The first stone living quarters in the royal palace, later called the Terem Palace, were built in 1635-1636. for Tsar Mikhail Fedorovich.
The stone craftsmen were built by masters Bazhen Ogurtsov, Antip Konstantinov, Trefil Sharutin and Larion Ushakov
The basis for the newly erected three-story chambers was:
- 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.
Terem Palace was designed like 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 that delights the eye with its festive splendor.
The 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 cage (a log cabin usually with 3 windows along the facade)
- White stone window frames and portals are decorated with floral designs depicting birds and animals 
The 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 sculpted lions
Watchtower with decorative kokoshniks and 8-sided roof
- was added to the Terem Palace on the west side
- Even before the start of the construction of the Grand Kremlin Palace
- A beautiful panorama of the city opened from the height of this tower
- Portals with triangular pediments framing the tower windows with colored glass:
--- oriented to the cardinal points,
--- resemble the carved window frames of the Terem Palace
Steep hipped roof
- with a patterned decoration of gilded metal and small flags, it successfully complements the palace ensemble
For its time, the Terem Palace was a rather tall building.
- the "golden top" is located on 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 State Kremlin Palaces
- Only the facade of the Queen's Golden Chamber 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.
- Premises in the basement were used for domestic purposes
- It contained rooms for everyday use, as well as
- supplies of water and candles, preparation of vegetables and pickles 
The queen's workshops were located on the 1st floor
- All types of clothes, linen and other fabrics for the household use of the royal family were prepared here
- Here, the court embroiderers decorated clothes with silk, gold embroidery and pearls. 
3rd room on the 3rd floor of the palace - the throne room, or the royal office
- In the "red" corner of the room there is a royal armchair covered with velvet
- In the 17th century, it was the most beautiful and most inaccessible room of the entire palace
- Only in the mornings the boyars closest to the tsar "after waiting for the time" entered it to beat their brows 
The middle window of the room, decorated from the facade with a carved white-stone platband, was called Chelobitny
- A box fell out of it, where everyone could submit a petition to the tsar
- In the common people this box was called Dolgiy, since petitions lay here for a long time, unreadable
- This is where the saying goes: "Do not postpone the matter indefinitely" 
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 in the opinion of 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 arches with formwork
- Walk-through canopy, Cross Chamber, Altarpiece and Bedchamber.
- In the layout of the apartments, as well as in the general composition of architectural volumes,
- the impact of wooden architecture is also making itself felt, in particular,
- wooden chorus, erected on the principle of connecting separate stands
- The walls and vaults of the chambers at the end of the construction were painted with floral ornaments
- Then, under Tsar Alexei Mikhailovich, the painting was renewed by S. Ushakov.
Today's painting
- made in 1836 according to the drawings of F.G. Solntseva and T.A. Kiseleva
The king's private bath was also on the 2nd floor.
- Water was supplied here using a pump from a water tower
- A spiral staircase led from the bath to the king's bedroom
- The rooms located on this floor were often rebuilt and their purpose changed accordingly
- In the XIX century. the archive was located here, in which the most important state papers were kept 
On the 3rd floor were the personal chambers of the king:
- large "rooms with three windows" overlooking the Moskva River
- The suite of rooms on this floor ended with a Bedroom and a Prayer. 
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 prayer room
- 2 carved iconostases were installed,
- plated with gold plated,
- with icons of the 17th-18th centuries 
The northern wing housed utility rooms and a narrow corridor.
- According to legend, the bridegrooms of the most beautiful girls were held here,
- among which the king had to choose his bride.
- He had to walk three times along the corridor and
- hand the towel to the happy darling 
4th floor, or mezzanine, sometimes called gilded
- because the roof was covered with gold and silver sheets and painted in different colors
- In a spacious, well-lit room with a golden top, the attention is drawn to the wall painting,
- executed in the middle of the last century in the so-called "Russian" style. 
3 galleries-gulbis surrounded the palace in tiers:
- lower Boyarskaya platform, or Bed porch
- located at the level of the overlap of the Alevizov basement,
- where the Vladimirsky Hall of the Grand Kremlin Palace now stands. 
From this level, an open staircase led to the Front stone courtyard.
- arranged over the lined vaults of the Workshop Chambers,
- on which, in fact, 3 floors of the Terem Palace were built on. 
The exit to the middle gulbische was later closed by the Golden Lattice
- representing a unique example of blacksmithing skills.
On the eastern side of the Terem 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 - the golden-domed Teremok
- located in the center of the building,
- surrounds the 3rd platform - the Upper stone courtyard. 
The extraordinary picturesqueness and elegance of the new palace is created not only due to the complex volumetric-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 gulbis, gilded roofing - all this harmoniously matches with the restored polychrome walls and white details restoration of Teremov in 1966-1969 In general, the palace gives the impression of a precious piece of jewelry.
The Upper Golden Porch, crowned with a tent and serving as the main entrance to the royal chambers, led from the Verkhnespasskaya site to the second floor of the palace. Located in front of the arched basement, etc. An open staircase (Lower Golden Porch) ascended to the Boyarskaya site to the Verkhneespasskaya site, which at the Verkhneepasskaya site was locked with a gilded copper lattice (therefore, the church is sometimes called the Church of the Savior Behind the Golden Lattice.
Boyarskaya platform and the Church of the Savior behind the golden bars in the Moscow Kremlin. 1838. E. Gilbertson.
In the western part of the T.D. the Church of the Nativity of the Mother of God "on the Senyi" is located, notable for the fact that a four-pillar white-stone church of the end of the XIV century has been preserved in its basement. - the most ancient of the Kremlin buildings that have come down to us.
Simultaneously with the traditional methods of decoration - fly, ornamental braiding, polychromy, tiles, carved gilded ridge on the ridge of the roof, the architects of T.D. applied classical order forms. At this time, the Order of Stone Affairs paid great attention to familiarizing Russian architects with Western European construction experience.
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From the multi-colored glasses, tiled stoves and painted walls of Teremov breathes distant, fabulous antiquity. The furniture is in the style of the 17th century. Benches and chairs are upholstered in Venetian velvet. Once upon a time, cabinets and supplies were filled with gold and silver utensils, which are now preserved in the Armory. Songbirds sat in cages of gold and silver.
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.
Interior decoration of chambers etc. it was very picturesque: bright ornamental painting with heraldic signs woven into it covered the surfaces of walls, arches, stripping and even window sills; biblical subjects in symbolic form illustrated the monarchist idea. In the list of T.D. (upon its renewal in the reign of Alexei Mikhailovich) Simon Ushakov took part. The painting has not survived.
The architectural ensemble of the Terem Palace also includes the Tsaritsyn's Golden Chamber of the 16th century and house churches (the Resurrection of the Word, the Savior, the Chapel of the Crucifixion, etc.), which in 1682 were brought under one roof and placed 11 chapters on it 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. Mukhina (Mosproekt-2, workshop No. 13) and according to the recommendations of the technologist of the TsNRPM M.P. Ievleva.
The original interior decoration of the chambers, with the exception of individual fragments, has not survived and was completed again under the direction 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 of the Terem Palace and the Church of the Savior on Bor. 1800s
Fedor Yakovlevich Alekseev. Boyarskaya platform in the Moscow Kremlin (1801)
Boyarskaya site in the Moscow Kremlin. (until 1838)
Terem Palace in the Moscow Kremlin. 1635 - 1636. South facade. Engraving of the 1870s.
Located on a high Kremlin hill, the TD building
- was facing the main facade to the south, to the Moscow River
- Crowned with a gilded attic roof
- surrounded by open gulbis with hipped porches
- TD dominated the Kremlin chambers and the mansion 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 efforts of the architects of the 17th century, Moscow and Russia were transformed ... mamlas wrote in May 19th, 2016
More about
The 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 survived, in which Russian art was not yet too subject to foreign influences. In that distant pre-Petrine age, the rise of Russian architecture was especially noticeable. Also in "Creators"
Novodelny Izmailovsky Kremlin, built in the style of "pre-Petrine" Moscow
During the reign of Tsar Mikhail Fedorovich and his son Alexei, wonderful "stone and wood craftsmen" were doing - Bazhen Ogurtsov, Trefil Sharutin, Semyon Petrov, Averky Mokeev, Ivan Belozer, Pavel Potekhin, Osi Startsev, Yakov Bukhvostov and many others. Through their labors, wooden and stone architecture of pre-Petrine Rus' reached its peak. Terem Palace in the Kremlin
At first, after the devastating Time of Troubles, it was only about the reconstruction of the destroyed and dilapidated buildings of the Kremlin. Some of them were repaired already in 1613, on the day of the wedding to the kingdom of Mikhail Fedorovich Romanov. Then large new works began - in 1625, to install the clock over the Frolovskaya (now the Kremlin's Spasskaya Tower), a three-tiered top was built under the "supervision" of the stone works of the apprentice Bazhen Ogurtsov and his comrades Stepan Osipovich Karaulov and Grigory Zagryazhsky. In the design and construction of the tent and clock took part "the English land of the sentry and water platoon master" Christopher Galovey.
Terem Palace in the Kremlin
Soon a new, even larger-scale construction began in the Kremlin. Frequent fires of 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 has become an undoubted masterpiece - the Terem Palace in the Kremlin, which has survived to this day, albeit in a heavily 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 basement of the palace was the basements with open galleries, erected in 1499-1508 by the architect Aleviz Fryazin, and the Workshop Chambers of the 16th century, the time of Ivan the Terrible, standing on these basements.
Three floors of the Terem Palace were erected on the leveled vaults of the middle part of the Workshops.
It was crowned with a high "teremok", the famous "top" with an open terrace located around it - "gulbische". A gilded gable roof and two belts of azure tiled cornices, stone carvings, a richly decorated ceremonial Golden porch gave the palace an elegant, fabulous look typical for that time. The palace is distinguished by an abundance of carved stone ornamentation, floral ornaments, images of birds and animals on the white-stone frames of windows and portals. The ceilings of the palace are relatively low. The very thick walls are also densely painted with patterns with elements of 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 Teremka", located above the personal chambers of the tsar, there was a hall where the princes played and the Boyar Duma sat. The unique Golden Tsarina's chamber, rooms for the king with a bedchamber, a vestibule, a throne and an anteroom, have been preserved. The palace was connected with other buildings - cathedrals, chambers of the patriarch, office premises by a system of covered passages, galleries and other outbuildings.
Simultaneously with the construction of the Terem Palace in 1635, above the Small Golden Chamber, at the level of the Front Stone Courtyard, the same craftsmen erected the Church of the Savior Not Made by Hands (later the Verkhospassky Cathedral), with the chapel of John of Belgorod (now John the Baptist). Soon after that, Antip Konstantinov built in the Vyazemsky John the Baptist Monastery a unique temple of Odigitria of Smolensk, which had three stone completion tents, located in one row.
"The eighth wonder of the world"
The palace of Tsar Alexei Mikhailovich in the village of Kolomenskoye near Moscow became an exemplary 17th century building made of traditional wooden structures. It was built in 1667-1678 by an artel under the leadership of the head Semyon Petrov and the archer Ivan Mikhailov, a carpenter, in the form of several towers, interconnected by bizarre passages. Unfortunately, the palace itself has not survived - after standing for about 100 years, it was badly dilapidated and was dismantled in 1768, but its images in engravings and enthusiastic descriptions of contemporaries have survived.
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 outside, it looked like a whole town with turrets, scaly roofs, "gulbisches", 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 the building a remarkable picturesqueness. Under the direction of Elder Arseny, master carvers Klim Mikhailov, David Pavlov, Andrei Ivanov and Gerasim Akulov worked on this unparalleled architectural decoration with its openwork carvings. Kolomna Palace was called "the eighth wonder of the world". Simeon of Polotsk glorified the beauty of this palace, comparing it to the Temple of Solomon. Jacob Reitenfels in his book "Legends to 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 a box." In 1681 it was partially rebuilt by Savva Dementiev.
In addition to the Kremlin one, another famous Moscow teremok has reached us, built in 1693-1694 by Osip Dmitrievich Startsev and Larion Kovalev. Teremok is located in the Krutitsky Compound and is a real gem of architecture. The Krutitsy courtyard 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 survived to our time appeared at the beginning of the 17th century.
The most well-preserved are the main Holy Gates with the famous Teremkom overhead gate. Its front side was completely covered with tiles. The gate, decorated with the Teremkom, led to the Metropolitan's garden, which was called paradise.
Special mention should be made of the main builder of the Krutitsky Teremok.
Osip Startsev developed special techniques for stone decoration. "Cock's combs", set by him on the fence of the yard of the boyar I.M. Yazykov on Bolshaya Nikitskaya, later widely used by many Russian architects.
Another innovation that also entered the construction practice of that era was the circular open gulbische 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 frames with elegant columns entwined with grapevines, a technique he repeated in his work on the Krutitsky Teremka.
One big deed is followed by another - in 1685 Osip Startsev completed the construction of the Refectory Chamber in the Simonov Monastery, begun back in 1677 by the apprentice Parfen Potapov.
Other works by Startsev are also known: in 1676 he supervised the roofing of the tiles of the Kazenny Dvor. Since 1681, he was engaged in the reconstruction of terem churches and the construction of the Verkhospassky Cathedral, dismantling the cooks of Kormovoy, Khlebny, Sytny courtyards, and rebuilding the Order of the Great Palace. In the 1690s, he rebuilt the chambers of the Ambassadorial and Little Russian orders.
Another famous architect Averky Mokeev builds the Patriarch's 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 plan of the Church of the Resurrection of the Lord in Jerusalem. In the course of the work, Mokeev and Belozer used an exact model and drawings of the main Christian shrine and successfully completed the honorable and complex patriarchal order.
The churches erected by Pavel Sidorovich Potekhin are very interesting: the Trinity Church 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 Makaryev-Zheltovodsky Monastery Potekhin builds the Holy Gates and the Gate Church of Michael the Archangel. In his famous artel, 93 craftsmen worked, among whom were not only masons, but also stone and wood carvers, carpenters, blacksmiths, and even icon painters and goldsmiths. 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" Naryshkinskoe ") baroque". 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 Grigorievich Bukhvostov, is considered a classic example of the construction of this style. Not inferior to her in beauty and the Church of the Savior Not Made by Hands (1693-1697) in the Moscow Region Ubora, the builder of which was undoubtedly the same Yakov Bukhvostov. The temple was built by him "like the bells", that is, the upper tier of the high temple served simultaneously 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 Klinsky 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 inner side of the walls, a semicircular open arcade was arranged, above which a covered combat passage, fenced with a parapet, passed along the entire perimeter of the walls. Above the main entrance to the monastery, the gateway Church of the Entry into Jerusalem was built. At its base there is a central passage covered with an arch and two side passages. In appearance, it resembled the famous temple in Fili in Moscow. An interesting and rare feature of the gateway church was the colored tiled floor. Large square slabs of the floor formed an unusual geometric colored pattern, which made the interior of the temple elegant and colorful.
The church was distinguished by its height and slenderness. However, during its existence, it was rebuilt, and its original decoration, characteristic of the Russian baroque of the late 17th century, has not survived.
Bukhvostov also built the Assumption Cathedral in Ryazan (1693-1699). While designing it, the architect kept the scheme going back to Aristotle Fioravanti, however, he put the building of the temple on the basement-gallery and decorated it with three tiers of elegant windows. Thus, Bukhvostov was the first in cathedral architecture to use tiers of facades 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 "octagon on a quadruple", he erects a church in the form of a simple quadrangle, the prototype of which was the wooden "cage" temples of Ancient Russia. There is an assumption that the Trinity Church in Trinity-Lykov and the Intercession Church in Fili were also built by Yakov Bukhvostov.
It has long been noted that Bukhvostov's churches were not rebuilt - their form was so perfect.
Moscow was transformed by the efforts of the architects of the 17th century. Let us refer to the opinion of Paul of Aleppo, the secretary of the Antiochian patriarch Macarius, who visited the Russian capital at that time. Pavel Aleppsky wrote about the buildings of Moscow: "... we marveled at their beauty, decoration, strength, architecture, grace, many icons and carved columns, which are on the sides of the windows, at the height of the floors, as if they were fortresses, at their huge towers, on abundant painting with multi-colored paints outside and inside ... ".
Some of this beauty has survived to this day. Will it survive, will it not be lost behind a strange-looking new skyscrapers scraping the sky? ..
Photo: Terem Palace of the Kremlin 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 named the Terem Palace. The Tsar's Residence The Terem Palace and the Verkhospassky Cathedral, which since 1636 has been part of the complex of house churches of the Russian tsars, are part of the architectural ensemble of the Grand Kremlin Palace.
Grand Ducal Chambers over Borovitsky Hill
The great Moscow princes always settled in a high place. Their residences were built over Borovitsky hill, from where there were magnificent views of the countryside. The first to build a palace on a hill Ivan Kalita... Later, on the edge of Borovitsky Hill, mansions were erected for Sophia Vitovtny, 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 built. 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, at the end of the 15th century, the buildings of the Tsar's court appeared. 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 fell into disrepair by 1630 and was actually abandoned. The first king of the Romanov family Mikhail Fedorovich ordered to rebuild new apartments. Subsequently, the royal stone residence was named Terem Palace.
Architects Bazhen Ogurtsov, Antip Konstantinov and Trefil Sharutin used a lot of new technologies in their work. "Iron ties" allowed them to strengthen the walls, leaving them thin enough. Innovations contributed to an increase in the internal area of the building, which was a very progressive trend in ancient Russian stone architecture.
The walls and foundation remaining from the chambers of Ivan III were taken as the basis for the Terem Palace. Two tiers of the old building were enlarged with three new ones, and a teremok appeared at the very top. The interiors were decorated in a rich and whimsical way. The roof of the chorus was painted with silver paints and gold leaf, the window openings were closed with mica translucent glass, and the walls and ceilings of the chambers were painted by an artel of icon painters, which was led Simon Ushakov- a highly developed and talented artist, technically much ahead of his time.
The new royal mansions looked like a very large and even monumental structure. The architect skillfully combined features of Old Russian classics and elements of Italian architecture:
- The palace is mostly built of bricks, but platbands, portals, parapets and pilasters are made of white stone.
- In the decoration applied traditional techniques of Russian stone architecture- tiled tiles on the eaves of the fourth floor, ornamental stone braids, carved window frames, flys on the parapets of gulbis, pilasters in the walls between the windows and a gilded ridge on the roof.
- Tier stepped design buildings demonstrates the typical features of mansion buildings erected by ancient Russian architects. However, the interior rooms were located in the form suites, which is typical for the later period of Russian stone architecture.
- The palace was heated by the system ovens... Every stove has been decorated glazed tiles different colors and shapes.
- To the front rooms led The golden porch, which connected the Verkhospasskaya platform 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, Bed mansions of the royal family, 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, were used for household needs... In basements and storerooms, supplies and food were stored here, and jewelers, goldsmiths, gunsmiths and lacemakers worked in the workshops.
Royal chambers located on the third and fourth floors. The first premises where the sovereign and members of his family entered were checkpoints canopy... They were blocked by low arches, and the front was illuminated by paired lancet windows. The walk-through canopy was 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 chamber, was covered with velvet. The long box adage was born here. In the Golden or Throne Chamber there was a box where petitions were submitted. Since 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 a room adjacent to the Golden Chamber. He was called pantry and kept dishes and cutlery in it.
V royal bedchamber there is a bed made by skilled woodcarvers and decorated with a natural silk canopy. The royal bed was made in the 19th century, when one of the renovations of the residence took place.
On the top floor of the Terem Palace there is a stone attic, which was called Golden-Domed Teremkom... Its roof was covered with gilded sheets, which gave the name to the attic. The meetings of the Boyar Duma were held in the Golden-Domed Mansion. Adjacent to the tower Watch tower, in the windows of which old colored glass has been preserved.
Verkhospassky Cathedral
The complex of house churches of the Moscow Kremlin includes Cathedral of the Image Not Made by Hands, more often called Verkhospassky. The temple was built in the first half of the 17th century and is located above the throne palace 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 adjoining 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 warehouse, 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 him.
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, the five chapters of the church 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 lattice was installed, blocking the staircase from the royal chambers, which led to the cathedral. The temple began to be called Savior behind the Golden Bars.
All the house churches of the Terem Palace were brought under a single roof in 1682. The complex was crowned with eleven chapters 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 made anew. 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 frames with silver niello.
V 1812 year the French plundered many churches, and the Verkhospassky Cathedral was among the victims. Fortunately, we managed to evacuate the most valuable church utensils in advance, but a lot had to be restored.
The house church at the Terem Palace was re-painted in 1836 year... The order for the next restoration came from the sovereign Nicholas I... The subsequent construction of the Grand Kremlin Palace also introduced some changes to the layout of the Terem Palace and the Verkhospassky Cathedral. The staircase adjacent to the temple was dismantled, the Verkhospasskaya platform was blocked, and the Golden Lattice was inserted into new arched openings. The wall of the refectory facing the west was moved. Now it had three doors, each of which was decorated with decorative grilles stylized as the 17th century.
The corner of the cathedral, damaged by artillery shelling during the armed rebellion of 1917, was restored in 1920, but by that time the temple was already closed and since then there have been no divine services.
The iconostasis of the Savior behind the Golden bars
The author of the iconostasis of the Verkhospassky Cathedral is a cabinetmaker Dmitry Shiryaev who skillfully carved it out of wood in the 18th century. In the central part of the iconostasis stands out a setting of blackened silver, made in 1778 at the expense of maids 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 lane. Draws particular attention image of the Savior Not Made by Hands surrounded in the margins by twenty separate compositions called hagiographic stamps.
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 the Mother of God of Smolensk and St. John the Baptist.
Stone affairs apprentice Antipa Konstantinov
We find the initial information about the architect in the affairs of the Nizhny Novgorod Pechersky Monastery in 1631. The monastic authorities turned to Moscow with a request to complete the already laid cathedral "to give their State apprentice Ontipu Lavrentiev Vozoulin's stepson and the Nizhny Novgorod and Balakhon bricklayers and bricklayers, who made with him a cathedral church Michael "*. Here he is named the adopted son of the chief builder of the Archangel Cathedral, stone craftsman Lavrenty Semyonovich Vozoulin.
* (Acts of the Nizhny Novgorod Pechersky Ascension Monastery. - M., 1898, p. 164.)
L. Vozoulin was not only a stepfather for Antipa, but also a teacher-mentor in comprehending professional secrets. This is evidenced by the fact that in 1631 Antipas acted as an experienced organizer of construction, who was entrusted (apparently, after the death of Lawrence), to complete the work on the Cathedral of the Archangel *.
* (After 1630, the name of Lavrenty Vozoulin disappears from the sources in Nizhny Novgorod, and is not found in the files of the Kamennye Delo order. Acts of the Pechersk Monastery of 1631 as the builder of the Archangel Cathedral are called only "Antipu Lavrentiev, Vozoulin's stepson", and in the rank of "sovereign of stone affairs, apprentices".)
The birthplace 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, erected the stone fortress of Mozhaisk *. And if you consider that in the "time of trouble" at the beginning of the XVII century. stone work in Russia has ceased everywhere for almost two decades, it can be assumed: the Vozoulins went through a construction school even at the work of the Order of Stone Affairs in the time of Boris Godunov, since in the 1920s. they have already been called apprentices of stone, that is, highly qualified organizers of construction work.
* (Mozhaisk acts (1506-1775). - SPb., 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 renewal of the dilapidated Kremlin Mikhailo-Archangel Cathedral, and in the spring of the following year Lavrenty Vozoulin with his stepson Antipa arrived in the city on the Volga. On April 23, 1628 *, construction work began on the Chasovaya Hill of the Kremlin Hill.
* (TsGADA, f. 137, he. 1, N. Novgorod, house 476, fol. 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 building, it has collapsed and there has been no service in it for a long time ..." * temple **.
* (RIB, vol. 17, SPb., 1898, p. twenty.)
** (Initially, together with the foundation of Nizhny Novgorod in 1221, a wooden church was cut down, in 1227 it was replaced by a white-stone cathedral, erected on the model and likeness of the temples of Vladimir-Suzdal Rus of this time, in 1359, during the heyday of the Great Nizhny Novgorod-Suzdal principality, he was rebuilt as a cathedral at the grand ducal court.)
The builders preserved the plan of the ancient cathedral with three porches in the cardinal directions and an altar three-abside 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), a tent-roofed memorial temple was erected.
The well-known researcher of Old 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 consciousness and the desire to mark the most important events in the life of the Russian state with their construction. before, but the former churches erected in honor of memorable events did not differ significantly from others. Now the theme of a monument, a memorial building, was in the foreground. The height was the main feature of such buildings, which were to be visible from afar, dominate the surrounding buildings. or terrain and attract general attention. The usable area of such buildings was small ... "*.
* (Maksimov P.N. Creative Methods of Old Russian Architects. - M. 1976 p. 196-197.)
By the beginning of the construction of the Mikhailo-Archangel Cathedral in Nizhny Novgorod, Russian architecture had magnificent examples of stone hipped roof temples of the 16th century. But the three-hipped church of the Alekseevsky Monastery in Uglich, later called by the people "wondrous", was still under construction, and erected near the Trinity-Sergius Lavra, in the village. Deulin, the temple could hardly be called an outstanding structure and its architecture rather testified to the loss of skill by Russian builders during the "hard times" *.
* (Ilyin M. Way to Rostov the Great. - M., 1973, p. 78-80.)
Under these conditions, the perfectly developed image of the Archangel Cathedral in the Nizhny Novgorod Kremlin, which opened a special series of hipped-roof temples in Russian stone architecture, remains its important link. In addition, the cathedral is a rare temple building for its time, where a hipped-roof 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 the volumes: the western porch was shifted to the north and the main entrance to the cathedral was shifted from the central axis, which in turn made it possible to make the inside staircase to the bell tower more gentle, convenient for use.
The plan of the northern porch took a trapezoidal shape. The convergence in the north-western part of the volumes of the two porches made it possible to balance the bell superstructure with the vestibules and the high pavilion of the church and thereby achieve their harmonious unity in the overall architectural ensemble.
The consistency of all parts of the building, commensurate with a person and not overwhelming his height, the upward striving 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 himself the goal of glorifying the heroic deeds of a person with his art.
The Archangel Michael Cathedral was roughly built in two construction seasons. By the end of 1629, it was reported to Moscow: “In Nizhny Novaya, the city has completed the stone cathedral church of the Archangel Michael, and the stone works have been completed in the current year 137, the church walls and osmerika, and the tent, and the neck up to the poppy tree, 13 sazhens with a half-plantation ... And according to the books of the church, the affairs of the kissers Efimka Oscholov, Kirilka Kunkin with the goods, the apprentice of the stone business Larka Semyonov and the mason, and the clerk, and the carpenter, and the worker of the daily feed for those days, while they were at the tovo church of the stone, 21 rubles. 4 dengi ... "*.
* (Filatov N.F. Monument to military glory. - Sat: Notes of local historians. Gorky, 1975, p. 151.)
However, the consecration of the cathedral was delayed by another two years. Finishing work was completed, apparently, by Antipa alone. The name of Lavrenty Semenovich Vozoulin disappears from the documents. At the same time, in the synodikon of the Nizhny Novgorod Pechersk monastery, among the deceased brethren, without indicating the usual monastic rank in this case, Lavrenty * was recorded. Perhaps this was the architect who found his last refuge at the churchyard of the Pechersky Monastery.
* (GAGO, f. 2013, he. 602а, d. 1, l. 29.)
In 1631 the authorities of the Pechersk Monastery tried to involve Antipas in the construction of a stone cathedral. They repeatedly sent petitions about this to Moscow, but received the invariable answer: "In the summer of 139, the demands of this time was already on the western border.
* ()
The fortress in Vyazma was ordered to be built back in 1629 by Prince Andrei Khovansky, however, after two years the city was still without reliable fortifications. But the constant threats of Polish-Lithuanian aggression demanded that the Russian government urgently strengthen Vyazma, the last border point on the way to Moscow. In the spring of 1631, letters were sent to Belozersk, Vyatka and Nizhny Novgorod about the urgent sending of craftsmen for stone work. So Antipa ended up at the construction of a fortress in Vyazma, although in the same year he also visited Moscow, where he laid out "in the aft yard for the sovereign's cook", for which he was granted a cloth *. Stone construction work in Vyazma lasted two years. Six towers of the "Big City" were rebuilt, which henceforth 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 Affairs to Moscow, where, after the devastating fire of 1626, many works 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. Lawrence Vozoulin was no longer alive, and therefore Antipas took the "title" from his own father, and if in Nizhny Novgorod he was called "Antipas Vozoulin's stepson", now they began to call him "Antipas Konstantin's son". This is how you can decipher the record of the kind of stone deeds of the journeyman Antipa Konstantinov in the synodikon of the Nizhny Novgorod Transfiguration Cathedral, where his own father Konstantin is named, and then his stepfather - Lavrenty.
Throughout the summer of 1634, Antipas with Trefil Sharutin was "at the plant and at the decree" in the Alekseevsky monastery at the construction of the Church of the Transfiguration *. It has not existed for a long time, but the preserved image of the temple of the early years of the 19th century, however, without the central, highest tent, makes it possible to judge the architect's adherence to the tent-roofed temple type and the constant search every time for new solutions, in this case, in a multi-tent composition.
* (Uvarov A.S. Collection of small works. - M., 1910.Vol. 1, p. 383.)
But the main business of this period in Antipa Konstantinov's life was the construction of the Terem Palace (1635-1636) in the Moscow Kremlin, to which, in addition to him, the then famous architects Vazhenka Ogurtsov, Trefil Sharutin, Larion Ushakov were attracted. Antip was connected with them either through acquaintance through relatives (B. Ogurtsov), or joint work (T. Sharutin), or commonwealth (L. Ushakov would later be a permanent performer of works 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 a third floor for the royal workshops, a residential fourth floor of the chambers, and on it - an attic, or "tower", with a spacious chamber and a wide gulbis for games of children of the royal family.
All these floors were connected at the third level by the so-called "boyar platform", from which one could get either down to the square in front of the palace, or ascend to the royal "palaces" to the front and throne chambers. The decoration of the palace was distinguished by its richness and subtlety, especially the carved white-stone portals and window frames with polychrome tiled inserts and painting, gilded forged combs, valances, roofs and the so-called "golden lattice" of the ceremonial sprout. Together with the gilded domes of the house churches, the tents over the entrance to the vestibule and the turret of the gulbishche - all this created a truly fabulous spectacle and for many years served as a "teaching aid" for Russian architects and was used by them in new buildings. And when we talk about the "ornament of the 17th century."
Like most Russian cities, Vladimir on the Klyazma was seriously damaged during the "hard times", and the Golden Gate, together with the gateway church of the Robe, personifying the glory of ancient Russia, were partially destroyed. In 1641 Antipa Konstantinov was sent here to organize their repair *. We do not know what work was carried out, but on the plan-drawing of the city in 1718, a tent-roofed temple ** is clearly visible above the Golden Gate, erected, as one can 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, Yuryev-Polsky. - M., 1965, p. 25.)
In the summer of 1642, it was decided to carry out a new fresco painting of the interiors of the main church in Russia - the Assumption Cathedral of the Moscow Kremlin. Before knocking down the levkas, 92 icon painters collected from different cities removed the drawings of the old painting, prepared paints in clay pots, under the guidance of the stone craftsman Larion Ushakov, the carpenters set up the scaffolding, and the 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 found in the vaults of the Assumption Cathedral.
A representative commission headed by stolnik GG Pushkin, clerk S. Ugotsky and apprentices A. Konstantinov and L. Ushakov was urgently summoned to the place. At the same time, an inventory of the upcoming affairs was compiled: "... from underside to strengthen with an iron wedge from the grove and hammer with gesso firmly, and pour boiled resin with sand on top and put iron ties at an angle for the fortress and pass the walls with drills on both sides ... "*. In general, significant repairs were ahead, and Larion Ushakov was instructed to lead it, but under the unremitting supervision of Antipa, 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.)
Earlier, on March 17 of the same 1643, according to Antipa Konstantinov's "search and estimate" of stone affairs, apprentice Davyd Okhlebnikov began work on the dismantling of the dilapidated buildings of the Kremlin Patriarchal Palace. After clearing the place from the old in chorus, the Yaroslavl stonemasons headed by T. Timofeev and Z. Ostafiev were involved in the construction of new and repair of the remaining buildings, who contracted for 120 rubles. "to do for them in the patriarchal court a stone work ... so that it was strong, and all sorts of bad damaged places in those polatas that the sovereign's apprentice Antipa Konstantinov will point out, and they listen to him in everything, and make and repair all those places anew, where Antipa is in those polata will not indicate ... "*.
* (Zabelin I.E. Materials for 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 call" by the Order of Stone Affairs, either to inspect the buildings of state institutions, then to list stone houses that were leaving "for the sovereign", for example, the chambers of the tsarist doctor Vindelin Sibelist. Noting the special merits of Antipa Konstantinov for 1643, he was awarded a rather valuable gift - "10 yards of green taffeta and 4 yards of English cloth" *.
* (Viktorov A. Decree. cit., p. 422.)
The construction of the patriarchal stone palace continued in 1644. All 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 conducted under his direct "supervision".
* (Zabelin I.E. Decree. cit., p. 930.)
1644 was, apparently, the most eventful in the creative life of Antipa Konstantinov. In addition to work in the Kremlin, he "was at the Cannon Yard at the granary and other stone works" *, according to his estimate painting, a three-tent Trinity Church was laid in the Tsarist village of Golenishchevo near Moscow.
* (Uvarov A.S. Decree. cit., 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, two tetrahedral tents with "rumors" for the outlet of exhaust gas and smoke. Despite the strict utilitarianism of the building, the tents are in proportional agreement with the height of the base and are crowned with fore-weather vane, 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 Antipa's constant assistant Larion Ushakov. The central, higher tent, open inward, erected above the prayer hall, in its basic 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 side, set on closed vaults of the side-chapels, lower tents in the decorative solution turned out to be crushed and disproportionate to the general proportions of the base. The hand of another builder is felt, which, 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 at the consecration of the church. A year later, Troitskoye-Golenishchevo was donated "for the ambassadorial service" to the Nizhny Novgorod governor, the Tsarist armorer Grigory Gavrilovich Pushkin *.
* (Palace categories. SPb., 1852.Vol. 3, p. 203-204.)
Since the end of 1644, the name of Antipa Konstantinov has disappeared from the acts of Moscow orders, but at about this time a kind of stone craftsmen were introduced into the synodikon of the Transfiguration Cathedral in Nizhny Novgorod. The architect again found himself in Nizhny Novgorod, apparently at the invitation of the new archimandrite of the Pechersk Monastery Herman, who was previously a deacon of the capital's Assumption Cathedral, with whom Antipa Konstantinov undoubtedly met in the Moscow Kremlin, primarily during the renovation of the country's main cathedral in 1643. Herman later will be called by his contemporaries a "builder" because it was his "diligence and treasury" in Pecheri that then began a large-scale stone construction, which completed the creation of one of the best architectural monastic ensembles of the 17th century. in the Middle Volga region.
Construction in the Pechersky Monastery began immediately after the arrival of German (1645) and was clearly planned by him before his departure from Moscow. The appointment of the 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 into the architecture of the buildings of the Pechersk Monastery of the forms of the earlier Nizhny Novgorod Archangel Michael Cathedral, which was associated with the time of Antipa Konstantinov's formation as a master.
The researcher of the architecture of Gorky S. L. Agafonov informs directly: "In the 1640s, in the Pechersky Monastery, the same A. Vozulin built two stone hipped-roof churches - the gateway Euphemia of Suzdal and the Assumption Church with a refectory ..." *. The architect here is named after his stepfather, but this is due to the fact that only recently have documents 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 both the town planner, the artist and the builder-practitioner manifested themselves.
Pechersky Monastery, founded in the 30s. XIV 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, Pavel Vysoky is known - "a scribe, a literate, wonderful old man." Apparently, the famous Laurentian Chronicle (1377) was created here.
During its centuries-old history, the Pechersk Monastery was repeatedly ruined by the Mongol-Tatars, but each time it was restored again. By the end of the XVI century. the monastery complex included a stone cathedral, a bell tower, numerous chopped cell buildings, a refectory and outbuildings. But as a result of the landslide in 1597 of the right bank of the Volga, on which the monastery stood, all buildings were destroyed.
At the same time, a deputation with rich gifts was sent to Moscow for permission to renew the stone buildings. With a special tsarist letter, the Nizhny Novgorod voivode was ordered to find out the possibilities of building a monastery in the old place. After the study of the soil by the bricklayers, it was concluded that "stone temples cannot be built on that place, the mountain moved Bolshaya and went deep and the place became weak ..." *, therefore, a spacious coastal terrace one kilometer, closer to the city , where they hastily rebuilt temporary wooden buildings.
* (GOB RO, p. 1027, Book of the Great Mirror, 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 N. 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 meal of wood, the top of the tent, and near the church porch ... And on the bell tower bell evangelist 76 poods; yes, the bells are red, and others ringing; yes, at the clock, there are two small bells; the bell of the sentry. Yes, the archimandrite's cell with a room, and 15 cells of brothers; a bread cell; dried; a glacier with a dryer; a cookery. ... "*.
* (RIB, vol. 17, SPb., 1898, p. 326-343.)
Only by the beginning of 1629, after the assurance "that the church notion would be a firm place and the reserves would be old for the church of that stone and brick" *, a blessed letter was received from Moscow for the construction of a stone cathedral. But just two more years before the construction work itself began, for the monastery did not have its own "house" masons, and the masters in the city at that time erected the Cathedral of the Archangel.
* (Acts of the Pechersky Monastery ..., p. 162.)
In 1631, several bricklayers, led by Fyodor Oparin, arrived at the Pechersky Monastery from Kostroma, who, during one construction season, 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 forces of the same Kostroma, but the masters promised by the authorities of the Ipatiev Monastery did not arrive in Nizhny Novgorod, and all Nizhny Novgorod "bricklayers, brick-makers and potters" were urgently summoned by the Order of stone affairs to build fortifications of the city of Vyazma, about which mentioned above.
The finishing of the cathedral was completed by the already recruited bricklayers from the monastics, who received the initial professional skills from the masters from Kostroma. Izosima became the supervisor of the works, and Ephraim Bosoy became the leading bricklayer.
By the end of 1633, the cathedral was roughly ready, and in the instruction the archimandrite demanded: "... yourself, Izosima, do it ... But in the church she would circle, who were not chosen and not greased and not whitewashed, and you would not have chosen, let it go in the winter, and the meal would be naturally built for the winter and the doors would be natural and the windows would be upholstered with felt, but if somewhere on the post or under the arches a gap would appear, and Elder Ephraim would do it with his masons, as God would instruct him, so that there would be no trouble to inflict, and the head of the greater buda would not be drunk, and he would have drunk the head incessantly with great joy ... "*.
* (NGV, unofficial part, 1848, p. 157-158.)
Finishing work continued for several more years.
The history of the construction of the Cathedral of the Pechersky Monastery is extremely confusing. Initially, the cathedral, apparently, was conceived as underground, then - on a high subchurch, first on three, then on four and, finally, on five thrones. Already in the process of construction, a refectory chamber with the Pokrovsky side-altar was attached to the cathedral, for which the south-western sector was fenced off in the interior with brick walls, and the Izosima and Savvaty side-altar was arranged on its vaults, as it were, on the second floor. 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 Pechersky Monastery covers the years 1645-1650, when a gate church with a collar cell body, the Assumption Church with a huge refectory and "two-living" 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 was found its own, the most advantageous place with the preservation of a powerful five-domed cathedral as the dominant feature. Tent churches have significantly enriched the silhouette of the ensemble.
During the construction season of 1645, a stone "holy" gate was erected with a tent-roofed church of Euphemia and a collar cell enclosure adjoining from the south side. The church is a rare monument in Russian architecture: firstly, it remains the only tent-roofed temple that has survived to this day, erected over the main monastery gates *; secondly, it serves as a vivid example of construction "on the model", which in this case served as the Nizhny Novgorod Archangel Cathedral. True, the church placed above the arched passage of the gates received a number of individual architectural features: instead of the usual three-abside, a rectangular altar part was made, the building itself was erected with a noticeable reduction in horizontal dimensions, which emphasized the aspiration upward of a generally small structure (about 27 m in height) ...
* (In the XVII century. tent-roofed temples over the main gate existed in Yaitsky town and the Spassky monastery in Yaroslavl.)
Following the gate church, the construction of a stone refectory chamber, more befitting the nobility and wealth of the Pechersk Monastery, began. In response to a petition sent earlier to Moscow for permission to start construction on June 24, 1647, a patriarchal letter was received, which said: “... and the brick de on that church building was trimmed on Balakhna, and we would welcome them - Archimandrite Herman and his brothers, if we would not order them from that brick, as they would be taken from Balakhna by the waterway to Nizhnyaya, and in Nizhnyaya from that brick and from ships of duties and from the people of the golovshchina not to order "*.
* (Acts of the Pechersky Monastery ..., p. 222.)
As before, "heavy peasants", who had already received construction experience in previous jobs, were driven into the monastery, and in order not to escape "to neti", they were accompanied by cell attendants with handwritten notes.
In the same 1647, ditches were dug for the new huge building of the refectory chamber, the foundations were filled up, the walls and vaults of the subchurch 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 New Savior Monastery at the request of its abbot. , 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: to have bricklayers from our church work, so that we, your God-worshipers, may complete the church this summer ... "*. In the Order of stone affairs, a note was made on the petition: "... if that bricklayer they have in the Pechersky monastery, they will not have business, but if they do not do stone business in the monastery, but they beat their foreheads falsely, and on them - Archimandrite and brother - to take a penalty of 50 rubles. " The bricklayers were left in Nizhny. In 1648, the stone refectory "at services" with the tent-roofed church of the Assumption in the Pechersk Monastery was completed.
* (Acts of the Pechersky Monastery ..., p. 223-224.)
Tent churches at the monastery refectory chambers have been known since the 16th century. * However, here we have a rare example when, if customers wanted to have a larger refectory (20.6 × 21.2 m), builders, using the usual constructive techniques, combined the internal space as if four one-pillar chambers. The system of nine cross vaults made it possible to transfer their pressure and thrust forces to four massive pillars, pulled 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 the four-pillar has not been identified. Thus, the refectory chamber of the Pechersk 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. Dormition monastery in Staritsa, 1570 Alekseevskaya c. Solotchansky monastery near Ryazan, 16th century Vvedenskaya c. Trinity-Boldin monastery, 1591, etc.)
With the end of the refectory, preparatory work began immediately for the construction of stone dwelling cells and, above all, the abbot's chambers. In 1649, the tsar's letter of gratitude was presented to the Nizhny Novgorod customs office for duty-free transportation of bricks from Balakhna to the monastery, and by the end of the next year the archimandrite corps was completed. The L-shaped building occupied the corner north-western part of the monastery territory. It consisted of two different-sized buildings: on the side of the coastal edge, a three-story one with a chopped residential part and a gulbisch, and from the west, a one-story one on basements.
The ceremonial rooms were located in two central, more spacious rooms on the second floor, the windows of which from the main facade were marked with well-drawn keeled platbands made of figured "piece set" bricks. Moreover, in their decoration, "melons" are also used, which are usually used by Russian builders to decorate the main temple portals, less often - the front entrances to the living quarters.
In the basement part, under the reception rooms, there were pantries and utility rooms, each of which was illuminated by two small windows with wrought iron gratings (now hidden in the embankment of the cultural layer).
At the same time, in 1650, the authorities began replacing dilapidated chopped cell buildings with stone ones, for which the "balakhons-bricklayers" 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 "tidying up "by force and monastery masons. The authorities of the Pechersk Monastery, apparently, forbade their "peasants" to work for Zadorin, the same, demanding from them full energy, threatened with punishment. Finding themselves between two warring parties, the builders experienced a lot of oppression, which we learn from the complaint of the authorities of the Pechersk Monastery on August 1, 1650 to Ivan Neronov *, so that he would protect them before those in power in Moscow: In the monastery, the stone business was not completed.Which, sir, our monastic arable peasants live in the villages on their heavy horses, in the settlements on the rent and do brick business in the monastery, and he, Semyon, and those of our peasants called masons and took them to make a stone case for the Nizhny Novgorod cathedral church ... having taken the stone case without our advice, insults with big beatings ... before the order of the monastery peasants, two people without guilt were killed to death with their own hands ... "**.
* (Ivan Neronov in the 30s. XVII century was the priest of the Resurrection Cathedral of the Nizhny Novgorod Kremlin, initiated the struggle for the "piety" of the Nizhny Novgorod residents. In the mid 40s. XVII century moved to Moscow, where he received the post of archpriest of the Kazan Cathedral on Red Square (then still 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" together with Nikon from Nizhny Novgorod, Archpriest Avvakum, Stefan Wonifatiev, and others.)
** (Nizhny Novgorod in the 17th century: Sat. documents. - Gorky, 1961, p. 108.)
Despite the difficulties, the ensemble of the Pechersky Monastery by the middle of the 17th 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 coast was clearly visible against the backdrop of the greenery of the mountain. The five-domed cathedral on the sides was supported compositionally by the tents of the refectory and gateway churches. From the mainland mountain, the monastery was seen as a picturesque silhouette in the panorama of the Volga distant and the blue 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 Church of the Assumption. All this testifies not only to the professional training and skill of the architect (the buildings are 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 stone crafts of the apprentice A. Konstantinov, whose whole life was associated with the construction of various civil and temple structures with hipped roofs. In his creative heritage, we can clearly trace the artistic and compositional development and the main stages of the Evolution of the Russian tent-roofed temple type of the first half of the 17th century: from the constructive, open inside tent of the Archangel Cathedral and St. Archangel Cathedral to the three-tent, strictly symmetrical tops of the Moscow churches of the Alekseevsky Monastery and Trinity-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-roofed 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.
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