St. Isaac's Cathedral in St. Petersburg. photo, height, history of creation, architect and style, address

Temple interiors

St. Isaac's Cathedral is the only cathedral in which a lot of natural colored stone was used in its decoration. The stone-cutting work was performed with the greatest skill. The walls and floor are lined with slabs of Russian, French and Italian marble. The walls are lined with white marble with finishing panels made of green and yellow marble, jasper and porphyry. 16 tons of malachite, 500 kg of lapis lazuli, 400 kg of gold, 1000 tons of bronze were used for finishing.

The inside of the cathedral was painted with oil, but high humidity interfered with the work. Oil painting was replaced with mosaic panels made of smalt. Picturesque and mosaic paintings by the best artists, dedicated to biblical and evangelical subjects, decorated the temple. The collection consists of 103 wall paintings and 52 canvas paintings created by Russian masters: Auguste Montferrand was against attracting foreign artists to work.

Above the northern doors there is a painting “The miraculous feeding of five thousand starving people with five loaves.” The main dome is decorated with the painting “Our Lady in Glory” by Karl Pavlovich Bryullov.

The subject of the painting, covering an area of ​​816 square meters, is the praying Mother of God with John the Baptist and John the Theologian standing by. Next to them are the patron saints of the Romanov dynasty. The composition of the lampshade is crowned with a silver-plated sculpture of a dove - a symbol of the Holy Spirit. Under the dome, a one and a half meter figure of a dove hovers on a steel cable at an 80-meter height.

Karl Bryullov, who painted the dome, paid with his life. While working on the scaffolding, he caught a cold and fell ill; treatment abroad did not help, and the artist died.

The skill of the mosaic artists is admirable: from a distance the mosaic looks like a painting, the structure of the canvas is visible only up close. 62 mosaics decorate the temple, including:

• Last Supper;
• Flagellation;
• Kiss of Judas;
• Carrying the cross.

Icons

The icons are located in richly ornamented marble frames in 20 niches. Below them are explanatory inscriptions in gilded bronze on burgundy marble. The work of the professor of the Florence Academy of Arts Cesare Mussoni “The Baptism of the Lord”, V. Sazonov “The Prodigal Son” and “The Charity of the Samaritan”, the works by K. Steuben “The Righteous Saints Joachim and Anna”, “The Crucifixion”.

The brushes of the famous artist T.A. Neff belong to the paintings:

• Birth of Our Lady;
• The descent of the Holy Spirit on the apostles;
• Ascension of the Lord;
• Presentation of the Mother of God into the temple;
• Exaltation of the Honest Life-Giving Cross of the Lord;
• Jesus sends his image to Abgar;
• Protection of the Blessed Virgin Mary.

Walls and windows

The walls, from the plane of which 12 statues of angels protruded, are lined with white marble. All the sculptures in the temple are made of copper. Through the high arched windows, a calming light pours into the cathedral, reflected in the copper, playing, creating a solemn and festive atmosphere.

Between the figures of angels is a picturesque image of the 12 apostles by the artist Basin. The window of the main altar is decorated with a stained glass window of the risen Savior made in Germany.

Stained glass is an atypical element of Russian church architecture. During services, when the royal doors open, the image of Christ appeared before the parishioners, as if descending from heaven. The lighting of the stained glass window with gas burners gave solemnity and awe to the phenomenon: against the backdrop of flames, the figure of Jesus Christ came to life.

Altar and iconostasis

There are three altars in the temple. The main one is dedicated to Isaac of Dalmatia, the altar on the right is to the holy Great Martyr Catherine, the left is to the holy noble prince Alexander Nevsky. The iconostasis of the main altar is lined with white marble and decorated with columns made of Ural malachite in the style of Russian mosaic.

The Royal Doors are decorated with two columns made of Afghan lapis lazuli and the sculptural group “Christ in Glory”. Lapis lazuli has not been used in such quantity anywhere in the world. The temple has a Foucault pendulum, showing that the earth rotates.

Interesting Facts

The cathedral takes an honorable second place in the list of the highest Orthodox churches, yielding leadership to the Moscow Cathedral of Christ the Savior.

The overall dimensions of the basilica are amazing:

• area – 4 thousand sq.m
• weight – 300 thousand tons
• capacity – 12 thousand parishioners

Several times a year the cathedral celebrates patronal feasts in honor of:

• St. Isaac of Dalmatia – 4.04, 12.06, 16.08
• Blessed Prince Alexander Nevsky - 1 and 6.12, 5 and 17.06 (movable date), 12.09
• Great Martyr Catherine – 7.12

In the post-revolutionary period, the following were confiscated from the church:

• gold products (45 kg)
• silver utensils and jewelry (2230 kg)
• stones - gems (800 pcs.)

Money from the sale of confiscated valuables went to a fund to help people from the starving Volga region. During the Great Patriotic War, Isaac's dome was covered with green paint for camouflage. On the western bas-relief, the architect O. Montferrand is depicted in the role of a courtier. In his hands is a model of the temple. The architect died a month after the completion of construction. He asked to be buried in the temple. However, at the request of the widow, the body was taken to Paris.

History of the creation of St. Isaac's Cathedral

Cathedral foundation

The colossal building required a strong foundation: it took at least five years to construct it. About 11 thousand tarred pine piles alone were laid. A difficult technology was followed: first, trenches were dug by hand and water was pumped out. Then 6-meter piles were driven at close distances from each other. Charcoal was poured into the gaps and compacted tightly. Granite slabs were laid on top.

Columns of St. Isaac's Cathedral

Granite blocks were also cut by hand for the huge columns that decorate the building’s porticoes on four sides. Along the contour of the workpiece, iron stakes were inserted into the drilled holes, which were struck forcefully by dozens of workers at the engineer’s sign. Wedges with rings were inserted into the crack that appeared to tie the rope. The rope was pulled by 40 people.

Up to 400 thousand laborers were recruited for the construction of the cathedral. Of these, approximately 100 thousand died as a result of accidents or illnesses.

To transport the columns, special flat-bottomed ships and two steamships for each ship were required. For the first time in Russia, granite was delivered to the construction site by rail.

Considering the Montferrand project, Alexander I once expressed doubts about the technical feasibility of lifting heavy and long columns. At his suggestion and order, the architect made a wooden model of the scaffolding to demonstrate the original method. About 6,000 rubles (the approximate cost of the carriage) were spent on its production. Nine months later, when the model was ready, it was shown to the next Emperor Nicholas I. Twelve people turned winches reduced by 16 times and raised the model of the column. After this, the model was most likely on the construction site and served as a visual aid.

The 114-ton columns had to be installed before the walls were built. This was an extremely complex and therefore important process. When the first column was raised in 1828, the imperial family was present with numerous foreign guests. In total, 48 columns of the lower belt had to be installed. It took more than two years to complete this phase of construction.

In 1837, the turn came for 24 columns of the upper belt. The 64-ton columns had to be raised to a height of 43 meters. They were tied with ropes and pulled up on ropes along a wooden floor.

Dome of St. Isaac's Cathedral

The original design was subject to modifications during construction. By the time the dome was erected, Montferrand decided to make it not from brick, as planned, but from metal to lighten the structure. The dome consists of three parts: a hemisphere inside, a conical structure in the middle, and a parabolic vault outside. The space between them is laid with voice boxes - conical vessels that improve the acoustics of the building and protect from the cold. It took about 100 thousand ceramic pots.

100 kg of red gold was used to gild the dome. The noble metal was dissolved in mercury and calcined until the latter was completely dissolved. This is a method of fire gilding (burnt gold), known back in Ancient Rus'. It protects the surface from corrosion, ensures the durability of the coating for one and a half centuries, but at the same time it is extremely toxic. About 60 craftsmen died while performing these works on the cathedral.

Until now, the dome of St. Isaac's Cathedral is the largest gilded dome in the world. Its diameter is more than 25 meters. The gilding was done so thoroughly that restoration was not required even after the devastating blockade during the Great Patriotic War.

Engineering miracle

In 1809, Alexander I announced a competition of projects for the construction of a new temple - beautiful, monumental, majestic. The design of St. Isaac's Cathedral was approved only in 1818. The position of “imperial architect” was given to the Frenchman Auguste Ricard de Montferrand, who prepared and handed over 24 designs for the future church to Nicholas I, who personally supervised the construction. The Tsar approved the plan for a five-domed temple with columns and porticos, which was built between 1818 and 1858.

St. Isaac's Cathedral is an example of late classicism , in which new directions appeared: neo-Renaissance, eclecticism and Byzantine style. The architectural appearance of the temple is not typical for Russian temple construction. The weight of the cathedral is 300 thousand tons, the heaviest building in St. Petersburg. Height 101.5 meters, width 100 meters, dome diameter 28.5 meters. The internal area is 4000 square meters, the temple seats 12,000 people.

Construction Features

During the construction of the cathedral, technologies that were original and daring for its time were used. For the swampy soil, the building was unusually heavy: it was necessary to drive 12,000 tarred pine piles into the base of the foundation. Here rests a 7-meter granite-stone foundation of solid masonry.

In the quarries of the Finnish coast, near Vyborg, builders cut down granite columns. Stonemasons invented a way to extract monolithic blocks: they drilled holes in the rock, inserted wedges into them and beat them until a crack appeared in the stone.

Iron levers with rings were inserted into the crack, through which ropes were threaded. Then 40 people pulled on them, gradually breaking out the granite blocks. The stones were delivered to the construction site along rail tracks, although there were no railways in Russia at that time.

Montferrand installed 17-meter columns before the construction of the temple walls, which had not been done before. Using engineered scaffolding, the 114-ton felt-wrapped columns were erected vertically in 45 minutes. The imperial family came to the raising of the first column with a portrait of Alexander I, city residents and foreigners gathered. The installation of 48 columns took two years and was completed in 1830.

The temple walls, 5 meters thick, were covered with marble on the inside and outside. Marble was also used to cover the ceilings of brick vaults with iron frames. Ventilation passages were created within the walls of the cathedral, and light galleries were intended for natural lighting.

Working with the dome of the temple

The dome of the temple was cast from a mixture of metals: cast iron, iron and bronze with copper, which lightened the weight, and was lined with sheets of gilded copper. 10,000 ceramic pots were placed inside the dome to improve acoustics. In 1841, 24 columns weighing 64 tons each were lifted onto the assembled dome base in order to install it around the dome.

Each column was raised up according to a specially designed scheme. 100 kg of red gold were spent on gilding the columns . The cathedral colonnade is the highest observation deck in the city center. The dome of the cathedral is visible from the Gulf of Finland.

400 thousand serfs worked 16 hours a day on weekdays, holidays and Sundays at the construction site of the century. A quarter of the fortress builders died in accidents and illnesses. By 1842, the cathedral was built at a cost of 32 million silver rubles. Ahead - finishing for a period of 16 years. The cathedral was consecrated on May 30, 1858 and opened for services.

Long-term construction of the 19th century

The long-term construction took Montferrand 40 years to complete. According to legend, a soothsayer predicted the death of the architect after the construction of the temple, which is supposedly why the architect was in no hurry with construction. Indeed, Montferrand did not live even a month after the completion of the work.

Legend has it that Alexander II, examining the temple, noticed among the sculptures of saints bowing to Isaac of Dalmatia, Montferrand himself with his head raised. Noting the architect’s pride, the emperor allegedly did not shake his hand or thank him for his work, which is why the architect became upset, fell ill and died.

Montferrand bequeathed to bury himself in St. Isaac's Cathedral, but the emperor did not consent. The architect's coffin was carried around the cathedral, and the widow buried her husband in Paris. Thus, the French architect Auguste Ricard de Montferrand, unknown to anyone in his homeland, created a masterpiece of world architecture that became a symbol of St. Petersburg.

How Isaac was rebuilt

In 1809, Russian Tsar Alexander I continued the construction of the temple. At first we chose the cheap option and just wanted to rebuild the cathedral. But the competition did not produce any results. All submitted projects were found to be unsuitable. After 4 years, a new competition was announced, and again it ended in nothing.

The Emperor did not deviate from his plan and entrusted the preparation of the project to Augustin Betancourt. Thanks to the new architect, things finally got off the ground. The experienced architect introduced Auguste Montferrand, who had recently moved to Russia, to the court.

The tsar liked the young architect’s drawings, and the talented foreigner received the position of “imperial architect.” He was instructed to reconstruct St. Isaac's, but they set the condition that the altar part of the temple should be completely preserved.

View of the dome of St. Isaac's Cathedral

In 1818, the architect brought to the Tsar’s attention a reconstruction option in which not only the altar, but also the domed pylons of the already standing church were preserved. It is interesting that when designing the Russian temple, the architect took the classical buildings of the Pantheon and the Invalides in Paris as models.

Construction began in the summer of 1819, and the consecration of the new cathedral took place in the late spring of 1858. For 40 years, Isaac broke all imaginable records. It became the most expensive and longest-constructed temple in Europe. 23 million rubles were spent on construction.

To cope with the marshy soil, 10,762 piles were driven into the base of the structure. The construction of the foundation lasted 5 years, and the installation of granite columns - 2 years. More than 100 kg of gold was used to gild the dome with a diameter of almost 26 m. Three times more precious metal was used to gild the interior parts.

View of the observation deck on the dome of St. Isaac's Cathedral

About 400 thousand builders took part in the construction of the cathedral, and all of them were specialists in different fields. It is believed that between 60 and 120 people died at the construction site. However, these days it is no longer possible to establish the exact number of victims and deaths.

Architectural and engineering achievements

Saint Isaac's Cathedral. Photo: fedpress.ru

Saint Isaac's Cathedral. Photo: boomsbeat.com

In 1825, Montferrand designed a new grandiose building in the classicist style. Its height was 101.5 meters, and the diameter of the dome was almost 26 meters. Construction proceeded extremely slowly: it took 5 years to create the foundation alone. For the foundation, it was necessary to dig deep trenches into which tarred piles were driven - more than 12 thousand pieces. After this, all the trenches were connected to each other and filled with water. With the onset of cold weather, the water froze, and the piles were cut down to the level of the ice. It took another two years to install the columns of four covered galleries - porticoes, granite monoliths for which were supplied from Vyborg quarries.

For the next six years, walls and dome pillars were erected, and another four years - vaults, domes and bell towers. The main dome was made not of stone, as was traditionally done, but of metal, which significantly lightened its weight. When designing this structure, Montferrand was guided by the dome of London's St. Paul's Cathedral by Christopher Wren. More than 100 kilograms of gold were used to gild the dome.

History of construction

Three versions of the cathedral

The way we are used to seeing St. Isaac's Cathedral today was not always the case. The history of the construction of all versions of the cathedral goes back more than 100 years, and it began in 1710, almost immediately after the founding of St. Petersburg.

The wooden church named after Isaac of Dalmatia was erected on the site of a former drafting barn. In 1712, Peter I and his second wife, Catherine I, were married there.

Already in 1717, the church began to need reconstruction and construction of a new building, already made of stone, began. Peter I laid the first stone of the future building, but it lasted only a few decades.

Lightning struck the Second Isaac Church several times, as a result the soil under the building began to settle, due to the fact that the church was located on the banks of the Neva River. It became clear that the building needed to be radically rebuilt or moved to another location. In 1760, a decision was made to build a new temple.

Created under Paul I in 1802, the Third St. Isaac's Cathedral caused a lot of ridicule and indignation among contemporaries of that time. The completed and consecrated temple was immediately called inappropriate for the ceremonial development of the city center and its reconstruction was announced.

The final version of the cathedral received its name in honor of St. Isaac, on whose memory Peter I was born. Alexander I announced a competition for the construction of the temple, but he did not like any of the presented projects for various reasons.

As a result, only 9 years later construction began according to the design of the young French architect Auguste Montferrand, who presented 24 images of the building in various variations for Alexander I’s approval.

In 1819, the construction of a new temple began. In 1858, the consecration of the cathedral took place in the presence of Alexander II and members of the Imperial family.

Architects

To build the First St. Isaac's Church in 1710, the architect Herman van Boles arrived from Holland. The building turned out to be one-story and simple in design.

Several architects had a hand in the construction of the Second St. Isaac's Church: Georg Mattarnovi, Nikolai Gerbel, Gaetano Chiaveri, Yakov Neupokoev and Mikhail Zemtsov. After the fire, the church was rebuilt according to the design of Pietro Trezzini, before they decided to move the temple to another location.

The creation of the project for the Third St. Isaac's Church was entrusted to Savva Chevakinsky, whose creation was never realized, but, according to contemporaries, the idea of ​​moving the cathedral to another place was proposed by him. The next design of the cathedral belonged to Antonio Rinaldi, but this time the temple was completed only to the cornice.

The Third St. Isaac's Church was completed thanks to the project of the Italian Vincenzo Brenna; the temple turned out to be awkward and did not appeal to Emperor Paul I, who ascended the throne.

The best architects of that time took part in the competition for the construction of St. Isaac's Cathedral: Andrei Voronikhin, Andreyan Zakharov, Vasily Stasov and others. But, after the drawings of the future Cathedral by Auguste Montferrand were approved by Alexander I, in 1818 he was entrusted with developing a project for the construction of the Cathedral.

Little experience in construction, young age - all this led to the fact that gross mistakes were made in the project, as Anton Modui, a member of the Committee for Structures and Hydraulic Works, pointed out in his report.

Construction had to be stopped. The cathedral was finally completed only back in 1858, under the leadership of the same Auguste Montferrand, who created a new large-scale project in the classicist style.

The Cathedral today

The new customer for the construction was Emperor Alexander I. By his decree, the little-known architect O. Montferrand was appointed contractor. The architect did not have the necessary experience and knowledge, so the process of creating a new basilica lasted for 40 years. Montferrand introduced amendments to the project conceived under Catherine. He increased the area of ​​the body and the size of the domes. Emperor Nicholas I added the finishing touches to the development of the sketch. He ordered the erection of turrets at the corners of the building, the installation of porticoes, and also ordered the import of marble for decoration.

St. Isaac's Cathedral acquired characteristic features of nobility and grandeur. Its consecration took place in May 1858.

Iconostasis decorations

Not only the sole in front of the altar, but also the steps and elements of the plinth on the main iconostasis are made of cherry porphyry. The inner side of the iconostasis was lined with Shokshin porphyry. The frieze of the entablature inside the temple was made from it.

The main and small iconostases were lined with snow-white marble. The same material was used to decorate the pylon niches and balustrade elements located in front of the iconostasis. Marble carving made by Russian craftsmen still amazes with its grace and lightness.

The colorful design of the outside of the iconostasis is also surprising. All 10 huge columns are lined with green malachite, and 2 small columns located at the entrance to the royal gates are decorated with Badakhshan lapis lazuli. The cladding of the columns with malachite, due to the special fragility of this material, was done using the Russian mosaic technique.

This cladding method consists of several stages. First, the stone is sawn into thin slices. The pieces for the covering were selected so as to create a beautiful pattern when joining the elements. The assembled pattern was glued to a metal base with a hot mixture of rosin and wax. The joints of the malachite were carefully polished so that the seams became invisible.

Green malachite decorates not only the columns, but also the plinths of the large and small iconostases. Bright inserts of various shapes are made from it. Badakhshan lapis lazuli, which was used to decorate the columns at the entrance to the royal gates, is considered the highest quality and rarest. It has a deep blue color with golden flecks. This stone has not been used anywhere in the world in such quantities as in St. Isaac's Cathedral.

Sculptural decoration of the cathedral.

At the insistence of Montferrand, Ivan Petrovich Vitali, who created the unique doors of the temple, became the main sculptor of St. Isaac's Cathedral. Following the example of the “Golden Doors” of the Baptistery in Rome by the great Italian master Ghiberti, Vitali cast bas-reliefs in bronze for the doors of the cathedral. Bas-reliefs were also cast for the pediments of the porticos. Figures of angels with wings and stylized torches in their hands were installed at the four outer corners of the high attic. On major holidays, a fire was lit in these gas torch lamps. On such days, St. Isaac's Cathedral acquired even greater monumentality and solemnity.

XX and XXI centuries

In the post-revolutionary years the building was nationalized

. However, it was soon handed over to the parishioners (more than thirty people signed the corresponding agreement).

In the 20s of the 20th century, forty-eight kilograms of gold and more than two tons of silver were confiscated from the cathedral. Around the same time, the rector of the cathedral was arrested. A year later, the building was transferred to the Renovationists (that was the name given to representatives of one of the movements in Russian Orthodoxy). At the end of the 20s, the contract with them was terminated; in the early 30s of the 20th century the temple turned into an anti-religious museum

.

In the 40s, the building was heavily damaged by bombing and artillery shelling. During wartime, it housed exhibits from some of the country's other famous museums.

In the middle of the 20th century, the temple was restored. an observation deck appeared on its dome

. In the 90s of the 20th century, services were resumed in the cathedral. Currently, society is discussing the need to transfer the cathedral under the control of the Russian Orthodox Church. Both positive and negative solutions to this issue have many supporters. The building is the property of the city.

Shrines

In pre-revolutionary times, the Church of St. Isaac of Dalmatia served as a repository for revered Orthodox shrines. These included:

• cross with particles from the life-giving tree of the Lord
• icons - the Tikhvin Most Holy Theotokos, the Korsun Mother of God, the Savior Not Made by Hands, St. Panteleimon with particles of his relics
• shrine with the relics of St. Andrew the First-Called

In addition to religious attributes, military relics were preserved in the church:

• militia banner of the Patriotic War of 1812
• 4 banners of the St. Petersburg militia 1855-1856.

The face of the Tikhvin Mother of God, according to legend, was created by St. Luke. He represents the Virgin Mary as a Guide. The mother's arms depict the baby Jesus holding a scroll in his hand. The miraculous icon served as one of the main amulets of the Russian lands. Every year it was carried around during a religious procession throughout all territories of the Russian state. In Tikhvin's manner, the first monarch from the Romanov dynasty, Mikhail Fedorovich, was blessed to reign. The icon was highly valued by Ivan the Terrible.

By his order, it was moved from the city of Tikhvin to Moscow. Ivan the Terrible considered the Mother of God his intercessor and ordered copies of the icon to be made, which were transferred to different churches. The original image was taken from the USSR during the war. From 1950 to 1995 it was in the USA and was solemnly returned to the Russian Orthodox Church.

Sculptures outside

The sculptures in the arrangement of the cathedral serve not only to decorate it, but also to emphasize the unity of Orthodoxy with the Russian monarchy, as well as to impart holiness to it.

This is also confirmed by the phrase: “Lord, in your strength the king will rejoice,” which can be read on the ribbon of the northern portico. As befits a holy temple, its sculptures are dedicated to a Christian-evangelical theme.

The completion of the building's facade is crowned with statues of the twelve apostles, and the corner parts are angelic statues with lamps, uniting the space of the building with its cylinder and dome. The balustrade of the main dome is decorated with a dozen angels. Their elements flowing onto the walls create a complete look.

The sculptures dedicated to the 4 evangelists depict each of them with their own symbolic sign from the surrounding world, for example, near Mark - a lion, Matthew - an angel, Luke - a calf, John - an eagle.

High reliefs by Philip Honore Lemaire: “The Resurrection of Christ” and “The Meeting of Isaac of Dalmatia with Emperor Valens” decorate the porticoes on the northern and eastern sides.

“The Adoration of the Magi” completes the southern portico by the Italian-born sculptor Giovanni Vitali, better known as Ivan Petrovich Vitali. The center is occupied by a sculpture of the Virgin Mary holding the newborn Jesus. As in the biblical story, so too here on the sides, her image is accompanied by wise men with gifts.

Among the reliefs of the western portico you can see “Isaac blessing Emperor Theodosius.” Vitali’s works also depict realistic images. He sculpted the Ethiopian king and his servant, using images of the inhabitants of Abyssinia who served the imperial court.

The prototypes of the nobles from the emperor’s retinue were Prince Pyotr Mikhailovich Volkonsy, who chaired the commission for the construction of the temple, and the president of the Academy of Arts, Alexey Nikolaevich Olenin.

The large door panels on the outside are decorated with works by Vitali: “The Dispute of Christ with the Pharisees” and “The Flight into Egypt.” The center is represented by sculptural works of Archangel Michael and Alexander Nevsky. In the niches of the doors from the north are depicted the Monk Isaac of Dalmatia and St. Nicholas of Myra; on top are relief sculptures: “Behold the Man” and “The Torment of Christ.”

Of great interest are the western doors, on which are “The Sermon on the Mount”, “The Raising of Lazarus” and “The Healing of the Paralytic”. Their niches are occupied by sculptures of the apostles Peter and Paul.

In the recesses of the portico walls on the southern and northern sides one can see the works of Pyotr Karlovich Klodt and Alexander Vasilyevich Loganovsky: “Carrying the Cross”, “Mourning”, “Massacre of the Innocents”, “Appearance of an Angel to the Shepherds”.

The sculptures, made by Joseph Herman, symbolize the milestones of the path of the Son of God during the stay of the holy teacher on earth. Some believe that the abundance of sculptures on the outside visually aggravates the facades, but they made a great contribution to adding splendor, and most importantly, holiness to the cathedral.

Second stone St. Isaac's Church.

During the reign of Empress Catherine I, next to the wooden church in her image and likeness, a new stone temple was erected in the style of Peter the Great's Baroque. By 1724, the structures of the vaults and walls had become quite dilapidated. As a result of the reconstruction, a covered gallery was built around the high bell tower on high stone pillars. The stone vaults of the church were replaced with wooden structures, and the walls were reinforced with metal ties. A dome with a turret and an angel with a cross was built on a high octagonal drum. The reconstruction work was led by architects Trezzini, Zemtsov, Usov, Eropkin. The consecration of the temple took place in 1727. After a fire in 1736, the temple was restored and rebuilt until 1746.

Main attractions

From ancient times, marvelous buildings have been preserved, such as the “house of Isaac” and the “house of the Myatlevs”. The name of the author has not survived to this day, but it is known for certain that someone skillfully created them to be the center of the cultural life of the capital.

The northern border of the street dominant is delineated by Admiralteysky Prospekt, and the southern border by the Mariinsky Palace. Now the city Legislative Assembly is located here. Therefore, it is listed as the main administrative square of the city.

Other attractions include the German Embassy, ​​the house of Prince Lobanov-Rostovsky, the Astoria Hotel and the Blue Bridge. The center of the architectural composition of the square, its most valuable pearl, is undoubtedly the majestic and beautiful St. Isaac's Cathedral.

Where is it and how to get there

The location of the temple is St. Isaac's Square, building 4. Its location in the central part of the city provides several access options by public transport:

• underground method - by metro lines - Frunzensko - Primorskaya (to the stations "Admiralteyskaya", "Sadovaya"), Moskovsko-Petrogradskaya (to the stations "Sennaya Ploshchad" "Nevsky Prospekt"), Nevsko-Vasileostrovskaya (to the stations "Gostiny Dvor" ), Pravoberezhnaya (to the station “Spasskaya”);
• ground route - by buses (3, 22, 27) or trolleybuses (5 and 22).

Triumph of Russian icon painters

Semyon Zhivago is the son of a merchant from Ryazan, self-taught. Together with Timofey Neff and Fyodor Bryullov, they created the main iconostasis of St. Isaac's Cathedral. 30 faces of saints, 12 of them by Zhivago, look like one spirit.

The sculptural image “Christ in Glory”, “The Last Supper”, “Prayer of the Cup” above the altar by Zhivago, as well as the Royal Doors framed by “Christ the Savior” and “The Virgin and Child” by Neff stand out. For the painting, Isaac Neff, the illegitimate son of a governess, was awarded the rank of professor.

Fyodor Bruni created his 25 cardboards in Italy. Now stored in the Russian Museum. Together with his students, he transferred 12 scenes onto the attic vaults and ceiling lamps. Everything he created is imbued with genuine feeling, hitting the nerve. “The Six-Day Creation of the World” flows into the tragic “World Flood” and the hopeful “Sacrifice of Noah after the Flood.”

It is curious that the “Last Judgment” by the master of Italian origin is placed in the eastern part of the cathedral, given over to the New Testament, where the altar and iconostasis are. Whereas, according to tradition, it should be in the West, among the Old Testament stories... Unfortunately, Bruni's works suffered more than others over time.

Description

Finding yourself in the historical center of St. Petersburg on the banks of the Neva, you cannot help but notice that among the architectural ensembles of the embankments, a building stands out, striking in its size and monumentality - this is St. Isaac's Cathedral. When approaching this colossus, admiration for its power intensifies, the realization that it was created by the genius of human thought and labor leads to delight. Along with the Peter and Paul Cathedral, St. Isaac's, as an architectural monument, is one of the city-forming dominant features of the historical center of the city on the Neva. Photos with ceremonial views of St. Isaac's Square are published in all guidebooks to St. Petersburg.

St. Isaac's Church - Cathedral and anti-religious museums

For more than half a century, St. Isaac's Cathedral worthily performed the functions of a cathedral: all the most solemn services took place there. After the revolution, the cathedral was closed, the Bolsheviks found a different use for the majestic building. It became an anti-religious museum.

Upon consecration, the Cathedral of St. Isaac of Dalmatia was declared a cathedral. The solemnity of cathedral services on church holidays and royal days attracted a lot of people here. St. Isaac's deacons and choristers were famous in the city, and among them, most especially, was Deacon Vasily Malinin, who served in the cathedral in 1863-1905 and, according to the recollections of his contemporaries, had a phenomenal bass. The pilgrims especially loved to visit “Isaac’s” on Maundy Thursday during Holy Week of Great Lent, when the ritual of washing their feet was performed - in memory of the Last Supper, during which the Savior washed the feet of his disciples.

Since 1879, on the initiative of the cathedral elder, General E.V. Bogdanovich, the cathedral began to publish and distribute brochures and leaflets with moral and religious content, addressed to the simple and which were very popular. Since 1896, a brotherhood operated at the main temple of the empire, which supported several charitable institutions at its own expense, and since 1911, a society of banner bearers. In 1909, in St. Isaac's Cathedral - for the first time in St. Petersburg - a liturgy was served, accompanied by popular singing.

Before the revolution, five priests served in the cathedral. Its last rector (since 1917) was Archpriest Nikolai Grigorievich Smiryagin.

Foucault pendulum in St. Isaac's Cathedral

The invention of the pendulum, which clearly demonstrates the rotation of the Earth, belongs to the French physicist and astronomer Jacques Foucault (1819-1868). The first public experiment with Foucault's pendulum was carried out in Paris in 1851. Then Foucault suspended a metal ball weighing 28 kilograms (with a tip attached below) on a steel wire 67 meters long under the dome of the Pantheon. The pendulum was designed in such a way that it could swing not in one plane (like clock pendulums), but in all directions. A circular fence with a radius of 6 meters was made under the pendulum with the center directly under the suspension point, and sand was poured inside the fence. The point attached to the ball traced the sand along its path, and it soon became clear that the plane of the pendulum's swing was turning clockwise relative to the floor: with each subsequent swing, the point swept away the sand approximately three millimeters from the previous place. So viewers could see with their own eyes the rotation of the Earth. The Foucault pendulum, which operated in St. Isaac's Cathedral since 1931, has now been dismantled, but there are several other similar pendulums in Russia, albeit smaller ones (in the St. Petersburg and Volgograd planetariums, as well as at Altai University).

"The Triumph of Science over Religion"

After the revolution, the cathedral did not escape the common fate of all churches. In 1922, he was literally robbed - under the plausible pretext of helping the starving. The Bolshevik program of confiscation of church valuables cost St. Isaac's Cathedral 48 kilograms of gold and 2,200 kilograms of silver.

Repeatedly (in 1923 and 1927) the authorities tried to close the cathedral, but these attempts were crowned with success only in 1928. Two years later, all the bells were removed from the cathedral belfry (they were sent to be melted down), and an anti-religious museum was opened in the cathedral itself, the pride of which was a Foucault pendulum on a suspension 98 meters long. The pendulum was launched on the night of April 11-12, 1931, and the newspapers of that time presented this event as “the triumph of science over religion” - although, strictly speaking, the Church never had anything against Jacques Foucault or his pendulum.

With the beginning of the Great Patriotic War, St. Isaac's Cathedral was adapted to store exhibits from suburban Leningrad museums, as well as from the Summer Palace of Peter I and the Museum of City History. The traces of enemy shells left here and there on the columns still remind us of the period of the blockade.

In 1948, a museum of the same name was opened in St. Isaac's Cathedral, and after restoration work in the 1950s-1960s, an observation deck for visitors was equipped on the cathedral colonnade, which almost all guests of St. Petersburg consider it their duty to climb to for a beautiful view of the city.

The interior of the cathedral.

St. Isaac's Cathedral was built as the home church of the Romanov family, all work on the interior decoration was carried out with the active participation of Emperor Nicholas I. It took 17 years to finish and decorate the interiors.

The main iconographic subjects in the design of the iconostasis and interior decoration are dedicated to the heavenly patrons of all crowned persons, during whose reign all four religious buildings were built.

All the details of the interior emphasize the unity of earthly imperial power with heavenly power, sanctified by the Lord God himself. The iconostasis is built in the form of a triumphal arch; the imperial style is emphasized by six ten-meter malachite columns located on both sides of the royal doors.

All icons in the cathedral are made using the Florentine mosaic technique based on original paintings by artists T. Neff and F. Bryullov.

The sculptural composition “Christ in Glory” located above the royal doors, created by the sculptor P. Klodt and the artist T. Neff, is striking in its monumentality.

The painting “The Last Judgment” above the iconostasis, painted by the artist F. Bruni, is filled with tragedy; its coloristic and compositional design conveys the idea of ​​the omnipotence of God.

In accordance with European traditions, a grandiose altar window with an area of ​​28 square meters was made with a full-length stained glass image of Jesus Christ made by German masters. The internal surfaces of the walls and pylons are lined with marble 43 meters high up to the attic. Above the attic, the walls are decorated with artificial marble.

The area of ​​the dome ceiling is occupied by a monumental painting called “The Virgin Mary in Glory”, created by the artist Karl Bryullov. The paintings on the dome drum, sail vaults and attic according to the sketches of K. Bryullov were carried out by the artist P. Basin. The dome at its base is decorated with monumental statues of the twelve apostles.

The cathedral was illuminated with the help of seven gilded bronze chandeliers and candelabra. In 1908, electrification of the interior space was carried out. The interior of St. Isaac's Cathedral amazes with its grandeur and festivity; 300 kilograms of gold were spent on the decoration.

Architectural features of the cathedral

St. Isaac's Cathedral in St. Petersburg has no analogues either in Russian or in world culture.

Appearance

St. Isaac's Cathedral is a great example of a classical cathedral. By the time the finishing of the building was completed, structures in the classical style were displaced from their pedestal by new architectural trends of neo-Renaissance and eclecticism that had reached St. Petersburg.

The central chapter dominates the other four lateral chapters. The building is installed on a plinth with steps. Its plan is a rectangle. The porticoes give it the shape of a cross. The temple has little stylistic connection with traditional Orthodox cathedrals. Minor similarities are represented by the centric layout and the number of chapters.

Parameters of the Cathedral of St. Isaac of Dalmatia:

The location of the cathedral is so favorable that it can be seen from anywhere on the embankment. The cathedral goes well with the monument to Peter I, and the dome is reflected in the waters of the Neva. The pedestrian path and St. Isaac's Square also help attract tourists and make the square a place for city residents to walk.

Sculpture

The sculptural design belongs to the main architect of the cathedral (Montferrand). The program was provided by Olenin. Empire, Baroque and Renaissance forms are combined in the sculptural decoration of the cathedral's exterior. The pediments were made by French sculptors.

North façade

The façade, facing north, is decorated with bas-reliefs and statues. The pediment is decorated with a relief depicting the biblical scene of the resurrection of Christ by the sculptor Lemaire.

The sculptures on the pediments contain images:

• the Apostle Peter holding a key in his hands;
• the Apostle Paul holding a sword in his hands (this is a symbol of devotion to Jesus);
• Apostle John and the eagle behind him.

Western façade

On the façade on the western side, the meeting of St. Isaac and Emperor Theodosius is demonstrated. There are also statues of the three apostles (Bartholomew, Luke and Mark). The decoration of the facade was made by I. Vitali.

South facade

The wise men who came to worship Christ are depicted on the south side of the church. Biblical scenes are also present in niches and on doors. On the pediments there are statues of Philip, Andrew (the patron of the fleet) and Matthew (as well as an angel behind him).

Video review of the cathedral building up close:

East façade

The side facing the avenue (eastern) is also decorated with bas-relief. Isaac of Dalmatia stopped Valens of Byzantium and predicted his death, for which he was chained. Statues of the apostles Simon (with a saw, symbolizing torment), James and Luke decorate the pediment.

Colonnade

At a height of more than 40 m above the foundation of the cathedral there is a colonnade of 24 columns. Climbing one of the two spiral staircases to the colonnade, you can see the city panorama opening from 12 huge windows.

Colonnade

In the architecture of a building, columns are an important element. They encircle the body below, forming porticoes of 8-16 pillars each. A second belt of monolithic columns stretches along the dome.

Upper Colonnade

During the construction of the temple, for the first time in Russia, the technology of lifting large-sized weights to a significant height (up to 40m) was tested. The pillars were cut from granite monoliths near the city of Puterlak (Finland). Their dimensions are:

• height – 14 m;
• weight – 64 – 114 tons.

The columns meet the characteristics of the Corinthian order:

• foundation (base)
• long fluted (with vertical grooves) barrel
• capital (crown in the form of a floral ornament)

The upper colonnade is used as an observation deck. You can get to it using two spiral staircases, 200 steps each:

• south – for entrance
• northern – for exit

Lower Colonnade

Bulky columns in the lower tier of the building were erected before the start of the main construction. The pedestal and pillar are made of granite. A coin is embedded in the foundation of each column - a silver ruble minted in 1837. Under the central pillar there is a medal with the image of Emperor Nicholas I, made of platinum.

How did the paintings come about?

The interiors of St. Isaac's Cathedral occupy four thousand square meters. The walls and vaults have preserved 103 paintings and 52 paintings on canvas. The cycle of religious and historical painting was created by 22 artists. Among them are the famous Karl and Fyodor Bryullov, Fyodor Bruni, Pyotr Basin, and a number of other academicians. Both venerable and little-known painters followed a single algorithm in their work:

• prepared a sketch of the painting;
• if it was approved by a high-ranking commission from the emperor, the Synod, Montferrand and the Academy of Arts, the painting was made life-size - on cardboard;
• only then did they begin to create a canvas or painting.

When revealing biblical themes, artists were obliged to comply with the canons of the Russian academic school:

• the primacy of one hero;
• balanced composition;
• traditional color scheme: red, blue, white tones.

At the same time, the temple order appealed not to craft, but to skill. The authors wrote with their soul, not with their hand. And the soul, as you know, knows no boundaries. If you look closely, the biblical heroes of Fyodor Bruni are characterized by tragedy, and the plots are characterized by mysticism. Nikolai Alekseev, on the contrary, simplified the characters ascended to heaven. Other artists, compensating for the severity of the motives, spared no effort in painting out the details.

Thousands of unknown painters, sculptors and architects who were not looking for glory worked on St. Isaac's Cathedral. Thanks to them, St. Petersburg received an exemplary cathedral - a standard of unity of style and content; architecture, painting and sculpture.

Stained glass, stone trim and other interior details

Saint Isaac's Cathedral. Photo: gopiter.ru

Saint Isaac's Cathedral. Photo: ok-inform.ru

Work on the interiors of the cathedral took 17 years and ended only in 1858. The inside of the temple was decorated with valuable types of stones - lapis lazuli, malachite, porphyry, and various types of marble. The main artists of their time worked on the painting of the cathedral: Fyodor Bruni painted “The Last Judgment”, Karl Bryullov painted “The Virgin Mary in Glory” in the ceiling; the area of ​​this painting is more than 800 square meters.

Education and skill

The architect of St. Isaac's Cathedral was born not in Russia, but in the outskirts of Paris. His youth coincided with the Napoleonic wars of the late 18th and early 19th centuries. The young man studied at the Paris Royal Academy of Architecture (in those years it was called the Special School of Architecture). Twice he had to interrupt his training and go into the active army, to fight with Napoleon’s troops in Italy and Germany.

But, despite all these obstacles, the future architect of St. Isaac's Cathedral managed to learn his favorite craft from the best French masters of that period. During his military campaigns, he was able to see many examples of classical art, and after Napoleon’s surrender, he gained initial practical experience in Paris, where he supervised construction work.

However, the talented and ambitious architect understood that in France, which was experiencing a post-war crisis, he would have nowhere to apply his knowledge. This means you need to look for a more suitable place to realize your abilities. And then the future architect of St. Isaac's Cathedral in St. Petersburg decided to try to use his potential. Why there? The young capital of the Russian Empire did not lack funds, was actively being built and needed talented specialists.

Opening hours and ticket prices

The museum exhibition in the temple is open daily from 10.30 to 18. Wednesday is a day off. During the warm season (27.04 - 30.09) evening excursion programs for tourists are held from 18.00 to 22.30 hours. The operating hours of the colonnade of St. Isaac's Cathedral coincide with the main one (10.30 -18.00). From the beginning of May to the end of October, the colonnade is open to the public every day. During the cold season (November 1 – April 30), a day off is scheduled every 3rd Wednesday of the month. The timings for evening excursions are similar to the general schedule (from 6 to 10:30 p.m.).

The price of passes varies depending on the category of citizens:

• full adult – 250 rub.
• youth (7-18 years old) –50 rub.
• student (for residents of Russia and Belarus) – 50 rubles.
• pension (for residents of Russia and Belarus) – 50 rubles.

If you have an International student Identity Card, the entrance fee is 150 rubles. The evening pass is more expensive and has a fixed price of 400 rubles. The same price is set for visiting the colonnade of St. Isaac's Cathedral.

Architectural and artistic decor

Preserving the traditions of classicism, the leading architect resolved the issue regarding the architectural and artistic decoration of the building somewhat in his own way. As a result, St. Isaac's Cathedral is a wonderful example of not only monumental, but also decorative art.

In the nineteenth century, sculpture was widely used to decorate buildings, and Isaac was no exception. Proper placement of sculptural compositions smooths out transitions from one part of the structure to another, while enhancing the impression of individual elements.

The structure of the cathedral is standard for Orthodox churches of the eighteenth century: entrances are located on the south, west and north sides; The eastern part is reserved for the altar and iconostasis. The entire interior space is divided into three naves with the help of impressive pylons. The height of the central part is sixty-nine meters, the outermost part is twenty-eight meters.

There are three arches in the iconostasis. The central one is decorated with two lapis lazuli columns; through it is the entrance to the main altar of St. Isaac of Dalmatia. The altar window is decorated with one of the largest European stained glass windows: its area is twenty-eight square meters. It was created by the German master Einmiller, and is characterized by a careful selection of colors, their brightness and depth.

Stained glass windows are extremely rarely used in Orthodox buildings, but in this case they not only fit perfectly into the surrounding environment, but give it a particularly solemn look. Side arches lead to chapels with small iconostases of St. Alexander Nevsky and St. Catherine.

The drum of the central dome is also richly decorated: gilded sculptures of twelve caryatid angels alternate with picturesque images of the twelve apostles. The light from the numerous windows reflects off the gilded sculptures and, combined with the rich paintings, they create a stunning effect on the visitor.

The painter Karl Bryullov had a hand in the interior design of the cathedral - he painted a ceiling area of ​​eight hundred and sixteen square meters. The drawing goes in a circle, the artist left the center free - this gives a feeling of lightness and infinity of heavenly space. The lower edge of the lampshade is designed in such a way as to soften the transition from strict architectural forms to lush and solemn artistic images.

Under the dome itself, a dove depicted in the sculpture hovers, symbolizing the Holy Spirit.

The gilded chandelier chandeliers, weighing three tons each, are important - they successfully maintain a sense of solemnity and grandeur

Bell tower and dome

According to the architect's idea, 5 domes were erected over the cathedral. The central, most voluminous crown is conventionally divided into 3 parts:

• lower
• average
• external

Thanks to its size, Isaac has long established itself in the ranking of the largest domed structures in the world. The diameter of the outer part is 25 m, and the inner one is 22.15 m. The vault of the cathedral rises at a distance of 101.5 m from the ground. There are 24 windows around the circumference of the dome. There is a balustrade around the middle part. There are 24 sculptures of angels on the pedestals, symbolizing human virtues. The top of the vault is topped with a “lantern”. The following were used in the design of this architectural element:

• 8 semicircular window openings
• 8 Corinthian columns
• image of the Holy Spirit in the form of a dove, made of silver-plated bronze

There is a cross on the top of the lantern. The ceremony of its installation took place in a solemn atmosphere in 1839. To perform a prayer service, clergy rose to a special platform and blessed the cross. 100 kg of gold was used to gild all 5 domes of the temple.

4 corner belfries were built at the temple. Bells made of an alloy of silver, copper and tin are suspended inside them. The largest alarm bell weighs 30 tons. Since 1848 it has been located in the northwestern tower.

The rise of Russian classicism

The period of design of the fourth cathedral coincided with the Renaissance of Russian classicism. This style is characterized by the features of monumentalism, grandeur, proportional severity, and harmonious unity with the architecture of the surroundings. During the construction of Isaac, classicism acquired a late character, since a mixture of styles was observed in Europe at that time. In the 19th century, the eclectic trend began to develop rapidly. This can be clearly seen in some elements both outside and inside the structure.

Excursion program plan

Since 1928, St. Isaac's Cathedral has become a storage place for art monuments, and its first exhibition was dedicated to the history of the church. During World War II, art objects that were salvaged from other places in the city were hidden in the building.

It was known that the artillery shelling was aimed at the cathedral, therefore, it was not threatened with bombing. In 1931, St. Isaac's Cathedral became home to the world's heaviest device demonstrating the rotation of the globe.

A tour introducing works of art takes place in the Cathedral of St. Isaac.

Today, the artistic interior decoration of the church is taken as an example of a combination of different types of monumental art. The interior solution is shown as a unity of elements, where each component of the decoration interacts with the architectural idea. All this together makes up a harmonious ensemble.

A tour dedicated to the sculpture of the cathedral introduces both the internal statues and the external sculptures and bas-reliefs. During the excursion, visitors are told about the authors of the sculptures, the history of their creation , as well as the stories underlying this or that composition.

Also an interesting element of the excursion will be the inspection of the bust of O. Montferrand. It is carved from stones that were used in the construction of the cathedral. The paintings in the temple, the number of which exceeds 150 paintings, are also worthy of a separate excursion.

During this excursion, the guide will tell you about the biblical scenes on the basis of which the artwork was created. Visitors will also be introduced to the history of painting in Orthodox cathedrals. A separate exhibition is dedicated to the exploits of the temple employees during the siege.

St. Isaac's Cathedral also organizes visits to the colonnade for people in wheelchairs.

St. Petersburg Museum-Monument St. Isaac's Cathedral is one of the best examples of monumental architecture in Europe and one of the most visited museums in Russia. Over the past 160 years, the cathedral has been celebrated by poets and writers, who particularly admired its enormous size.

Article design: E. Chaikina

Museum

The Museum of St. Isaac's Cathedral was founded in 1928. At the same time, the first exhibition dedicated to the history of its construction was held. In 1931 the museum received the name anti-religious. In 1963, it became part of the State Museum of the History of Leningrad.

After 5 years, the institution gained independence. Even later, its composition was replenished with the churches of the Resurrection of Christ and Sampson the Stranger.

In 2002, under a new leader, scientist N.V. Nagorsk, the infrastructure of the St. Isaac's Cathedral Museum is expanding, new exhibitions are appearing, scientific forums are being held, and the official website of the institution is opening. In 2004, the museum included another institution - the Smolny Cathedral concert and exhibition hall.

Condition and restoration of the building

A special commission and the architect of the Montferrand Cathedral himself noted that small cracks began to appear in the building due to different levels of settlement of the slabs . But then Montferrand reported that the cracks were not spreading and the building was no longer sagging.

The columns and, accordingly, the pediments suffered more serious destruction. To return the columns to their original position, metal wedges had to be installed in them. But even after this, the columns continued to deviate. The cathedral needed major repairs.

The following was undertaken:

• the upper parts of the columns were removed;
• the marble slabs were replaced;
• Scaffolding was erected to unload the entablatures.

In 1939, another restoration was carried out, eliminating the deformation. Experts confirmed the stable condition of the temple. An examination of the pylons in 1953 showed the presence of cracks.