Many Orthodox churches amaze with the beauty and elegance of their decoration and architectural splendor. But in addition to the aesthetic load, the entire construction and design of the temple carries a symbolic meaning. You cannot take any building and organize a church in it. Let us consider the principles by which the structure and interior decoration of an Orthodox church is organized and what meaning the design elements carry.

Architectural features of temple buildings

A temple is a consecrated building in which Divine services are held, and believers have the opportunity to take part in the Sacraments. Traditionally, the main entrance to the temple is located in the west - where the sun sets, and the main liturgical part - the altar - is always located in the east, where the sun rises.

Prince Vladimir Church in Irkutsk

You can distinguish a Christian church from any other buildings by its characteristic dome (head) with a cross. This is a symbol of the Savior's death on the cross, Who voluntarily ascended the Cross for our redemption. It is no coincidence that the number of heads on each church is:

• one dome signifies the Commandment of the unity of God (I am the Lord your God, and you will have no other gods besides Me);
• three domes are erected in honor of the Holy Trinity;
• the five domes symbolize Jesus Christ and His four evangelists;
• seven chapters remind believers of the seven main Sacraments of the Holy Church, as well as the seven ecumenical councils;
• Sometimes there are buildings with thirteen chapters, which symbolize the Lord and the 12 apostles.

Important! Any temple is dedicated, first of all, to our Lord Jesus Christ, but at the same time it can be consecrated in honor of any saint or holiday (for example, the Church of the Nativity, St. Nicholas, Intercession, etc.).

About Orthodox churches:

When laying the foundation stone for a temple, one of the following figures may be laid in the foundation:

• cross (signifies the instrument of the Lord’s death and the symbol of our salvation);
• rectangle (associated with Noah's Ark as a ship of salvation);
• circle (meaning the absence of beginning and end of the Church, which is eternal);
• a star with 8 ends (in memory of the Bethlehem star, which pointed to the birth of Christ).

Top view of the Church of Elijah the Prophet in Yaroslavl

Symbolically, the building itself correlates with the ark of salvation for all mankind. And just as Noah many centuries ago saved his family and all living things on his ark during the Great Flood, so today people go to church to save their souls.

The main liturgical part of the church, where the altar is located, faces east, since the goal of human life is to go from darkness to light, and therefore from west to east. In addition, in the Bible we see texts in which Christ himself is called the East and the Light of Truth coming from the East. Therefore, it is customary to serve the Liturgy at the altar in the direction of the rising sun.

Internal structure of the temple

Entering any church, you can see the division into three main zones:

1. porch;
2. main or middle part;
3. altar.

The narthex is the very first part of the building behind the entrance doors. In ancient times, it was accepted that it was in the narthex that sinners before repentance and catechumens stood and prayed - people who were just preparing to accept Baptism and become full members of the Church. In modern churches there are no such rules, and candle kiosks are most often located in the vestibules, where you can buy candles, church literature and submit notes for commemoration.

The narthex is a small space between the door and the temple

In the middle part are all those praying during the service. This part of the church is also sometimes called the nave (ship), which again refers us to the image of Noah’s ark of salvation. The main elements of the middle part are the solea, pulpit, iconostasis and choir. Let's take a closer look at what it is.

Solea

This is a small step located in front of the iconostasis. Its purpose is to elevate the priest and all participants in the service so that they can be better seen and heard. In ancient times, when churches were small and dark, and even crowded with people, it was almost impossible to see and hear the priest behind the crowd. That's why they came up with such an elevation.

Pulpit

In modern churches this is part of the solea, most often oval-shaped, which is located in the middle of the iconostasis directly in front of the Royal Doors. On this oval ledge, sermons are delivered by the priest, petitions are read out by the deacon, and the Gospel is read. In the middle and on the side of the pulpit there are steps to ascend to the iconostasis.

The Gospel is read from the pulpit and sermons are preached

Choir

The place where the choir and readers are located. Large churches most often have several choirs - an upper and a lower one. The lower choirs are usually located at the end of the solea. On major holidays, several choirs, located in different choirs, can sing in one church at once. During regular services, one choir sings from one choir.

Iconostasis

The most noticeable part of the interior decoration of the temple. This is a kind of wall with icons that separates the altar from the main part. Initially, iconostases were low, or their function was performed by curtains or small grilles. Over time, icons began to be hung on them, and the height of the barriers grew. In modern churches, iconostasis can reach the ceiling, and the icons on it are arranged in a special order.

The main and largest gate leading to the altar is called the Royal Doors. They depict the Annunciation of the Blessed Virgin Mary and icons of all four evangelists. On the right side of the Royal Doors they hang an icon of Christ, and behind it an image of the main holiday in honor of which the temple or this border is consecrated. On the left side there is an icon of the Mother of God and one of the especially revered saints. On the additional doors to the altar it is customary to depict Archangels.

The Last Supper is depicted above the Royal Doors, along with the icons of the major twelve holidays. Depending on the height of the iconostasis, there may also be rows of icons depicting the Mother of God, saints, passages from the Gospel... They were the ones who stood on Golgotha ​​during the execution of the Lord on the cross. The same arrangement can be seen on the large crucifix, which is located on the side of the iconostasis.

The main idea of ​​​​designing the iconostasis is to present the Church in its entirety, with the Lord at the head, with the saints and Heavenly powers. A person who prays at the iconostasis, as it were, stands before everything that constitutes the essence of Christianity from the time of the Lord’s earthly life to this day.

About prayer in the temple:

Altar

Finally, the holy of holies of any church, without which the celebration of the Liturgy is impossible. A church can be consecrated even in a simple building without domes, but it is impossible to imagine any church without an altar. Anyone cannot enter the altar; this is allowed only to clergy, deacons, sextons and individual males with the blessing of the rector of the temple. Women are strictly prohibited from entering the altar completely.

The main part of the altar is the Holy Throne, which symbolizes the Throne of the Lord God himself. In physical terms, it is a large, heavy table, maybe made of wood or stone. The square shape indicates that food from this table (namely the word of God) is served to people all over the Earth, in all four directions of the world. For the consecration of the temple, the laying of holy relics under the Throne is mandatory.

Important! Just as in Christianity there is nothing accidental or unimportant, so the decoration of the house of God has a deep symbolic meaning in every detail.

To new Christians, such concern for details may seem unnecessary, however, if you delve deeper into the essence of the service, it will become clear that every thing in the temple has a use. This order sets an example for every person: we must live in such a way that both external and internal order leads us to God.

Video about the internal structure of the temple

It is compared with other world masterpieces of architecture in terms of area and height, but in terms of grandeur and holiness, as well as the sophistication and luxury of its interior decoration, no monument of sculptural art can compare with it. Inside it looks like an elegant malachite box. An unprecedented number of types of stone were used during construction and in its decoration. Here you can find marble of various shades. It was mined throughout Russia and also purchased abroad. Tivdian pink, Siena yellow, red from France. White, dark red, and lemon were brought from Russian quarries.

Jasper, Shokshin porphyry, Badakhshan lapis lazuli, and Ural malachite were also used in decoration. France, Italy, Afghanistan, Karelia - this is just an incomplete list of places from which gems were imported. Over 400 kg of gold and more than a thousand tons of bronze were spent on decorating the temple. Nowhere else in the world have temples been built using such a quantity of finishing stone. The cladding of the walls inside the temple amazes with skill and grace. Every detail is made with amazing precision.

Splendor of finishing

The interior decoration of St. Isaac's Cathedral is striking in its beauty, scope and unusualness. The basic idea of ​​interior decoration has been preserved since the time of Peter the Great. In the first cathedral it was impossible to install a high altar with several tiers. And then the architects installed only the main icons of the bottom row in the iconostasis. And images of the twelve holidays were placed on the walls of the temple. This idea was followed during subsequent perestroikas. Although in a modern cathedral the height of the iconostasis made it possible to arrange many tiers, this was not done. Icons not included in the iconostasis are placed in niches in carved marble frames. Below them are panels made of burgundy marble, on which explanatory inscriptions are written in gilded letters.

Stained glass

Behind the Royal Doors of the main altar you can see a stained glass window depicting the Resurrection of Christ. Such images were not in the tradition of Orthodox churches. But the idea was supported by representatives of the Synod, who zealously monitored the progress of construction and compliance with all church canons. After Isaac, stained glass windows began to be placed in many churches. The creation of this masterpiece was led by the German artist Heinrich Maria von Hess. The area of ​​the stained glass window is 28.5 square meters. It is one of the main monuments of stained glass art in Russia.

Canvases and mosaics

Twenty-two famous artists of that time were involved in the design of the interior decoration of the temple: Shebuev, Bryullov, Bruni, Basin, Plushar and many others. There is a museum in the temple where you can see a collection of religious and historical paintings from 1840-1850. It includes 103 wall paintings and 52 canvas paintings.

During the work, the designers understood that the canvases would be impossible to preserve in the damp St. Petersburg climate. Artists had to redo their masterpieces several times due to the instability of colors. Only four years before the end of construction, a stable dye composition was found that could withstand such conditions.

But already in 1851, work began on converting paintings into mosaic works. This painstaking work continued until 1917. Now the cathedral has 62 mosaic paintings, the total area of ​​which exceeds 600 square meters. To give life and brightness to the works, over twelve thousand shades of smalt were used. The researchers calculated that it took about a year of hard work to complete 1 square meter of mosaic painting.

At an exhibition in London in 1862, mosaic works from Isaac were presented. They received the highest rating. The whole world has recognized that the production of smalt has been brought to perfection in Russia.

Dome

The main dome of the temple attracts the attention of the amazed public. Its vault is decorated with Bryullov’s painting “The Mother of God in Glory,” which depicts the Mother of God surrounded by John the Baptist, John the Theologian and the patron saints of the royal family. Unfortunately, the artist was unable to complete the work due to deteriorating health. The background and figures of the apostles based on his cardboards were completed by another painter, Basin.

The drum of the dome is decorated with figures of twelve angels, who look from above at the people who came to the temple. The crown of the composition is the silver-plated figure of a dove soaring at an 80-meter height. The one and a half meter bird is a symbol of the Holy Spirit.

Everything in this amazing temple delights and amazes. Everything is done with skill and grace. Despite the abundance of bright elements, there is nothing superfluous here. It is impossible to describe the magnificence of the temple in words - it needs to be seen.

Chapter 2. Interior of the temple

Temples are divided into three parts: the vestibule, the middle part of the temple and the altar.

Narthex(Greek narthex) there is a vestibule to the temple. In the first centuries of Christianity, penitents and catechumens stood here, that is, persons preparing for Holy Baptism.

Narthex

Middle part of the temple sometimes called nave(from lat. navis- ship), i.e. by ship, is intended for the prayer of the faithful or persons who have already received Baptism.

The division of the interior into naves by a series of supports arose in ancient Greek temples. In ancient Roman architecture, the interiors of civil buildings consisted of a series of parallel naves - basil. Starting from the 4th century. the basilica type was adopted for Christian churches, and the nave became a common element of Christian architecture. Noteworthy places in this part are the solea, the pulpit, the choir and the iconostasis.

Solea- an elevated part in front of the iconostasis, part of the temple, arranged so that the divine service could be more visible and audible to all those present. In ancient times, the soleya was very narrow.

Pulpit– a Greek word translated into Russian means “ascent.” Originally it was a platform with steps. From the 5th–6th centuries. The pulpit is a stationary structure inside Byzantine churches (usually in the center of the temple), having the shape of a cylindrical elevation with staircases adjacent to the east and west sides and connected to the altar by a fenced passage-soleum. The pulpit was built of marble and decorated with carvings, sculptures and mosaics. Since the 15th century in Greek churches, the pulpit took the form of a gazebo or balcony near one of the columns or was absent altogether. It was on the pulpit that the reader ascended (Greek. anagnost) for the proclamation of various liturgical texts. After the 17th century Byzantine-type pulpits fell out of practice. Now the pulpit is the semicircular middle of the sole opposite the Royal Doors.

Litanies and the Gospel are read from the pulpit and sermons are preached.

Solea and pulpit

Choirs(from Greek lot, property) – the final lateral places of the sole, intended for readers and singers. The choir is a place for lower clergy - clergymen who have been given the “lot” of priestly service and who are therefore the property of God Himself.

Attached to the choirs banners, i.e. icons on poles, called church banners.

Choir

Iconostasis called a wall furnished with icons, sometimes in several rows, separating the middle part of the temple from the altar.

In Greek and ancient Russian churches there were no high iconostases; the altars were separated from the middle part of the temple by a low lattice and curtain. Later, holy icons began to be placed on these grates, both to honor and kiss them by the faithful, and to express the idea that the altar serves as an image (symbol) of heaven and that during the Divine service the heavenly Church stands together with the earthly one. This custom of placing holy icons on bars has become widespread since the VII Ecumenical Council (787), which approved the veneration of icons. Over time, the iconostasis began to rise - several tiers or rows of icons appeared. The icons of high iconostases are arranged in a certain order.

In the first tier on the Royal Doors there is an icon of the Annunciation and the four Evangelists; on the side doors there are icons of the Archangels or one of the archdeacons. On the sides of the Royal Doors: on the right is the image of the Savior and the temple holiday, and on the left is the Mother of God and a particularly revered saint.

Iconostasis

In the second tier above the Royal Doors is the Last Supper, and on the sides are icons of the twelve feasts.

In the third tier above the Last Supper there is an icon of “Deisis”, or prayer, and on the sides there are icons of St. Apostles.

In the fourth tier (above the “Deisis”) there is the Mother of God with the Eternal Child, and on the sides there are icons of St. prophets and patriarchs.

In the fifth tier is the God of Hosts with the Divine Son, and on the sides are icons of the Old Testament righteous.

At the very top of the iconostasis there is a cross with the Mother of God and St. standing on either side. Apostle and Evangelist John the Theologian. The entire set of icons placed in the iconostasis expresses the idea of ​​the Universal Church. The iconostasis is, as it were, an open book that testifies with whom believers in Christ Jesus are in spiritual unity, with whom they have primates for themselves before God and with whom they form the one Church of Christ. The iconostasis is “Jacob’s ladder” (cf. Gen. 28:12), along which not only saints ascend and descend. angels, but also the entire triumphant Church. A person standing facing the iconostasis thus sees the entire host of living saints, “moving” up and down.

The iconostasis has three doors leading to the altar. The middle door is called the Royal Doors, and the side doors are called the northern and southern doors. It is called the “Royal” Doors because during the Liturgy the King of Glory Jesus Christ invisibly passes through them to nourish the faithful with His Divine Body and His Blood.

The Royal Doors are also called holy doors, since the Holy Gifts are carried out through them. They also have this name because ordinary people (laymen) cannot enter or exit the altar through them - only sanctified persons with holy orders (clergy): deacons, priests, bishops can pass through them. Behind the Royal Doors in the altar there is a “curtain” (in Greek. catapetasma), which during the service is either pulled back or pushed back, in accordance with the meaning of the prayers and sacred rites of a particular moment of the service. The veil reminds believers of the incomprehensibility of the mysteries of God. Opening the curtain means the revelation of the mystery of our salvation and the opening of the Kingdom of Heaven through the incarnation of the Son of God, drawing it recalls our sinful state, which deprives us of the inheritance of the Kingdom of Heaven.

Altar(lat. altar, altare, altaria), probably from alta ara- the elevated altar - constitutes the main part of the temple, intended for the clergy and the persons who serve them during worship.

Altar

In the Holy Scriptures, the word “altar” (including in Slavic translations) meant a specially created elevation for bringing sacrifices to the Most High God (for example: 2 Chron. 26, 16; Ps. 50, 21; 83, 4). In the pagan cults of classical antiquity, there were also sacrificial altars - natural or artificially created elevations of stones, earthen mounds, etc. Later, complex architectural structures made of marble with many decorations appeared.

In Latin Christian texts, the word “altar” usually means a table for offering the Eucharistic Sacrifice, that is, St. Throne. However, in the Slavic (including Russian) tradition, the term “altar” was not assigned to St. himself. The throne, and behind that part of the temple where St. The throne and which is also called the altar space.

In the Orthodox Church, the altar (altar space) is always located in the eastern (with extremely rare exceptions) half of the temple, closer to the apse, often on a raised platform, to which one or more steps lead from the central part. The elevated and closed altar depicts a place of eternal bliss for believers, and also reminds us of the earthly paradise in which our ancestors resided before the Fall. The altar marks those places from where the Lord Jesus Christ marched to preach, where He suffered, suffered death on the cross, where His resurrection and ascension into heaven took place.

Some churches have several altars, one of them, the central one, is called the main one, after which the temple takes its name, and the remaining altars are called “chapels”.

No one is allowed to enter the altar, except for those who are ordained and serve in the temple, since the altar is a particularly holy place. Therefore, entry into it is available to persons consecrated to serve the Church, and is inaccessible (with rare exceptions) to the laity, especially women. Due to the especially sacred significance of the altar, it always inspires mysterious reverence and upon entering it, believers must bow to the ground, and persons of military rank must remove their weapons.

The most important items in the altar are: the Holy See, the Altar and the High Place.

The most important part of the altar is The Holy See(in Greek meal), signifying the Throne of the invisible God.

It depicts the place of the mysterious presence of the Lord Almighty Himself, Jesus Christ as the King of Glory, the Head of the Church. Sometimes the Throne is called an altar, because a bloodless sacrifice is made on it “for everyone and for everything,” that is, for the whole world. The Throne also represents the Tomb of Christ, since the body of Christ rests on it.

The first Thrones, sometimes called menzas, were made of wood or stone and were portable. Starting from the 4th century, when their place in the church was finally determined, the Thrones began to be made of stone in the form of a low table on four legs and placed in front of the altar apse. Subsequently, instead of four legs, Thrones began to be installed either on one leg or on a stone base, like a foundation.

In post-iconoclastic times, starting from the 10th century, thrones began to be installed in the depths of the altar apse. Since the XV–XVI centuries. they are made either in the form of stone monoliths, or from wood, in the form of a frame with a lid on top, which is covered on the outside with fabric.

Throne

Modern Thrones are a table with a square-shaped lid. They are made from solid material: wood, stone, metal. This has a symbolic meaning, because Christ is the cornerstone and solid foundation of the Church. The throne is located in the middle of the altar, opposite the Royal Doors. Its square shape indicates that it serves Divine food to believers in all four directions.

Since the Throne has the meaning of both the Sepulcher of Christ and the Throne of God, it has two types of clothing, or vestments. The lower vestment is called asshole, which is worn during the consecration of the Throne and remains irreplaceable. It depicts burial shrouds ( shroud), which was wrapped around the body of Jesus Christ during burial. Outerwear is called indium(from Greek - getting dressed), is made of brocade or other expensive material, as it depicts the glory of the Throne of God.

Indytia can be dark in color, but at Easter, in honor of Christian joy, it can be light. Srachitsa and indium cover the Throne on all sides. Sometimes indium is a metal frame or a marble board. The throne is covered with a veil.

Already from the earliest times of the existence of the Church, there was a tradition of placing relics under the Altars of churches. From the 8th century (7 Canon of the VII Ecumenical Council) the position of the relics became an obligatory part of the rite of consecration of the church. The relics were placed either into the base of the Throne or into a special hole under it.

On the Holy Altar there are the following sacred objects: antimension, Gospel, Cross, tabernacle, monstrance and peacekeeper.

Antimens(from Greek anti– instead, and lat. mensa- table, i.e. - “instead of a table”, “instead of a throne”) - this is a silk or linen scarf (scarf) consecrated by the bishop with an image on its upper side of the position in the tomb of Christ the Savior, the four evangelists and the instruments of the suffering of Jesus Christ and with sewn up under the image there is a particle of St. relics. On the antimension there is an inscription that this antimension was given by such and such a bishop to such and such a church. On the Throne, which does not have an antimension, the Liturgy cannot be celebrated.

Antimensions arose in the first centuries of Christianity. The first Christians, under conditions of persecution by the Roman emperors, performed divine services in underground caves, most often in the catacombs. Here they buried their brothers in faith who suffered as martyrs for the Church of Christ. Tombstones of St. martyrs served as a throne for them. Later, when above-ground churches appeared, Christians began to install Thrones and place the relics of saints under them. For greater safety, antimensions are wrapped in another board called orton(from Greek - wrap, bandage). It resembles the “sir” that was tied around the head of Jesus Christ during burial.

Gospel– (from Greek – evangelism) as containing the teachings of the Savior, reminds us of the presence on the Throne of Jesus Christ Himself - the Teacher who enlightened people with the light of the Gospel teaching.

Altar Gospel

The Altar Gospel is decorated with sacred images - on the top there is an image of the Resurrection of the Savior, and on the sides - the four evangelists; on the reverse side there is usually an image of the cross and the instruments of the suffering of Jesus Christ.

Since the Throne serves as the place where the bloodless sacrifice made by the Lord is performed, the Cross is placed on it as an instrument of our salvation. The cross signifies the presence of Jesus Christ, the Redeemer of the entire sinful world.

The Tabernacle and Mirnitsa (Peacekeeper) are located in the eastern part of the St. Throne.

Tabernacle is a miniature metal image of a temple or funerary chapel.

In it, in a small casket, the Holy Gifts are stored, which may be needed for communion with the sick and dying. To protect it from dust, the tabernacle is sometimes covered with a glass case.

The vessel in which the priest carries the spare Gifts when he goes to the house of a sick or dying person is called monstrance.

Tabernacle

It is a small silver or gold reliquary containing a small chalice(bowl), liar, a vessel for wine and a sponge for wiping the chalice.

This reliquary is placed in a bag made of expensive material. Sets up above the throne canopy(canopy), symbolizing the sky stretched over the earth, on which a sacrifice is made for the sins of the whole world. In ancient times, inside the ciborium there hung an image of a dove, in which the Holy Gifts were placed. A candlestick with seven candles, called seven-branched candlestick, as well as the altar cross and icon. The seven-branched candlestick symbolizes the seven gifts of the Holy Spirit.

The Altar Cross and the icon are taken out during religious processions.

The place behind the Throne towards the East is called the Mountain, that is, the highest. Saint John Chrysostom calls it the “mountain Throne.” Mountain place- this is an elevation, usually arranged several steps above the altar on which it stands bishop's seat(in Greek syntron). The bishop sits in the high place during the reading of the Apostle and stands during the reading of the Gospel. When the bishop is in the High Place, he portrays himself as the Lord of Glory - Jesus Christ Himself. The mountainous place reminds us of the Mount of Beatitudes, as well as the Mount of Olives, from which the Savior ascended to heaven.

The second necessary accessory of the altar is the Altar, located in the north-eastern part of the altar, on the left side of the Throne.

Monstrance with accessories

The altar is a table, smaller in size than the Throne, which is dressed in the same clothes. On the Altar during the first part of the Liturgy - proskomedia- gifts (substance) are prepared for the sacred rite of the Divine Mysteries, that is, bread and wine are prepared here for the performance of a bloodless sacrifice. The altar is sometimes called the offering, that is, the place where the gifts offered by the faithful for the celebration of the Divine Liturgy are placed. When performing proskomedia, the birth and suffering of the Savior are remembered. Therefore, the altar symbolizes Bethlehem and the den where the Savior was born, as well as Mount Calvary, the place of His suffering.

On the altar, when preparing the substance for the Eucharist, the sacred vessels of the sacrament of Holy Communion are used. These include: paten, cup or chalice, star, spear, spoon, sponge and covers for the Holy Gifts.

altar cross

Paten(from Greek - deep dish) is the name of the sacred dish on which the Holy Lamb is placed, i.e. that part of the prosphora, which at the Liturgy, after the invocation of the Holy Spirit, is transformed into the true Body of Christ, as well as particles taken from the prosphora.

The paten differs from other dishes used at the Liturgy in that it has a stand, which is made to make it more convenient to carry the Holy Gifts on the paten and hold it on the head. On the paten, the Infant God-Man is sometimes depicted lying in a manger, and the words are engraved around the circumference: “Behold, the Lamb of God, who takes away (that is, takes upon Himself) the sins of the world.” At different moments of the Liturgy, the paten marks either the den and the manger where the Lord was born, or the Tomb in which His long-suffering body was buried.

Chalice(from Greek - bowl, drinking vessel) is a sacred vessel of a special design into which grape wine combined with water is poured during the proskomedia, offered at the Liturgy after the invocation of the Holy Spirit into the true Blood of Christ.

Paten with star

The chalice depicts Christ, the Mother of God, and St. John the Baptist and the instruments of Christ’s suffering (cross, spear, sponge, nails) and the words are written: “Drink of it, all of you, this is My Blood.” The chalice especially symbolizes the cup of suffering that Christ drank during His earthly life. In addition, it recalls the cup in which the Lord Jesus Christ, at the Last Supper, gave His own Most Pure Blood to His disciples in the guise of wine. After the consecration of the Holy Gifts and during the communion of clergy and laity, the chalice symbolizes the perforated rib of Christ, from which blood and water flowed.

Zvezditsa(slav. – star) consists of two metal arcs connected to each other with a screw so that they can be folded together and moved apart crosswise.

It was introduced into use by St. John Chrysostom so that when covering the paten with the paten, the particles taken from the prosphora and placed in a certain order would not be mixed. The paten is also covered with a star when St. relics, for example, during the consecration of a temple. The star, when used at proskomedia, symbolizes the star that led the Magi to the Savior of the world who was born in Bethlehem.

Chalice

Copy- a knife with a handle, made in the likeness of a spear, sharp on both sides, used to remove the Holy Lamb from the prosphora and “pierce it,” as well as to remove particles for the living and the dead. It depicts the spear with which a Roman soldier hit the side of Christ the Savior.

Liar- a small spoon with a cross on the handle, used for communion for the laity.

It symbolizes those tongs with which Seraphim took coal from the heavenly altar, touched them to the lips of the prophet Isaiah and cleansed them (Is. 6:6). Thus, the “coal” of the Holy Body and Blood of Christ cleanses the body and soul of believers.

Liar

Zvezditsa

Lip, or sponge is a dried sea plant used for wiping sacred vessels (rubbing sponge) and for collecting particles from the paten after communion, which are placed in the chalice (antimins sponge). It symbolizes the sponge with which the soldiers gave the crucified Savior vinegar mixed with bile to drink.

Veils– used to cover the paten and chalice. There are three of them: one covers the paten, the second covers the chalice, and the third covers both the chalice and the paten together.

Air and covers

The first two are called pokrovtsy, and the third is called pokrovtsy. Usually the cover and covers are called by air. The priest waves the veil over the Holy Gifts while singing the Creed, shakes the air and thereby depicts the earthquake that occurred after the death of the Savior and at His resurrection. The vibration of air symbolizes the breath of the Holy Spirit. The coverings on the proskomedia symbolize the infant shrouds of Jesus Christ, and after the Cherubic Song - the sir, with whom the head of the Savior was wrapped in the tomb; the shroud with which the body of Jesus was wrapped; a stone rolled against the door of the coffin.

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The cost of visiting St. Isaac's Cathedral is 250 rubles (you need a passport with you), children - 50 rubles.
A visit to the colonnade is paid separately.
St. Isaac's Cathedral offers excursions (included in the ticket price); approximately every 15-20 minutes a guide gathers a group and takes them around the cathedral. The excursion is a sightseeing tour, so you shouldn’t expect revelations from it, but they talk in detail about the materials (stones) used in the construction of the cathedral and various other interesting things. I don’t remember the duration of the excursion, but approximately half an hour or a little more. In any case, it is better to listen to the guide than to hang around the cathedral.

Doors in St. Isaac's Cathedral

Scheme of St. Isaac's Cathedral

Resurrection of Christ. 1841-1843, stained glass window of the main altar of St. Isaac's Cathedral
At the suggestion of L. Klenze, a stained glass window was included in the interior of the Orthodox church - originally an element of the decoration of Catholic churches. The image of the Risen Savior in the window of the main altar was approved by the Holy Synod and personally by Emperor Nicholas I. The design of the stained glass window for St. Isaac's Cathedral was created by the German artist Heinrich Maria von Hess; porcelain manufactory in Munich. The area of ​​the stained glass window is 28.5 square meters, the parts are fastened with lead solders. By 1843, a stained glass window was installed in the window of the cathedral in St. Petersburg. It is a key monument in the history of stained glass art in Russia.

St. Peter, mosaic, mosaic workshop of the Academy of Arts, from the original by P.V. Basin, early 20th century

Floor of St. Isaac's Cathedral

High reliefs on interior doors

The Mother of God surrounded by saints, Bryullov, Plafond of the main dome. The figures of the 12 apostles in the drum of the dome were painted by P. A. Basin based on Bryullov’s cardboards

Panorama of the interior with a view of the main iconostasis with the Royal Doors

Panorama of the interior with a view of the main iconostasis with the Royal Doors and the main dome

Main iconostasis (columns lined with green marble) and the Royal Doors with columns made of Badakhshan lapis lazuli

The main iconostasis (columns lined with green marble) and the royal doors with columns made of Badakhshan lapis lazuli

Columns made of green malachite

Columns made of green malachite

Columns made of green malachite

Column made of green malachite. The photo shows malachite plates.
The facing of the columns was carried out using the “Russian mosaic” method, which was used due to the fragility of this stone in the manufacture of large products from malachite. The stone was sawn into thin, several millimeters thick, plates. Then, according to the pattern of the stone, they were cut out and adjusted so as to create a beautiful pattern, and so that the seams between the individual plates were invisible. The set was glued to a mold made of metal or stone using hot wax and rosin mastic, the irregularities were sanded and polished.

Column made of Badakhshan lapis lazuli at the Royal Doors
The columns framing the royal gates are lined with dark blue Badakhshan lapis lazuli with golden sparkles. These works, as well as small decorative details made of lapis lazuli, were carried out by masters of the Peterhof lapidary factory. Badakhshan lapis lazuli is considered the best in the world in quality. Afghan lapis lazuli is not only very beautiful, its color is unusually durable, it does not lose its color even when heated above 1000 degrees Celsius. In the old days, painters used this stone to make ultramarine, a paint that did not fade with time. On such a scale as in St. Isaac's Cathedral, lapis lazuli was not used anywhere else. The height of the lapis lazuli columns is about 5 m, the diameter is 0.5 m.

Gate to the border of St. Alexander Nevsky with columns made of green malachite

Cladding the walls of St. Isaac's Cathedral

Prophet Ezekiel's vision of dry bones, Feodor Bruni

Arch over the Royal Doors

A secret staircase leads from the basement directly to the Church of the Intercession of the Virgin.

Church of the Intercession Cathedral. Central Church of the Intercession of the Virgin Mary

The church, consecrated in the name of the Feast of the Intercession of the Blessed Virgin Mary, serves as the main temple of the complex. According to it, the entire cathedral is called Pokrovsky. The Church of the Intercession was built according to the “octagon on quadrangle” type. The architects made the transition between the octagon and the quadrangle using triangular vaults and united them with half-columns framing numerous portals and window niches.


Portals and windows run along the quadrangle and the first tier of the octagon, visually uniting them. The transition between the four and eight is completely unnoticeable.

This design ensures the height of the structure and its upward direction. The two-tier octagon is covered with a tent that literally flies into the sky.

The octagonal tent, in turn, is topped with a small light drum and, finally, covered with a hipped vault. The tent is decorated with ancient fresco paintings from the 16th century. It is distinguished by a very unusual geometric pattern. Such paintings are extremely rare for Russian temple painting of that time.

The frescoes of the cathedral were restored in the twentieth century. Under the tent, between the red cornices, a text consisting of five rows of initial letters is visible. This is a mortgage chronicle discovered in the 60s of the twentieth century. The exact date of completion of the cathedral's construction became known thanks to this temple inscription.

It says that the cathedral was illuminated on the day of Peter and Paul in 1561. It turns out that the cathedral took 6 years to build. However, at that time work was not carried out all year round, but only in the warm season, during the construction season. The season was at the end of spring, summer and beginning of autumn. In total, the cathedral was built in about four pure years (excluding winters).
The height of the letters of the mortgage chronicle varies - from 60 cm to 1 meter. On average, it is about 90 cm. Different heights of the initial letters are needed so that from the point of view of a person standing in the temple, they look the same.

Various examples of paintings that decorated the cathedral throughout its long history have been preserved on the walls.

Painting of the Intercession Cathedral

At first, the temple was painted to match the main building materials of that time - brick and white stone. In the 17th century, a floral and grass ornament appeared. If in the old days the cathedral was painted using the fresco technique, then in the 18th century oil painting was used.

The iconostasis of the Church of the Intercession goes well with the magnificent painting of the 17th century, because it was made at the same time.

Iconostasis of the Intercession Cathedral

This is the same iconostasis from the Cathedral of the Chernigov Wonderworkers, which has not survived to this day. Such an iconostasis is called a frame or frame iconostasis. It is richly decorated with wood carvings and incised pewter gilded lace.

The former iconostasis of the Intercession Cathedral was sold to the church in the village of Svitukha, Tver province, because it had gone out of fashion. The outdated medieval iconostasis was replaced by a baroque one, which was considered more beautiful and elegant.

Temple icon “Protection of the Blessed Virgin Mary” in the iconostasis of the Intercession Cathedral

In the Church of the Intercession there is a wall icon transferred from.

“Protection with the upcoming Saint Basil and John the Blessed” with the traditional plot “Miracle at Sea”

A similar icon is located in the lower tier of the temple.
Three exits from the Church of the Intercession lead to three large side churches oriented to the cardinal points.

Internal walk-through gallery. Churches of the Intercession Cathedral

Methodological recommendations for conducting an excursion: it is logical to view the internal gallery in the passage between the churches of Cyprian and Justina and the Three Patriarchs of Constantinople.
Here it is very appropriate to ask: “Which side is Red Square?” (Red Square is in the north. It is located where the Church of St. Cyprian and Justina is).

Here it is advisable to remember that there are nine churches in the cathedral. One might ask, “How many churches are visible from this point?” You need to turn around yourself. From every point on the inner bypass gallery, four churches are always visible.

Internal gallery of the Intercession Cathedral

One of them is the central Church of the Intercession of the Virgin, the second is one of the 4 large churches, the third and fourth are two of the small churches standing around the central tent. One of the temples is always in front of the viewer, and the other is always behind him.

The internal bypass gallery encircles the central Church of the Intercession. Along it you can walk around the central temple and get to any of the side churches. Around all the churches there is a walk-around outer gallery.

External gallery

Between every two churches there are passages from the inner bypass gallery to the outer walkway.

Passage to the external walkway of the bypass gallery of the Intercession Cathedral

Church of the Three Patriarchs of Constantinople in the Church of the Intercession Cathedral

Portal of the Church of the Three Patriarchs of Constantinople

In the Church of the Three Patriarchs of Constantinople, it is worth paying attention to the low fence near the iconostasis, popularly called the “goat pen.” Services and prayer services can take place in this church and, if necessary, this structure can be disassembled in two minutes. An iconostasis from the 19th century is installed in the Church of the Three Patriarchs of Constantinople. It is closed to visitors.

The consecration of the church in honor of the Three Patriarchs Alexander John and Paul the New is directly related to the Kazan campaign - the memory of the patriarchs is celebrated on August 30 - the day of the victory on the Arsk field over the cavalry of Khan Yapanchi, who was coming from the Crimea to the aid of Kazan.

The next temple is consecrated in the name of the Life-Giving Trinity.

Trinity Church

oriented strictly to the east, this is one of the four large side churches of the Intercession Cathedral. It resembles the central Church of the Intercession. All eight side churches are built according to a general principle: they are pillar-shaped, that is, they look like a tower. Pillar-shaped churches have no internal supports or ceilings. They differ from the Intercession Church in that they are much simpler in design. There is simply no quadrangle in these churches; the octagon (eight walls) starts immediately from the floor level, consists of several tiers and ends not with a tent, which gives the church height, but with an octagonal drum and vault.

A similar system of vault masonry is called Italian vault. The bricks in it are laid out in rings. In Italy, similar vault masonry was used in the 15th century, and in Muscovy they began to do it later - in the 16th century.

The upper dome is decorated with a spiral made using fresco technique.

The church looks the way it looked in ancient times, that is, it is simply whitewashed from the inside. It was whitewashed in the 17th century, but paintings from the 16th century have not been discovered. Perhaps the Trinity Church was painted, but the frescoes have not survived to this day.
Stepped window sills also serve as an interesting architectural decoration. They also have a functional purpose because they reflect and scatter light well. There are few windows in the church, they are quite narrow, but the interior of the church is filled with air and light, because the light hits each step, is reflected from them and is scattered throughout the church.

Above there is a belt of machicules (decorative loopholes), since the temple was built as a monument in honor of a military victory.

Small round holes are visible above the windows - these are voice boxes. They are described in more detail in articles and. The vocalists look into the church with their necks. There can be a different number of them - from 6-8 to 37 - and they are not always noticeable.

On the wall under the window you can see a round hole - a voice box

Contrary to popular belief, voice speakers do not amplify the sound, but clear it of unnecessary sound vibrations. The sound becomes rich and bright. Chants, prayers and sermons in such a temple are always clearly audible.
The ancient tyablo iconostasis has been reconstructed in the Trinity Church.

Tyablovy iconostasis of the Trinity Church of the Intercession Cathedral

There are no copies here; only genuine medieval icons are presented in the church. The cathedral icon of the Trinity was painted in the second half of the 16th century; it has always been in the Intercession Cathedral. Its iconography resembles the famous Rublev icon, but Rublev’s “Trinity” is completely different in color and color scheme.

Temple icon of the Trinity Church

Andrei Rublev’s “Trinity” was recognized as canonical at a church council in 1551, and all the icons that were painted after 1551 over the next two centuries resemble exactly this image.

The consecration of the church in honor of the Life-Giving Trinity is associated with the veneration of the Holy Trinity Sergius Lavra. Other researchers are inclined to believe that the Trinity chapel was built in memory of the previous Trinity Church, which existed on this site before the construction of the Intercession Cathedral.

Church of the Intercession Cathedral. External walk-through gallery

goes around all nine churches. Initially it was open. In the 17th century, ceilings were installed over it.
During the restoration of the gallery, a fragment of the ancient painting was preserved. Despite the fact that the colors here are not particularly bright, the drawing is readable quite clearly.

The artist painted easily and freely. He was not at all constrained by architectural details - he “breaks” both the flower and the stem, moving from plane to plane. The painting loses nothing from this, but the architectural design, on the contrary, gains.

The gallery also preserves 19th-century paintings. Here the drawing is subordinated to the architectural structure and is inscribed into it. From the architectural sections you can see that the restorers removed from seven to nine layers of plaster to get to the ancient painting.

The next church was consecrated in the name of Alexander Svirsky.

Church of St. Alexander Svirsky. Churches of the Intercession Cathedral

This temple is one of the small churches of the cathedral.
In its iconostasis there is a temple icon of Alexander Svirsky, associated with the events of the Kazan campaign. When Ivan the Terrible went on a campaign against Kazan, he prayed to all the newly-minted saints, including Saint Alexander of Svirsky.

Icon Alexander Svirsky in his life

Small churches absorbed the features of both the central church and churches oriented to the cardinal points. As in the central church, the lower tier in them is made in the form of a quadrangle, which turns into an octagon.

But if in the Church of the Intercession this was due to constructive necessity, then in small churches such a composition was used exclusively for decorative purposes in order to connect all the churches into a single ensemble.
The interior of the church is painted to look like brick and white stone.

Iconostasis of the Church of Alexander Svirsky

The local rank contains later icons of the 16th-17th centuries.

The consecration of the temple in honor of Alexander Svirsky is associated with the patronage of the Russian saints of the army of Ivan the Terrible in the campaign against Kazan. They also pray to Saint Alexander of Svirsky for the prolongation of the family, which was very important for the king. It should be remembered that Macarius was the Metropolitan of Moscow at that time; he had previously occupied the Novgorod archbishop's see and it was logical for him to consecrate churches in honor of the Novgorod saints, who were Alexander Svirsky and Varlaam Khutynsky.
The next large church was consecrated in the name of Nikolai Velikoretsky.

South Church of St. Nicholas of Velikoretsky

The iconostasis and interior of the Church of St. Nicholas the Wonderworker of Velikoretsky dates back to the 18th century.

In the city of Vyatka, where the image of St. Nicholas comes from, there was a terrible fire during which a lot of all sorts of goods and valuables burned, but this image survived and turned out to be only slightly smoked.
The image was famous for the fact that it was miraculous, and all miraculous icons were always brought to Moscow and copies of them were made. Miracles from the image of St. Nicholas began to occur soon after the Kazan campaign. Therefore, the tsar ordered to bring the icon to Moscow and make a copy of it. They transported the shrine along a circular river route, through the newly annexed lands. During this journey, various miracles and healings occurred from the icon. A lot of people who lived on Kazan land voluntarily converted to Christianity with the help of this image. There was no forced Christianization; people saw miracles that occurred from the icon of St. Nicholas and voluntarily accepted the faith of Christ.

Fragment of the painting of the Church of St. Nikolai Velikoretsky

Upon arrival in Moscow, a solemn meeting (meeting) was arranged for the miraculous icon of St. Nicholas. The best icon painters made copies of it. The original image was in this temple for some time. Unfortunately, the original was lost during a fire.

Icons of St. Nicholas the Wonderworker in St. Nicholas Church of the Intercession Cathedral

The image of St. Nicholas is associated with a change in the architectural appearance of the Intercession Cathedral. The fact is that Tsar Ivan IV the Terrible ordered the construction of eight churches, and the architects erected nine. This was a constructive necessity, because the authors of the cathedral knew that a symmetrical temple would look better and more magnificent than an asymmetrical one. In this miraculous way, another church was established, which did not enter into the logic of dedication to the victories of the Kazan campaign.

Painting of the Church of St. Nicholas of Velikoretsky

The image of St. Nicholas seemed to find a place for itself and, according to legend, founded a new church.
In the St. Nicholas Church, original oak parquet has been preserved on the floor.

Oak parquet of St. Nicholas Church

Internal bypass gallery of the Intercession Cathedral

In the cathedral it is easy to distinguish the ancient interior from the later one. In ancient rooms, brick floors have been preserved everywhere; if the floors are covered with white stone, this means that these were later reconstructions.
In the Intercession Cathedral there is approximately the same amount of ancient brick and modern brick. Ancient bricks look darker and taller.

Ancient and new brickwork in the interior of the bypass gallery of the Intercession Cathedral.

The same masonry, where the brick is noticeably lighter and smaller in size, was rebuilt in the 20th century. There is a simple explanation for this - modern brick wears out, but ancient brick is much stronger, it is resistant to environmental influences.
In the internal bypass gallery there is another unusual design that we have not seen before - a flat ceiling.

For people of the 21st century, a flat ceiling is a common occurrence. In the 16th century, a flat brick ceiling was a unique phenomenon. In Russia, such a structure has not yet been discovered in any other room; this is the only ancient flat stone ceiling. In Europe, such a flat stone ceiling appeared only with the invention of cement in the 19th century. In the internal bypass gallery of the Intercession Cathedral, the ceiling is made entirely of brick.
Now the original masonry is covered with brick-like painting. The white-painted fragments are also made from special figured bricks. The size of the brick tiles is visible in the cleared fragment.

The secret of such brickwork has not yet been solved. To fasten it, a very strong solution was used, consisting of slaked lime, sand and egg whites. But the biggest mystery is how the architects were able to calculate the maximum angle that could be given during laying so that the ceiling would hold up. Each brick is laid at a very large angle to the next one. If this angle had been any larger, the ceiling would have collapsed. The critical curvature has been found, the ceiling has lasted for five centuries, seems flat to us, but works like a vault. This is a unique engineering solution of the 16th century.

Church of St. Varlaam Khutynsky

The Small Church of Varlaam Khutynsky is located in the southwestern corner of the Intercession Cathedral.
The Royal Doors in the iconostasis of the Church of Varlaam Khutyn are not located in the center, as required by the canons, but are noticeably shifted to the left.

Iconostasis of the Church of Varlaam Khutynsky

The fact is that the altar of the church is also shifted relative to the central axis of the temple in order to leave space for the internal bypass gallery.
The temple is dedicated to Varlaam Khutynsky, a highly revered Novgorod saint. The decoration of this church is reminiscent of ancient Novgorod churches.
An ancient tyablo iconostasis has been preserved here.
In this temple there is an ancient multi-figured image called “The Vision of Sexton Tarasius”.

“Vision of Sexton Tarasius”

This is a very rare image; very few such icons have survived. Its value lies in the fact that it is an excellent iconographic source on the topography of ancient Novgorod. The icon depicts the Trade Side, Detinets, and Ilmen Lake, which has overflowed its banks.

The plot of the icon is connected with a famous miracle that occurred on Novgorod land. The action takes place in the Varlaamo-Khutynsky monastery. The Novgorodians were mired in sins, for this the Lord sent punishment on them: there was a flood and a fire (a glow of fire) in the city, black angels struck people with arrows. The three figures on the icon are an image of the sexton Tarasius, who climbed the bell tower three times and watched what was happening above the city.

Fragment of the icon “Vision of Sexton Tarasius”

The vision of sexton Tarasius occurred in 1505. Behind it are real events of Novgorod history. According to the story, in 1505, the revered Novgorod monk Varlaam Khutynsky, whose relics are in the Transfiguration Cathedral of the Khutyn Monastery, appeared at night to the sexton Tarasius. The saint showed the sexton that Lake Ilmen threatened to flood the city when it overflowed. Varlaam prayed to the Mother of God to save the city and revealed to Tarasius that for the sins of the townspeople they would be punished with pestilence (plague). Three years after the epidemic, a fire will follow.

Indeed, in the years 1506–1508, Novgorod suffered the predicted disasters. At first, the Novgorod people suffered from a pestilence. In 1508, a terrible fire devastated the city; according to the chronicle, 2,314 people died in the fire.
For historians, the icon is a picturesque source. Thanks to the depiction of the “Vision” on Novgorod icons, it is possible to get an idea of ​​the surviving buildings of Novgorod (for example, the Church of Boris and Gleb, which collapsed in 1652).

The consecration of the temple in honor of Varlaam Khutynsky is associated with the monastic name of Father Ivan IV. Before his death, Grand Duke Vasily III Ioanovich became a monk with the name Varlaam.

Church of the Entry of the Lord into Jerusalem. Churches of the Intercession Cathedral

Iconostasis of the Church of the Entry of the Lord into Jerusalem

The Church of the Entry of the Lord into Jerusalem had a special status. “Processions on donkeys” took place here from the Assumption Cathedral of the Kremlin. The ceremony took place a week before Easter, on Palm Sunday. When there was a huge crowd of people on Red Square, the Metropolitan sat on a donkey (if there was no donkey, they took a horse), the Tsar took the donkey by the bridle, and led it from to Red Square.

In the West, Palm Sunday is called Palm Sunday; Christians brought palm branches from pilgrimages to Jerusalem. The temple image corresponds to the traditional iconography of the Entry of the Lord into Jerusalem. Jesus Christ rides on a donkey, the disciples follow him, they are met by the townspeople and a white shirt (a symbol of purity) and palm branches are thrown at the donkey’s feet.

On another icon, the isographer added an interesting detail: curious children are sitting on a palm tree. A red shirt is thrown under the donkey’s feet, because the color red means royalty, and under the donkey’s feet you can see willow branches traditional for Rus'.


Since palm trees do not grow in our climate, in Russian custom the palm tree is replaced with a willow, and Palm Sunday is called Palm Sunday.

The consecration of the church in honor of the Entry of the Lord into Jerusalem is associated with the ceremonial entry into Moscow of Tsar Ivan the Terrible.

Church of St. Gregory of Armenia

Iconostasis of the Church of Gregory of Armenia

The church is dedicated to Gregory of Armenia, but his icon is not here. But here there is a unique icon of the 16th century, originating from the Kremlin cathedrals. It is called “The Cathedral of Alexander Nevsky” with 33 hallmarks or, in other words, the saint “Alexander Nevsky in the Life”.

Icon “The Holy Blessed Prince Alexander Nevsky in the Life”

The illumination of the church in honor of Gregory of Armenia is associated with the capture of the Arsk Tower on September 30 (October 13 in the new style, the day before the Intercession), the memory of this saint is celebrated on this day.

Interior decoration of the cathedral porch

On the north-west porch of the cathedral there are interesting paintings from the 17th century.

This is the thriving vine known to us from the images in and in . It symbolizes the Garden of Eden, heavenly flowers. Russian masters of the 17th century painted Russian forest and wildflowers. This ornament contains daisies, cornflowers, forget-me-nots, Ivan and Marya, and other meadow and forest flowers. This ornament, oddly enough, was called the “tulip period”.
From the inner porch you can go down the stairs to the outside; currently this is the only exit from the Intercession Cathedral.

The decorations of the facades, as well as the design of the porch, were supposed to visually increase the height of the Intercession Cathedral. All architectural techniques are so thought out and rhythmic that the building seemed taller than it actually is. Let us remember that in the Middle Ages height was used to express beauty. Height also served as a symbol of greatness.

The customer of the cathedral, Tsar Ivan the Terrible, for the first time in Russian history, took the title of “Tsar”; his predecessors bore only the titles of “Grand Dukes”. Ivan the Terrible was crowned king, received a new title and achieved its recognition at the Ecumenical Council. The status of the sovereign changed, the status of the state changed, and the height of this temple was an architectural reflection of the changed status.

The Russian Tsar became not only on a par with European sovereigns, but in relation to some of the monarchs he became higher. The status of the state changed accordingly. The state collected new lands, acquired them, and expanded its borders. The Intercession Cathedral became an architectural reflection of the symbol of the greatness and power of the state and the sovereign as such.