special merits of Antipas Konstantinov for 1643, he was awarded a rather valuable gift - "10 yards of green taffeta and 4 yards of English cloth" *.
* (Viktorov A. Decree. op., p. 422.)
The construction of the patriarchal stone palace continued in 1644. The same Yaroslavl craftsmen worked, and as before, the contract stipulated that they "do that stone work by order of the sovereign's apprentice Antipa Konstantinov" *. Thus, despite the fact that the construction of the Kremlin Patriarchal Palace lasted from 1643 to 1656, the original idea belongs to A. Konstantinov, and two construction seasons were carried out under his direct "supervision".
* (Zabelin I.E. Decree. op., p. 930.)
The year 1644 was apparently the most eventful in the creative life of Antipa Konstantinov. In addition to his work in the Kremlin, he "was at the Cannon Yard at the granary stonework and at other stoneworks" * , according to his estimated painting, the three-hipped Trinity Church was laid in the Tsar's village of Golenishchevo near Moscow.
* (Uvarov A.S. Decree. op., p. 383.)
It is important to note that the foundry barns of the Cannon Yard are crowned, as can be understood from the drawing of the 17th century, by two tetrahedral tents with "rumors" for the exit of exhaust gas and smoke. Despite the strict utilitarianism of the structure, the tents are in proportion to the height of the base and are crowned with ensign-weather vanes, which brings the architecture of the barns closer to the appearance of the towers of Russian fortresses of the 17th century.
In Trinity-Golenishchevo, work was carried out by Antipas' constant assistant Larion Ushakov. The central, higher, inwardly open tent, placed above the prayer hall, in its main elements and proportions repeats the main tent of the Nizhny Novgorod Archangel Cathedral, and we can assume that it was made with the direct participation of A. Konstantinov. Two lateral, lower tents placed on the closed vaults of the aisles, in the decorative solution, turned out to be crushed and disproportionate to the general proportions of the base. One can feel the hand of another builder, who, apparently, was Larion Ushakov, who completed the building on his own. Finishing work in the church continued until 1649, when on October 23, Tsar Alexei Mikhailovich, accompanied by the entire court, arrived for the consecration of the church. A year later, Troitskoye-Golenishchevo was donated "for embassy service" to the governor of Nizhny Novgorod, the tsar's gunsmith Grigory Gavrilovich Pushkin *.
* (Palace ranks. SPb., 1852. T. 3, p. 203-204.)
From the end of 1644, the name of Antipas Konstantinov disappears from the acts of Moscow orders, but around this time, a kind of stone work of an apprentice was included in the Synodikon of the Nizhny Novgorod Spaso-Preobrazhensky Cathedral. The architect again ended up in Nizhny Novgorod, apparently at the invitation of the new archimandrite of the Pechersk Monastery Herman, who had previously been the deacon of the Assumption Cathedral in the capital, with whom Antipa Konstantinov undoubtedly met in the Moscow Kremlin, primarily during the repair of the main cathedral of the country in 1643. Herman later will be called by his contemporaries a "builder" for the fact that it was his "diligence and treasury" that significant stone construction was then launched in Pechery, which completed the creation of one of the best architectural monastic ensembles of the 17th century. in the Middle Volga.
Construction in the Caves Monastery began immediately upon the arrival of German (1645) and was clearly planned by him before leaving Moscow. The appointment of a former deacon as archimandrite of one of the largest monasteries in Russia was a noticeable rise in the hierarchical ladder and, undoubtedly, was associated with his special services to the royal house. It can be assumed for the same reason that Herman managed to take the recognized architect Antipa Konstantinov with him from the capital. This is eloquently evidenced by the unity of architectural and compositional techniques and even the direct transfer to the architecture of the buildings of the Pechersk Monastery of the forms of the earlier in time Nizhny Novgorod Archangel Cathedral, with which the time of formation as a master of Antipa Konstantinov was associated.
S. L. Agafonov, a researcher of architecture in the city of Gorky, directly reports: "in the 1640s, in the Pechersky Monastery, the same A. Vozoulin built two stone hipped churches - the gate of Euthymius of Suzdal and the Assumption Church with a refectory ..." * . The architect here is named after his stepfather, but this is explained by the fact that only recently documents have been found that shed light on the life and work of Antipa Konstantinov.
* (Agafonov S. L. Gorky, Balakhna, Makariev. - M., 1969, p. 55.)
The creation of the architectural ensemble of the Pechersky Monastery was perhaps his most significant work, where the talents of an urban planner, an artist, and a practical builder were manifested.
Caves Monastery, founded in the 30s. 14th century Dionysius, a famous church figure of that time, played a prominent role in the life of the Great Nizhny Novgorod-Suzdal Principality (1341-1392). Already in the XIV century. the monastery became not only a rich and influential feudal lord of the region, but also a center of education. Among the monks of the monastery, Paul the High is known - "a scribe, a literate, wonderful old man." Apparently, the famous Laurentian Chronicle (1377) was created here.
During its centuries-old history, the Caves Monastery was repeatedly ruined by the Mongol-Tatars, but each time it was restored again. By the end of the XVI century. The monastic complex included a stone cathedral, a bell tower, numerous chopped cell buildings, a refectory and outbuildings. But as a result of a landslide in 1597 on the right bank of the Volga, on which the monastery stood, all the buildings were destroyed.
At the same time, a deputation with rich gifts was sent to Moscow for permission to renew the stone buildings. Nizhny Novgorod governor was ordered by a special royal letter to find out the possibilities of building a monastery in the old place. After examining the ground, the masons-masters concluded that "it is impossible to build stone temples on that place, the Bolshaya mountain moved and went deep and the place became weak all..." * Therefore, a spacious coastal terrace was chosen for construction for a kilometer, closer to the city , where temporary wooden buildings were hastily rebuilt.
* (GOB RO, r. 1027, Great Mirror Book, 1597.)
In the difficult years for the country at the beginning of the 17th century. expensive stone work was impossible, and the monastery remained wooden for many years. In the Scribe Book of Nizhny Novgorod 1621-1622. it is described as follows: "...behind the old prison down on the banks of the Volga River, the Pechersk Monastery. And in the monastery the Church of the Ascension ... and the chapel of the Intercession ... with a wooden meal, a tent on top, and near the church a porch ... And on the bell tower the bell of the evangelist 76 pounds; yes, the bells are red, and the others are ringing; yes, the clock has two small bells; the clock bell. Yes, the cell of the archimandrite with a room, yes 15 cells of brothers; a bread cell; a dryer; a glacier with a dryer; a kitchen. And notice the fence near the monastery ..."*.
* (RIB, vol. 17, St. Petersburg, 1898, p. 326-343.)
Only by the beginning of 1629, after the assurance that “the church renovation would be firmly in place and that the stone and bricks of the old temple would be stocked”*, a blessed charter was received from Moscow for the construction of a stone cathedral. But just another two years before the construction work itself began, because the monastery did not have its own "house" masons, and the craftsmen available in the city at that time were building the Archangel Cathedral.
* (Acts of the Caves Monastery..., p. 162.)
In 1631, several masons led by Fyodor Oparin arrived at the Caves Monastery from Kostroma, and during one construction season they laid the foundations and erected part of the walls of the sub-church. The main work was supposed to be continued in 1632 by the same Kostroma residents, but the craftsmen promised by the authorities of the Ipatiev Monastery did not arrive in Nizhny Novgorod, and all the Nizhny Novgorod "masons, brickmakers and potters" were urgently called by the Order of Stone Works to build the fortifications of the city of Vyazma, about which mentioned above.
The decoration of the cathedral was completed by masons already recruited from monastics, who received their initial professional skills from craftsmen from Kostroma. Izosima became the head of the work, and Efrem Bosoy became the leading bricklayer.
By the end of 1633, the cathedral was rough ready, and in his instructions, the archimandrite demanded: "... yourself, Izosima, watch ... And in the church you will circle those who are not chosen and not greased and not whitewashed, and you would not choose, they would have let it in in the winter, but the meal would have been built for the winter and the doors and windows would have been upholstered with felt, but if there was a gap on a pillar or under the vaults, and the elder Ephraim and his masons would do it, how God will instruct it, so that there are no ruins anywhere to do, but the big head would not be soldered, and he would have drunk the head without fail with great zeal ... " * .
* (NGV, unofficial part, 1848, p. 157-158.)
Finishing work continued for several more years.
The history of the construction of the Cathedral of the Caves Monastery is extremely complicated. Initially, the cathedral, apparently, was thought to be underground, then - on a high sub-church, first three, then four and, finally, five thrones. Already in the process of construction, a refectory chamber with the Pokrovsky aisle was attached to the cathedral, for which the southwestern sector was fenced off in the interior with brick walls, and on its vaults, as it were, the second floor of the aisle of Izosima and Savvaty was arranged. All this caused not only multiple additions and corrections to the original design, but also gave the building many architectural and compositional features inherent only to it.
The second stage of stone construction in the Caves Monastery covers 1645-1650, when the gate church with a cell collar, the Assumption Church with a huge refectory and "two-life" chambers with a chopped third floor were erected. It was at this time that the complex of monastic buildings turned into a complete architectural ensemble, where each new building in the overall composition found its own, most advantageous place, while maintaining the powerful five-domed cathedral as a dominant. The hipped churches significantly enriched the silhouette of the ensemble.
During the construction season of 1645, stone "holy" gates were erected with the tented church of Euthymius and the collar's cell building adjoining on the south side. The church is a rare monument in Russian architecture: firstly, it remains the only tent temple that has survived to this day, placed above the main monastery gate *; secondly, it serves as a clear example of construction "according to the model", which in this case served as the Nizhny Novgorod Cathedral of the Archangel. True, the church, placed above the arched passage of the gate, received a number of individual architectural features: instead of the usual three-apse, a rectangular altar part was made, the building itself was erected with a noticeable reduction in horizontal dimensions, which emphasized the upward aspiration of a generally small structure (about 27 m in height) .
* (In the 17th century tent churches above the main gate existed in the Yaitsky town and the Spassky monastery in Yaroslavl.)
Following the gate church, the construction of a vast, more befitting nobility and wealth of the Caves Monastery, a stone refectory, began. On June 24, 1647, a patriarchal letter was received in response to a petition sent to Moscow for permission to begin construction, which stated: and the brick de for that church building was ordered on Balakhna, and we would have them - Archimandrite Herman and his brother - welcome, if you hadn’t ordered from that brick, how they would be taken from Balakhna by water to the Lower, and in the Lower would be from that brick and from the courts of duties and do not order people to have golovshchina" * .
* (Acts of the Caves Monastery..., p. 222.)
As before, “hard-working peasant women” who had already gained building experience in previous work were driven to the monastery, and so that they would not run away “into the net,” they were accompanied by cell servants with handwritten notes.
In the same 1647, ditches were dug under the huge new building of the refectory, the foundations were heaped, the walls and vaults of the sub-church were laid out, despite the fact that some of the masons of the monastery artel were taken to Moscow in the spring to build the Assumption Cathedral in the Spas-New Monastery at the request of its rector , the future Patriarch Nikon.
In an effort to speed up the completion of work in the monastery, Herman sent a tearful petition to the tsar on January 29, 1648: "... The underside vaults are reduced, all sorts of supplies are ready for the completion of that church ... do not lead, Sovereign, we have this summer those of our monastery peasants - to have masons from our church work, so that we, your pilgrims, will complete the church this summer ... " * . In the Order of Stone Works, a note was made on the petition: “... if they were that mason, they would have a job in the Pechersk Monastery - and they would not have them, but if they didn’t do stone work in their monastery, but they beat them falsely with their foreheads, and on them - archimandrite with his brother - take a fine of 50 rubles. The masons were left in Nizhny. In 1648, the stone refectory "at services" with the hipped-roof church of the Assumption in the Caves Monastery was completed.
* (Acts of the Caves Monastery..., p. 223-224.)
The hipped churches at the monastery refectory chambers have been known since the 16th century. * However, here we have a rare example when, if customers wished to have a larger refectory (20.6 × 21.2 m), the builders, using the usual constructive techniques, combined four single-pillar chambers with the interior space. The system of nine cross vaults made it possible to transfer their pressure and expansion forces to four massive pillars, tied together with wrought iron ties, and to the walls with blades along the facades. Numerous one-pillar and two-pillar chambers are known in the history of Russian architecture, but no four-pillar chambers have been identified. Thus, the refectory chamber of the Caves Monastery can be considered not only an interesting example, but also a significant monument of Russian architecture of the first half of the 17th century.
* (Vvedenskaya c. Assumption Monastery in the town of Staritsa, 1570. Alekseevskaya church. Solotchansky monastery near Ryazan, XVI century. Vvedenskaya c. Trinity-Boldin Monastery, 1591, etc.)
With the end of the refectory, preparatory work was immediately begun for the construction of stone residential cells and, above all, the rector's quarters. In 1649, the tsar's charter was presented to the Nizhny Novgorod customs for duty-free transportation of bricks from Balakhna to the monastery, and by the end of the next year, the archimandrite's corps was completed. The L-shaped building occupied the corner northwestern part of the monastery territory. It consisted of two different-sized buildings: on the side of the coastal edge, a three-story building with a logged residential part and an amusement park, and from the west, a one-story building with basements.
The front rooms were located in two central, more spacious rooms on the second floor, the windows of which from the main facade are marked with well-drawn keel-shaped architraves, made up of figured bricks of a "piece set". Moreover, in their decoration, "melons" were also used, used by Russian builders, usually to decorate the main temple portals, less often - the main entrances to residential chambers.
In the basement part, under the reception chambers, there were pantries and utility rooms, each of which was illuminated by two small windows with wrought iron gratings (now hidden in the mound of the cultural layer).
Then, in 1650, the authorities began replacing dilapidated chopped cell buildings with stone ones, for which the "hooded brick-makers" contracted to put 30,000 bricks into the monastery, but Semyon Zadorin captured them for the construction of the Transfiguration Cathedral in the Nizhny Novgorod Kremlin, at the same time "cleaning up "strength and monastery masons. The authorities of the Pechersk Monastery, apparently, forbade their "peasants" to work for Zadorin, the same, demanding from them full dedication of strength, threatened with punishment. Caught between the two warring parties, the builders experienced a lot of harassment, which we learn from the complaint of the authorities of the Pechersk Monastery on August 1, 1650 to Ivan Neronov * so that he would defend them before those in power in Moscow: "... and here, sir, for that in the monastery the stonework was not completed.Sir, who, my lord, our monastic arable peasant women live in the villages on their heavy foals, in the settlements on quitrents and do brickwork in the monastery to the fullest, and he, Semyon, called those our peasant women masons and took them to do stone work for the Nizhny Novgorod cathedral churches ... having unwittingly taken from stone work without our advice, he offends with great beatings ... before the order of the monastery peasants, he killed two people without guilt to death with his own hands ... ** .
* (Ivan Neronov in the 30s 17th century was a priest of the Resurrection Cathedral of the Nizhny Novgorod Kremlin, initiated the struggle for the "piety" of Nizhny Novgorod. In the mid 40s. 17th century moved to Moscow, where he received the position of archpriest of the Kazan Cathedral on Red Square (then called "Fire") and became famous for his sermons, which usually attracted large crowds of Moscow townspeople. He was also a member of the court circle of "zealots of piety" along with Nikon, Archpriest Avvakum, Stefan Vonifatiev, and others from Nizhny Novgorod.)
** (Nizhny Novgorod in the 17th century: Sat. documents. - Gorky, 1961, p. 108.)
Despite the difficulties, the ensemble of the Caves Monastery by the middle of the XVII century. was basically completed. Each building in the overall composition was assigned a very specific role, and from any point of view all its main buildings were distinguishable. From the Volga, the monastery, stretched along the shore, was clearly visible against the backdrop of the greenery of the mountain. The five domes of the cathedral on the sides were supported compositionally by the tents of the refectory and gate churches. From the mainland mountain, the monastery was read as a picturesque silhouette in the panorama of the Volga distance and the blue of the forests of the left bank of the Volga. And from this point of view, the center of the ensemble is also flanked by two tents, but already the bell towers and the Assumption Church. All this testifies not only to the professional training and skill of the architect (the buildings have been perfectly preserved to this day), but also to his subtle artistic flair.
Thus, the systematized information provides sufficient material for a high assessment of the giftedness of the stoneworks of the apprentice A. Konstantinov, whose whole life was connected with the construction of various civil and temple structures with hipped roofs. On his creative legacy, we can clearly trace the artistic and compositional development and the main stages of the evolution of the Russian tent-type temple type in the first half of the 17th century: from the constructive, open-topped tent of the Archangel Cathedral and St. Euthymius Church to the tented decorative superstructure of the Assumption Church of the Caves Monastery, from the two-tented asymmetric composition Archangel Cathedral to the three-hipped, strictly symmetrical tops of the Moscow churches of the Alekseevsky Monastery and Troitsky-Golenishchev.
All this makes it possible to include in the list of outstanding architects of Russia the name of Antipa Konstantinov, a gifted master of the Russian tent temple type, the beginning and end of his creative path associated with Nizhny Novgorod in the 17th century.
(first half of the 17th century) - In 1635-1636. took part in the construction of the Terem Palace for Tsar Mikhail Fedorovich Romanov.
Watch value Ushakov, Larion in other dictionaries
Ushakov- Nikolai Nikolaevich (1899-1973) - Russian poet. In the poetry collections "Spring of the Republic" (1927), "The World for Us" (1935), "Journeys" (1940), "Theodolite" (1967), "My Eyes" (1972) - orientation ........
Big encyclopedic dictionary
Ushakov- Georgy Alekseevich (1901-1963), geographer and traveler, explorer of the Arctic. He went through a harsh school in the Ussuri expedition of V. K. Arseniev (1916). In 1926–29 founded and...
Geographic Encyclopedia
Larion— ILOV LARIN OV LARINTSEV LARIOKHIN LARIOSHIN LARIOSHKIN LARIKHIN LARIKHKIN LARISCHEV LARTSEV LARCHENKO LARCHIN LARIKIN LARIKOV LARYUKHIN LARYUSHIN LARYUSHKIN IOV LARIKOV
Ivanov Larion- - see the article Ivanovs (ordered businessmen).
Historical dictionary
Ivanov Larion Ivanovich- (? -1682), statesman, duma clerk (1669). Head of the Ambassadorial (1676-82) and other orders. The actual head of foreign policy under Tsar Fedor Alekseevich. Killed........
Historical dictionary
Ushakov— USHANOV USHATKIN USHATOV
1. From the nickname of a person with large ears.
2. According to the linguist N. A. Baskakov, - from the Turkic word ........
Dictionary of Russian surnames
False Peter (larion Starodubtsev)- False Peter - an impostor who took the name of the son of Peter the Great, who died in 1719, Peter, in fact, a runaway dragoon of the Narva regiment Larion Starodubtsev, who lived in a Cossack ........
Historical dictionary
Starodubtsev Larion- Starodubtsev (Larion) - see False Peter (XVII, 623).
Historical dictionary
Ushakov- Fedor Fedorovich (1744 - 2 (14).X.1817) - Russian. naval commander, admiral (1799). Genus. in with. Burnakovo Romanovskogo st. Yaroslavl province. in a poor noble family. Mor graduated. cadet corps...
Soviet historical encyclopedia
Ushakov Alexander Kleonakovich- Ushakov (Alexander Kleonakovich) - general of infantry (1803 - 1877); was educated at the school of columnists; participated with honors in the Turkish wars of 1828-1829. and Polish,........
Historical dictionary
Ushakov Alexander Mitrofanovich- Ushakov (Alexander Mitrofanovich, died in 1787) - a famous sailor. He studied at the naval cadet corps. In 1771, he received the command of the "Saint Michael" tracker (hired ........
Historical dictionary
Ushakov Alexander Pavlovich- Ushakov (Alexander Pavlovich, 1833 - 1874) - writer, mineralogist, art connoisseur. The son of a lieutenant general, was brought up in the page corps, served in the Life Guards of Izmailovsky ........
Historical dictionary
Ushakov Alexander Sergeevich- Ushakov (Alexander Sergeevich) - novelist and economist. Born in 1836. An excellent connoisseur of merchant life, he placed his talented essays in Sovremennik, Library ........
Historical dictionary
Ushakov Andrey Ivanovich- Ushakov (Count Andrei Ivanovich, 1672 - 1747) - head of the secret investigative office, son of a poor nobleman. Peter the Great elevated him to the rank of secret fiscal (1714) and instructed to observe ........
Historical dictionary
Ushakov Vasily Apollonovich- Ushakov (Vasily Apollonovich, 1789 - 1838) - novelist. He came from an old noble family, was brought up in the page corps, served in the Lithuanian guards regiment, was ........
Historical dictionary
Ushakov Ivan Ivanovich- (don.) - born. 1870, came from the Donetsk region; member of the Russian State Duma of the second convocation. He graduated from the Teachers' Institute and served as a teacher in Art. Elizavetovskaya .........
Historical dictionary
Ushakov Matvey Alexandrovich- Ushakov (Matvey Alexandrovich) - poet of the second half of the 18th century. He was a teacher at the Vyatka seminary, protodeacon and priest of the local cathedral. They wrote:...
Historical dictionary
Ushakov Nikolai Alexandrovich- (don.) - born. 1875, Art. Krasnokutskaya; colonel. During the First World War, he received many military awards, including the Order of St. Vladimir 4 tbsp. With a general uprising ........
Historical dictionary
Ushakov Nikolay Vasilievich- Ushakov (Nikolai Vasilyevich, 1837 - 1874) - ophthalmologist, son of a priest; was brought up in the Yaroslavl Theological Seminary (1850 - 1856), from which he entered the St. Petersburg Medical and Surgical ........
Historical dictionary
Ushakov Simon Fyodorovich- (1626 - 06/25/1686), Russian icon painter. In 1648-64 he worked in the Silver and Gold Chambers, from 1644 - "Complaint Painter" of the Armory, head of its icon-painting workshop.........
Historical dictionary
Ushakov Simon Fedorovich (pimen Fedorovich)- Ushakov (Simon or Pimen Fedorovich, 1626 - 1686) - the famous Moscow icon painter, probably came from townspeople and, apparently, received a thorough ........
Historical dictionary
Ushakov Stepan Fedorovich- Ushakov (Stepan Fedorovich) - writer (born in 1705, died under Catherine II); was the St. Petersburg governor-general and senator. Wrote "On the fertility of winter ........
Historical dictionary
Ushakov Tikhon Vasilievich- (don.) - born. 1897, Art. Kamenskaya; centurion. After graduating from the Don Cadet Corps from the Nikolaev Cavalry School, he was released as an ensign at the beginning of 1916 to the front ........
Historical dictionary
Ushakov Fedor Fedorovich- (1744 - 1817) - the great Russian naval commander, admiral. F.F. Ushakov was one of the creators of the Black Sea Navy, and since 1790 - its commander. Developed and applied to...
Historical dictionary
Ushakov Feodor Feodorovich- Ushakov (Fyodor Feodorovich, 1743 - 1817) - a famous sailor. He studied at the naval cadet corps. During the first Turkish war, he commanded various ships in the Sea of Azov and participated in ........
Historical dictionary
Ushakov Konstantin Andreevich- (1892-1967) - Soviet scientist in the field of aerodynamics, professor (1937), doctor of technical sciences 1934), honored worker of science and technology of the RSFSR (1943). A student of N. E. Zhukovsky .........
Encyclopedia of technology