Nativity of Christ Cathedral in Ryazan

(formerly, Assumption Cathedral)- Orthodox Cathedral of the city of Ryazan. Along with the Assumption Cathedral, it is one of the two main churches of the Ryazan Metropolis. It is the first stone building on the territory of the Ryazan Kremlin, and one of the oldest buildings in the Ryazan region that has survived to this day.

Nativity Cathedral of the Ryazan Kremlin
orthodox cathedral
Assumption Cathedral
view of the building from the portal
54°38′11″ n. w. 39°44′54″ E. d. HGIOL
A country	Russia
City	Ryazan, Kremlin, Trubezhnaya embankment
Confession	Orthodoxy
Diocese	Ryazan diocese
Deanery	Central
Building type	Cathedral
Architectural style	baroque, classicism
Author of the project	unknown
Founder	Oleg Ryazansky
Relics and shrines	relics of St. Basil of Ryazan, relics of Ryazan princes and princesses
Status	Cultural heritage site № 6210014015 № 6210014015
State	thoroughly restored
Website	ryazankreml.ru/visitors/…
Media files on Wikimedia Commons

It was founded at the end of the 14th century by Grand Duke Oleg Ryazansky on the territory of his court and consecrated as the Assumption Cathedral. When the bishop's see was transferred from Borisov-Glebov to the Kremlin in 1522, the cathedral became a cathedral. After the construction of the new building of the Assumption Cathedral, it was consecrated as the Nativity of Christ.

Story

After the destruction of Ryazan, along with the stone churches, the grand-ducal court was moved to Pereyaslavl, and then the bishop's court moved nearby to the small town of Borisov-Glebov. At that time, all the buildings of Pereyaslavl were wooden, so Grand Duke Oleg Ryazansky began construction of the first stone cathedral. After acquiring the status of a cathedral, each new bishop tried to improve it in some way and bring something new to the architecture of the building. The Nativity Cathedral was rebuilt several times and has survived to this day in the classicist style, in the form that emerged already at the beginning of the 19th century, thanks to the architect Stephenhagen. (1904, 1914).

The last major renovation of the cathedral before its closure was carried out in 1913; since then, Metlakh tiles have remained on the floor.

In 1930, the cathedral was closed and the regional archive was housed in its building. In 2002, the building was returned to the church and consecrated personally by Patriarch Alexy II.

Relics

In 2002, the relics of St. Basil of Ryazan, the first bishop and patron of the Ryazan land, were transferred to the temple. Above the place of his burial you can venerate the shrine containing a piece of his relics. To the right and left of the pulpit are the venerable relics of the 19th century Ryazan saints Gabriel (Gorodkov) and Meletius (Yakimov) in crayfish. There are reliquaries with particles of the relics of many Ryazan saints and 84 venerable fathers of the Kiev-Pechersk. In addition, the cathedral also contains: part of the Robe of the Lord, particles of the relics of the Apostle and Evangelist Matthew, Saints Basil the Great, Gregory the Theologian, John Chrysostom, St. Seraphim of Sarov, Blessed Matrona of Moscow and other numerous shrines available for worship.

Kremlin, Trubezhnaya embankment

Coordinates: 54°38′11″ n. w. 39°44′54″ E. d. / 54.63639° N. w. 39.74833° E. d. / 54.63639; 39.74833(G) (I)

Cathedral of the Birth of Christ in the Ryazan Kremlin (formerly, Assumption Cathedral)- Orthodox Cathedral of the city of Ryazan. Along with the Assumption Cathedral, it is one of the two main churches of the Ryazan Metropolis. It is the first stone building on the territory of the Ryazan Kremlin, and one of the oldest buildings in the Ryazan region that has survived to this day.

Story

The inside of the cathedral had rich decoration, a magnificent carved iconostasis. In 1873-1875, its walls and vaults were painted by the famous Ryazan icon painter N.V. Shumov, on whose initiative the temple also received its completion in the form of an octagonal rotunda with windows - “an octagon on a quadrangle.”

In the 14th-15th centuries, five Ryazan princes and three princesses were buried in the Nativity of Christ Cathedral, and at the beginning of the 19th century - two Ryazan bishops. The cathedral was visited by the following emperors: Alexander I (1819, 1820, 1824); Nicholas I (1832, 1836); Alexander II, being Tsarevich (1837); Nicholas II (1904, 1914).

The last major renovation of the cathedral before its closure was carried out in 1913; since then, Metlakh tiles have remained on the floor.

In 1930, the cathedral was closed and the regional archive was housed in its building. In 2002, the building was returned to the church and consecrated personally by Patriarch Alexy II.

Relics

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Excerpt characterizing the Nativity Cathedral (Ryazan)

The day after his son’s departure, Prince Nikolai Andreich called Princess Marya to his place.
- Well, are you satisfied now? - he told her, - she quarreled with her son! Are you satisfied? That's all you needed! Are you satisfied?.. It hurts me, it hurts. I'm old and weak, and that's what you wanted. Well, rejoice, rejoice... - And after that, Princess Marya did not see her father for a week. He was sick and did not leave the office.
To her surprise, Princess Marya noticed that during this time of illness the old prince also did not allow m lle Bourienne to visit him. Only Tikhon followed him.
A week later, the prince left and began his old life again, being especially active in buildings and gardens and ending all previous relations with m lle Bourienne. His appearance and cold tone with Princess Marya seemed to say to her: “You see, you made it up about me, lied to Prince Andrei about my relationship with this Frenchwoman and quarreled me with him; and you see that I don’t need either you or the Frenchwoman.”
Princess Marya spent one half of the day with Nikolushka, watching his lessons, herself giving him lessons in the Russian language and music, and talking with Desalles; she spent the other part of the day in her quarters with books, an old nanny, and with God's people, who sometimes came to her from the back porch.
Princess Marya thought about the war the way women think about war. She was afraid for her brother, who was there, horrified, without understanding her, by human cruelty, which forced them to kill each other; but she did not understand the significance of this war, which seemed to her the same as all previous wars. She did not understand the significance of this war, despite the fact that Desalles, her constant interlocutor, who was passionately interested in the progress of the war, tried to explain his thoughts to her, and despite the fact that the people of God who came to her all spoke with horror in their own way about popular rumors about the invasion of the Antichrist, and despite the fact that Julie, now Princess Drubetskaya, who again entered into correspondence with her, wrote patriotic letters to her from Moscow.
“I am writing to you in Russian, my good friend,” wrote Julie, “because I have hatred for all the French, as well as for their language, which I cannot hear spoken... We in Moscow are all delighted through enthusiasm for our beloved emperor.
My poor husband endures labor and hunger in Jewish taverns; but the news I have makes me even more excited.
You probably heard about the heroic feat of Raevsky, who hugged his two sons and said: “I will die with them, but we will not waver!” And indeed, although the enemy was twice as strong as us, we did not waver. We spend our time as best we can; but in war, as in war. Princess Alina and Sophie sit with me all day long, and we, unfortunate widows of living husbands, have wonderful conversations over lint; only you, my friend, are missing... etc.
Mostly Princess Marya did not understand the full significance of this war because the old prince never talked about it, did not acknowledge it and laughed at Desalles at dinner when he talked about this war. The prince's tone was so calm and confident that Princess Marya, without reasoning, believed him.
Throughout the month of July, the old prince was extremely active and even animated. He also laid out a new garden and a new building, a building for the courtyard workers. One thing that bothered Princess Marya was that he slept little and, having changed his habit of sleeping in the study, changed the place of his overnight stays every day. Either he ordered his camp bed to be set up in the gallery, then he remained on the sofa or in the Voltaire chair in the living room and dozed without undressing, while not m lle Bourienne, but the boy Petrusha read to him; then he spent the night in the dining room.
On August 1, a second letter was received from Prince Andrei. In the first letter, received shortly after his departure, Prince Andrei humbly asked his father for forgiveness for what he had allowed himself to say to him, and asked him to return his favor to him. The old prince responded to this letter with an affectionate letter and after this letter he alienated the Frenchwoman from himself. Prince Andrei's second letter, written from near Vitebsk, after the French occupied it, consisted of a brief description of the entire campaign with a plan outlined in the letter, and considerations for the further course of the campaign. In this letter, Prince Andrei presented his father with the inconvenience of his position close to the theater of war, on the very line of movement of the troops, and advised him to go to Moscow.

The Cathedral of the Nativity of Christ is rightfully considered the spiritual center of Lipetsk, one of its symbols, an architectural pearl and dominant feature.

Occupying the top of Cathedral Mountain, it rises above the central part of the city and allows you to admire its majestic classical forms from many points in Lipetsk. Having become the calling card of the city, a place of pilgrimage for thousands of Orthodox believers and all its guests, the Cathedral Church of the Nativity continues to be the main temple of Lipetsk, uniting in cathedral prayer the parishioners whose ancestors almost four centuries ago built and decorated the wooden Nativity Church - the predecessor of the modern cathedral.

According to the traditional point of view, the construction of the stone cathedral Church of the Nativity of Christ began in 1791. This also follows from the inscription that remained until the mid-1950s on the choir of the cathedral: “God the Father created this temple, the Son established it. By the command of the Most Pious Autocratic Great Empress Our Lady Empress Ekaterina Alekseevna With the blessing of the Most Holy Governing Synod and the Most Reverend Innocent, Bishop of Voronezh, this temple in the name of the Nativity of Christ was built in 1791, October 20th day, and consecrated in 1807, May 25th day, under the blessed Sovereign Emperor Alexander the First" . We read the same thing in many publications and documents.

It would seem that everything is clear. However, in an archival document from 1797, the temple is mentioned as “receiving a church of considerable size this summer.” We find the same dating in the clergy register of the cathedral in 1918, the description of the temple and parish for 1919. In addition, the famous connoisseur and lover of art A. Benois in one of his articles mentions the project of this temple, dated 1796. Perhaps the reason for this the disagreement lies in the incorrect reading of the inscription on the choir - it is not so difficult to confuse the numbers 1 and 7 in it, especially after repeated “renovations” in the 19th and early 20th centuries.

There are discrepancies regarding the customer and builder of the Nativity Cathedral. So, Prince N.M. Kugushev, who visited Lipetsk in 1804, calls him the builder of the landowner of the Lipetsk district, Captain Pyotr Lukich Velyaminov, who “with his efforts and the sum of willing donors, according to the plan and work of one Italian, brought this magnificent building almost to completion - having faith, zeal in his heart, but with gratitude and glory in mind. Mr. Velyaminov thus built an eternal monument for himself in the hearts of the good citizens of Lipetsk." Admiring the almost completed temple, Prince Kugushev wrote: “Not only in a steppe town like this one, but in any other big city, this building, made with such taste, can always attract attention that I find little of it even in big cities.” similar"

In the book “Journey to the Lipetsk Mineral Waters in 1803,” published in Moscow in 1804, an unknown author, speaking about the church, echoes Prince Kugushev: “It was built with such taste that I find few like it in big cities ... appears both from the inside and outside to be an ancient Greek temple... Lipetsk owes this decoration to the local nobleman P. L. V., whose leadership and the assistance of willing donors it was being built.”

Money for the construction of the temple was collected from the bridge over the Voronezh River. It is especially active during the fairs held here.

In the already mentioned article by A. Benoit, who worked with the archives of the Adamini family in Italy, there is an inscription on the design of the temple made by the architect Tomaso Adamini for the “illustro signore Pietro Veliaminoff” and built in Lipetsk, Tambov province. From which it also follows that P.L. Velyaminov ordered the design of the temple and was the organizer of its construction.

Meanwhile, in other sources dating back to 1812, another Lipetsk landowner, Nikolai Ivanovich Lodygin, is named as the builder of the temple.

One can only assume that N.I. Lodygin, who is also married to P.L.’s sister. Velyaminov Elena Lukinichna, donated a lot for the new cathedral church and actively helped his relative in its construction. In addition, Pyotr Lukich Velyaminov was away for a long time on business on his other estates, and he died in 1804, without waiting for the consecration of the cathedral. And if we take into account that Nikolai Ivanovich Lodygin constantly lived not far from Lipetsk, which means he could often be here at the final stage of construction and monitor the progress of work, then it is not surprising that it is Lodygin, along with Velyaminov, who is mentioned as the main builder of the Lipetsk temple cathedral

It is too early to put a final point on the question of who is the architect - the author of the design of the cathedral, its temple part and the bell tower. There is a strong opinion in the literature that the Nativity Cathedral was designed by the famous Italian architect Tomaso Adamini. It is probably based on the statement of G.K. Lukomsky that Tomaso Adamini built in Lipetsk in 1796.
The construction of the temple part of the Nativity of Christ Cathedral was basically completed in 1803. But it was not possible to consecrate the constructed temple immediately: a fire occurred, during which all the wooden parts of the cathedral burned, and the building itself was badly damaged. By 1805, the cathedral church was renewed through the zeal of many benefactors, among whom contemporaries especially singled out the local landowner - Senate registrar Nikolai Yakovlevich Zatsepin. In 1805, after the consecration of the first altar, services began in the cathedral church.

The Nativity of Christ Cathedral was built in the classical style and has an original two-tier volumetric composition. The first two-height tier, square in plan, is adjoined on the eastern side by a semicircular apse, and on the other three sides by equal rectangular aisles. There are two additional altars in the northern and southern ones, and the western one, before the construction of the refectory, served as a vestibule. The northern and southern facades of the first tier are decorated with loggias with columns of the Tuscan order, bearing the full profile of the entablature.

Between the columns along the central axis there are large double doors with a triangular sandstone and above them a semi-circular window of the second light. Along the lower edge of the second-light windows, a small cornice runs along the perimeter of the temple. The second cornice runs along the bottom edge of the lower windows. On the northern and southern sides of the temple there were two stone porches: the southern one with a two-flight (seven steps) staircase and the northern one with a one-flight staircase.

Under the entire temple part there is a basement with powerful columns and thick stone vaults. There are four doors leading into it, facing the façade in the basement of the temple.

The low second tier of the cathedral, also square in plan, seems to grow out of the first, but has no chapels.

The facades of the second tier are decorated with huge semi-circular windows and a cornice running along the lower edge of the window. The transition from the quadrangle to the dome is made in the form of a stereobat. It is covered with a large spherical dome, topped with a low, blind drum with a small dome and “an eight-pointed cross, the dome and cross are gilded.”

The temple building was crowned with a dome with a gilded dome; “the vastness of its size gives its appearance a majestic appearance even with an ordinary, unimpressive architecture,” contemporaries of the construction wrote about it.

On June 20, 1805, Archpriest Joseph Sentsov consecrated the first altar of the new church in the northern aisle - in the name of St. Nicholas the Wonderworker. From that moment on, regular services began in the cathedral. At the same time, the main iconostasis was installed. The icons of the altar barrier in the temple, and possibly the paintings on the walls of the cathedral, were made by a graduate of the Russian Academy of Arts, a former serf of Count Vorontsov, Trofim Fedorovich Durnov (1765–1833). The famous writer Stepan Petrovich Zhikharev, who visited the Lipetsk resort in 1805 and 1806, calls one of his works, the altarpiece, “The Descent from the Cross.”

According to another of our fellow countrymen Pyotr Ivanovich Bartenev, the wall paintings of the “beautiful cathedral” were “taken care of by Pyotr Lukich Velyaminov, a friend of Derzhavin.”

The main altar in honor of the Nativity of our Lord Jesus Christ was consecrated on May 25, 1807 by Archpriest John Panov. It was from this time that the function of the Lipetsk cathedral church passed from the Ascension Church to the Nativity Church.

The third altar altar (the right one is in the southern aisle) was consecrated on August 14, 1816 by Archimandrite Anastasius of the Kozlov Trinity Monastery in the name of the Dormition of the Mother of God. Several generations of city residents and numerous visitors to the Lipetsk Mineral Waters resort donated to decorate the interior decoration of the cathedral church in Lipetsk.

A description of the three altars in the temple part of the cathedral, compiled in 1896, has been preserved. Above the main altar there was “a glass canopy, supported on four polished crystal columns, above the columns at all four corners there were four chandeliers for candles< … >The canopy itself has the shape of a vault, in the middle of its top there is a similar canopy...

In the highest place there is a Life-Giving Cross carved from linden wood, set in a marble-like cabinet, the carvings and edges of the Cross are gilded< … >The front side depicts the Crucifixion of the Lord, at the ends of the Cross: those coming; at the upper end is God the Father; the other side depicts the suffering of the Lord in the court of Pilate. Next to the Holy Cross is an icon of the Mother of God with the Eternal Child. Set in the same marbled cabinet; The icon has a silver-gilded crown. In the middle is his crown, decorated with a set of rhinestones. Between these icons and St. On the throne on the table there is a small bronze gilded seven-branched candlestick with seven crystal lamps.

Parallel to the throne on the wall of the high place< … >Praying to the Lord in the Garden of Gethsemane< … >wooden frame decorated with elegant Rococo carvings, frame and carvings are gilded. The frame is 7 arshins high, 5 arshins wide. On the north wall of the altar< … >paintings< … >on the canvas: a) the high priest Elijah and the youth Samuel... b) St. Gregory the Theologian...

On the south wall< … >paintings: a) Anthony and Theodosius of Pechersk; b) Saints Athanasius of Alexandria< … >All 4 paintings are exquisite artistic work. The size of all 4 paintings is the same: 4 arshins in height and 2 1/4 arshins in width. In front of the altar is the painting “Abraham’s Sacrifice of the Son of Isaac”< … >also drawn on canvas and inserted into a gilded frame.

Above the Royal Doors< … >icon of the Mother of God and St. apostles..."
In front of the holy throne of the Assumption chapel, “in a high place there is installed the Holy Life-Giving Cross and an icon of the Mother of God. Above the Royal Doors at the top is the icon of the Transfiguration of the Lord.”

On September 6, 1841, a new antimension was issued to the throne in the name of the Dormition of the Mother of God, consecrated by His Grace Nicholas (Dobrokhotov), Bishop of Tambov.

In the altar of the St. Nicholas chapel "behind the throne there is a cross with a depiction of the crucifixion< … >and the image of the Mother of God with a silver crown in which three stones are embedded. Above the Royal Doors< … >icon of the Ascension of the Lord." On January 23, 1850, a new antimension was received for the throne, also issued by Bishop Nicholas of Tambov.

The altars had vaults painted with various sacred images. The main altar depicts a cross carried by three angels. In the altar of the Assumption on the eastern side there is the Lord of Hosts, on the southern wall - three saints, on the northern - St. Metropolitan Jonah. In the altar of St. Nicholas the Wonderworker, on the eastern wall there is a miraculous image carried by two angels; on the southern side there is an angel of the Old Testament with tablets of the commandment, on the north - the angel of the New Testament with the Cup."

In 1822, a decision was made to erect a cathedral bell tower, and by decree of the Tambov Spiritual Consistory dated January 30 of the same year, a “cord-sealed book was issued for a collection of voluntary” donations for its construction. The construction of the bell tower, designed in a strict classical style, began in 1825. On the plan of Lipetsk in 1833, the bell tower is shown as unfinished.

Its construction was completed in 1835. The bell tower has 5 tiers. The first is double-height, square in plan, decorated with four-column porticoes of the Ionic order with pediments.

The second tier is of a smaller cross-section and very low, has two stereobat steps at the base and is topped with a massive cornice. Its facades are decorated with molded semi-circular arcs with imitation of a keystone and small windows occupying the third (central) part of the space outlined by the arc. The remaining plane of the wall, not outlined by an arc, is treated with horizontal rustication.

The third tier of the bell tower - the tier of bells - is decorated with a colonnade resting on a stepped stereobat and crowned with a massive entablature. Columns with beautiful capitals of the Corinthian order seem to frame the bell openings. The walls between the columns are decorated with niches.

The fourth tier on the square stereobat is made in the form of a slender octagon with bell openings at the cardinal points. It gives the bell tower a completely different look – light and airy. The feeling is enhanced by the semi-columns framing the bells and the pilasters located between the columns on the diagonal edges of the octagon. The columns and pilasters are decorated with capitals of the Corinthian order. Above the semicircular arches of the bells there are triangular sandriks, connected to each other by a cornice along the entire perimeter of the octagon. The octagon is crowned with a stepped cornice.

The fifth tier of the bell tower is made in the form of a low cylinder, decorated at the cardinal points with square niches with round openings inscribed in them, where the tower clock is located. The multi-tiered bell tower is completed by a stereobat with a small spherical dome and a blind drum topped with a cross with an apple under the cross.

The height of the bell tower to the top of the cornice was 23 fathoms, its total height was up to 90 arshins. The head and the four-pointed cross were gilded.

At the beginning of the 20th century. There were eight bells on the bell tower of the Nativity of Christ Cathedral. The largest, weighing 489 pounds and cast in 1859, was cast in 1900. Its weight increased to 558 pounds 10 pounds.

The second largest bell, the polyeleos bell, weighed 141 pounds 24 pounds and was cast in 1815. The daily bell weighed 75 pounds and was cast in 1859.
The fourth - 7 pounds, the fifth - 2 pounds 25 pounds, the sixth - 2 pounds 26 pounds.
Small bells are the seventh and eighth, their weight is unknown 16.

There was a small basement under the bell tower; in its first tier, on the right side of the entrance, there was a room for watchmen and bell ringers.

On the left side there is a door to a spiral staircase leading to the second tier and to the basement, and next to it is a storage room with access to the street on the north side of the bell tower (the door is currently blocked). The porch for “going down” had ten steps.

One of the distinctive features of the cathedral bell tower is the clock. The first tower clock was installed back in the late 50s of the 19th century. At least, the contract for their installation was concluded in 1858. In documents from 1896, the installed clocks are already mentioned as broken.

During the renovation in 1957, a spire 8 meters high was installed on the dome of the bell tower. At the moment, the height of the bell tower with its spire, not counting the cross, is 60 meters.

After the construction of the bell tower, there was a rather long break in the construction of the cathedral, which was not due to material difficulties, but to the peculiarities of the technology: the builders assumed that the bell tower, given its enormous height and weight, would have to settle. And only when the volumes of the bell tower and the temple part, different in height and weight, stabilized, the construction of the refectory began. Vasily Andreevich Zhukovsky, who accompanied the heir to the throne, Tsarevich Alexander Nikolaevich, who was traveling around the country in 1837, made a drawing of the unfinished cathedral during a stop in Lipetsk on July 5–6, 1837. On it you can see the temple and a separate bell tower.

The two parts of the Nativity of Christ Cathedral were to be connected by a refectory, the construction project of which was carried out by the Tambov provincial architect Shubkov in 1838. The architect was previously given the task of coordinating the style of the refectory with the already built bell tower and temple.

After the approval of the drawings by the Tambov bishop, they were sent to the Holy Synod, which, in turn, on November 25 of this year forwarded them for consideration by the Main Directorate of Communications and Public Buildings.

Having examined the project, the Commission of Projects and Estimates of the Council of Railways and Public Buildings of the Ministry of Internal Affairs issued its conclusion: “The Commission finds that since this meal is supposed to be arranged between the existing church and the bell tower, without changing the appearance of these latter, then the project is adapted to the style of the church and bell tower, the Commission may be allowed."
At its meeting on February 23, 1839, the Synod decided to build the refectory of the Nativity Cathedral and sent all the documents to Tambov on February 27.

Back in 1838, bricks were prepared and “the alignment around the church of the earth” was completed for the construction of the refectory.

In the spring of 1839, after receiving a building permit, construction of the refectory began. The architect and builders were quite successful in implementing the project in accordance with these objectives.

The contractor for the construction was a peasant from the Skopinsky district of the Ryazan province, Fadey Markelovich Shilov. In May they dug trenches for the foundation and began laying. During the season of 1839, the bulk of the work was completed. By July, the tradesman Semyon Karataev had forged the gratings, and the merchant's son Ivan Milovanov supplied the connecting iron. The cornice slabs were laid in August, the porches were built in September, and carpentry and even roofing work was completed in October–December.

The following year, finishing work was underway inside the building. In 1841, the Kozlov merchant Zakhar Rodionovich Efimov carried out work on the production of iconostases, for which the painter Ivan Pavlov was ordered “6 images of the Royal Doors” 23 . In 1843, the tradesman Alexei Semyonov was engaged in gilding iconostases, and the painter Alexei Mikhailov was painting “images for the refectory.”

Through the diligence of the cathedral archpriest Andrei Ivanovich Kalugin and the church warden Stefan Larin, who was in charge of the construction work, the construction was completed by 1842. The extensive three-nave refectory was built in two lights, on a high plinth. The external decor repeats the decor of the previously built volumes of the bell tower and the temple part. The facade of the refectory is decorated with pilasters and cornices, the second-light windows are framed with semicircular arches, the lower windows are framed with triangular frames.

The dimensions of the refectory are “the length inside is 37 arshins, the width is 21 arshins, and the height is 9 arshins.” The refectory was separated from the temple part by a partition in which “glass double doors” were made.

Two altars in the refectory church were consecrated by Archpriest Andrei Ivanovich Kalugin: November 23, 1841 - in honor of the Smolensk Icon of the Mother of God Hodegetria (left) and November 22, 1842 - in honor of the Exaltation of the Life-Giving Cross of the Lord (right).

The side altars in the refectory were decorated with no less taste and grace than in the temple part. In the Vozdvizhensky altar "behind the throne in a high place there is a carved cross< … >on the front side in the middle there is depicted the crucifixion of the Lord, at the top is God the Father, at the extremities are the Mother of God and< … >John the Theologian; next to it is an image of the Mother of God in a gilded frame. Both icons are inserted into wooden carpentry cabinets, painted with marbled oil paint. Above the altar there is an icon of the Savior, 9 vershoks in height and 6 vershoks in width, in a silver-gilded robe with the same crown.< … >

A lamp was installed in front of the icon< … >made of thin silver wire< … >decorated with multi-colored crystal balls."

On November 12, 1885, His Grace Vitaly, Bishop of Tambov and Shatsk, issued a new antimension to the Exaltation Throne, which, due to its disrepair, was replaced by the newly consecrated Bishop Innocent in 1904. In front of the holy throne of the Smolensk Icon of the Mother of God there was a “carved cross, gilded< … >and the image of the Mother of God< … >In front of the altar is the image of the Mother of God of Fedorov in a silver robe with the same crown." A new antimension for this altar was issued by Bishop Vitaly in 1890, and in 1912 it was again replaced by Tambov Bishop Kirill (Smirnov).

The construction of the main cathedral church in Lipetsk was completed with the construction of the refectory and the consecration of the thrones. By 1848, in the parish of the Nativity of Christ Cathedral there were 344 courtyards, in which 1,556 male and 1,563 female souls lived, including 13 courtyards of nobles with 24 men and 30 women.

The interior of the cathedral church was designed in a classical style, and many enthusiastic reviews of its beauty have been preserved. The temple part looked majestic, covered with a huge dome. The lower tier of the temple part was decorated with columns arranged in pairs. Above them in the second tier on three sides under the arches there were choirs. At the base of the dome along the entire perimeter there are second choirs.

The iconostases of the cathedral, both in the present and in the refectory church, were “of an ancient design with columns in two tiers with artistic work and gilding.” The iconostasis of the main altar was small, located in the arch between the columns, without covering them, which gave the temple an even more majestic and monumental appearance.

The dimensions of the two-tier iconostasis of the main altar were: length - 8 arshins 8 vershoks, height - 4 fathoms 2 arshins 9 vershoks. The two iconostases of the side altars in the temple part were 8 arshins 10 vershoks in length, and 3 sazhens 10 vershoks in height. Dimensions of the two side iconostases in the refectory: length - 8.5 arshins, height - 3 fathoms 4 vershoks, sides 7 arshins 15 vershoks.

Thanks to the description of the Nativity of Christ Cathedral of 1896, we have the opportunity to personally imagine its internal appearance and, above all, the iconostasis. Later, their appearance did not change, and the detailed description given here gives an idea of what the cathedral looked like, which amazed and delighted not only Lipetsk residents with its interior decoration, but also numerous guests of the city at the last stage of its history before its closure in Soviet times.

The main iconostasis was made of two staves (tiers) of wood, "... the plinth was painted with oil paint to imitate marble; the body of the iconostasis was painted with white oil paint; the cornices, lower and upper, were gilded with red gold< … >Royal Doors< … >recessed from the local icons into the altar by two arshins. There are four columns in the recess: two on the north side and two on the south side,< … >the capitals are decorated with carvings and all are gilded... The doors of the gates are wooden, carved and gilded with red gold for polyment. An icon has been approved on them< … >Annunciation to the Blessed Virgin. In the lower post on the right side of the gate is the image of the Lord Savior< … >On a board with a gilded silver chasuble, 84 samples< … >2 arshins high, 1 arshin wide, weighing 17 pounds and 77 spools. The icon is inserted into an icon case, also gilded. At the top of the icon case there is a carved wooden headrest, at the bottom there is a gilded arabesque.

On the southern door to the altar, the Archangel of the heavenly powers, Michael, is drawn on a board. Between two carved semi-columns< … >The image of the Nativity of the Lord Jesus Christ, written on canvas, is inserted into a gilded frame with carvings. Above it is a semicircular image of the Baptism of the Lord< … >Above the image is a small pediment, above its top there is gilded carving. Strengthened to two stone columns< … >in a gilded carved frame there is an image of the Lord Jesus Christ in a silver-gilded robe with the same crown of 84 samples. The dimensions of the chasuble are 1 arshin 12 vershoks in height, 11 vershoks in width. Weighing 14 lbs.< … >up< … >image of the Lord of Hosts. Below the image on the floor there is a two-entrance elevation on two sides - on the north and south, in three steps with a small square platform. Steps, platform and grate< … >cast iron. On the left side of the Royal Doors is the image of the Most Holy Theotokos with the Eternal Child< … >with a silver gilded chasuble and the same crowns, the chasuble is 2 arshins high, 1 arshin wide, weighing 17 pounds 77 spools. The image is inserted into a carved wood and gilded frame. The icon wears a gold pectoral cross on a gold chain, weighing 31 spools 66 shares< … >On the reverse side is minted: “To Lipetsk Cathedral Archpriest Ioann Ioannovich Nesmelov.” On the northern door to the altar, an image of the Archangel Gabriel is painted on a wooden board.

Between carved wooden semi-columns with bases and capitals gilded with red gold< … >the image of the Nativity of the Blessed Virgin Mary is inserted into a gilded frame with carvings< … >above it is a semicircular image of the descent of the Holy Spirit on the Apostles on the day of Pentecost... Above the image is a small pediment with gilded carved cornices, above the top of the pediment there is gilded carving... To two stone columns< … >An image of the Smolensk Mother of God in a gilded silver robe with the same crown is inserted into a gilded frame decorated with carvings.

There are 29 stones embedded in the crown... In the middle of the crown there is a crown with three also multi-colored stones< … >size of the chasuble: height 1 arshin 12.5 vershok, width 1 arshin... Above the image there is a gilded small carving and an image of the Holy Trinity... The icon is recognized as miraculous.

There are lamps in front of the icon< … >and elevation... In the second stave above the Royal Doors, “The Last Supper” is written on a semicircular board. On the right side of the “Supper” is the image of the Transfiguration of the Lord. On the left side is “The Ascension of the Lord into Heaven.” Above the southern door to the altar, two tablets are depicted in wood carvings... Above the northern door, the same carvings depict a vessel and a Gospel. Above the Royal Doors and local icons there is a semicircular vault ending at the top, supported on four smooth wooden columns, gilded with polyment, a canopy, in the middle of which there is a carved wooden canopy< … >image of the crucifix< … >on both sides of him are two kneeling angels. The Savior wears a crown and a belt made of silver, weighing in silver 1 pound 29 spools. The front arch and vault are decorated with gilded carvings. Above the arch is a pediment, to the top of which is attached a picturesque carved wood “The Resurrection of the Lord from the Tomb,” with carved gilded rays.”

In the chapel of the Dormition of the Mother of God "... iconostasis< … >about two stakes. Royal Doors< … >in the middle of them is a picturesque image of the Annunciation of the Blessed Virgin Mary. On the right side of the Royal Doors between two carved wooden columns< … >image of the Transfiguration of the Lord< … >covered with a silver ungilded robe. The crowns on the Savior and the Apostles are gilded< … >the size of the chasuble is 2 arshins in height, 1 arshin in width, weighing 15 pounds 69 spools. Above the icon there is a carved headband and an arabesque below, gilded...

An angel is depicted in painting on the southern door to the altar. On the southern wall of the temple there is a wooden icon case with two carved and gilded< … >columns, between< … >with which the image of St. is inserted in a carved gilded frame. Martyrs Adrian and Natalia, lined with a silver ungilded robe with gilded crowns< … >The size of the chasuble is 2 arshins in height and 1 arshin in width. Weighs 14 pounds in silver. Above the icon there is a gilded carving and an image of St. Apostle Andrew the First-Called; Below the icon is a carved gilded arabesque. On the left side of the Royal Doors< … >an image of the Dormition of the Mother of God, overlaid with a silver, ungilded robe, with a gilded crown; The size of the chasuble is 2 arshins in height, 1 arshin in width, weight in silver is 14 pounds, 14 spools. On the north door to the altar there is an angel written on a board. In the second stave above the Royal Doors there is a semicircular arch with gilded carvings around it< … >The icon “The Last Supper” is installed in a gilded frame. Above the arch, between two gilded carved columns, is the image of Christ the Savior sitting on a throne. On the south side of the Royal Doors, above the local icon, in a round gilded frame there is an image of the Evangelist Mark.

Above the south door in the chancel< … >icon of the Evangelist Matthew. On the northern side of the Royal Doors, above the local icon and the northern door to the altar, there are such icons of the evangelists Luke and John."

In the chapel of St. Nicholas the Wonderworker iconostasis< … >painted with white paint. The royal doors are carved, gilded... In the middle of them is the image of the Annunciation of the Blessed Virgin Mary. On the south side of the Royal Doors there is a local image of Christ the Savior< … >with a silver ungilded chasuble with a silver gilded crown< … >weighing 13 pounds in silver, 89 spools... The chasuble was donated in 1831 by landowner Zatsepina. Between two carved gilded semi-columns, in a gilded frame, there is inserted an image of St. Nicholas the Wonderworker, overlaid with a silver robe with a gilded crown and miter... Weighing 13 pounds in silver, 89 spools... On the left side of the Royal Doors, a local image of the Most Holy Theotokos with the Eternal Child is overlaid with such with gilded crowns< … >The weight of the chasuble is 14 pounds 40 spools. The chasuble was donated by landowner Zatsepina in 1836.

On the northern door to the altar there is an image of St. Gregory the Theologian. A wooden icon case with two carved and gilded columns is attached to the southern wall of the temple. Between them< … >image of St. Alexander Nevsky, holding in his left hand a banner depicting the head of Christ the Savior.

At the top is an icon on a round board of St. Apostle James... In the second station above the Royal Doors< … >icon, Entombment of the Most Pure Body of Christ the Savior." Above, "between two carved and gilded semi-columns< … >image of the Lord of Hosts< … >upstairs< … >four-pointed cross.

On the south side of the Royal Doors in round frames< … >icons of the evangelists Mark and Matthew. From the north side of the gate< … >icons of the evangelists John the Theologian and Luke."

In the chapel of the Exaltation of the Venerable Cross of the Lord "... iconostasis< … >about two stakes. The royal doors are made of thin smooth columns, gilded with red gold... In the middle of them is a smooth gilded wooden structure three inches wide< … >a cross, in the middle of it there is a carved, gilded rays, radiance. On them is a picturesque image of the Annunciation, and below are four evangelists... Above the Royal Doors is an image of the Last Supper... On the right side of the Royal Doors is an image of the Exaltation of the Cross of the Lord. Silver cross, gilded 84 samples. It weighs 1 pound 42 spools. A silver gilded chasuble is placed on the icon, 1 arshin 9 vershoks in height, 15 vershoks in width< … >silver-gilded crowns weighing in silver 15 pounds 42 spools< … >in front of the icon< … >silver gilded lamp on silver chains< … >weighs 90 spools. The robe for the icon was donated by parishioner Nadezhda Kryukova... On the southern door in the altar the High Priest Melchizedek is depicted... On the left side of the Royal Doors the image of the Mother of God “Joy of All Who Sorrow” is covered with a silver gilded robe with the same crowns. The measure of the robe is 1 arshin 9 vershoks in height, 1 arshin in width, weighs 15 pounds... In front of it< … >silver gilded lamp on silver chains. The chasuble and the lamp were donated by merchants and parishioners - the Khrennikov brothers< … >The image of the Forerunner and Baptist of the Lord John. In 1899, parishioner merchant Gavril Dmitriy Krastelev made a silver-gilded chasuble for the icon of John the Baptist, its size was 1 arshin 8 vershoks in height, 1 arshin 1 vershoks in width. It weighs 16 pounds... Before the icon< … >silver gilded lamp. On the icon of the Sorrowful Mother of God placed on the lectern< … >a silver-gilded icon was attached by a parishioner."

In the chapel of the Smolensk Icon of the Mother of God "behind the left choir there is an icon of the Mother of God, St. Great Martyr Tryphon< … >decorated all around with gold embossing... In the chapel of the Exaltation on the lectern< … >icon of the Resurrection of the Lord in a gilded silver robe. The height is 5 inches, the width is 4 inches... On the other lectern there is an icon “Joy of All Who Sorrow”< … >on a small table there is an image of the Lord Jesus Christ in a silver gilded robe. The height is 6 inches, the width is 5 inches.

In the chapel of the Smolensk Mother of God there are saints in a gilded frame... In 1898, the merchant Mikhail Vasilyevich Kryukov donated a silver-gilded chasuble for the icon of the Savior. The size of the chasuble is 1 arshin 6 vershoks in height, 15 arshins in width, and weighs 16 pounds."

The following is a description of the interior of the cathedral. In the temple part on the right side "between two stone columns there is an image of Our Lady of Sorrows< … >above it is a semicircular image of the Annunciation to the Blessed Virgin< … >On the left side< … >image of St. Holy Martyr Charlampius, Blasius, St. Martyrs Frol, Laurus, John the Warrior, Prophet Elijah, St. Savvaty< … >above it is a semicircular image. In the vestibule on the right side< … >The image of the Vladimir Mother of God is surrounded by a silver gilded robe with such crowns. On the crown of the Mother of God is a star decorated with a set of rhinestones. Parallel installed on the left side< … >icon case, in which the image of St. is inserted in the middle. Great Martyr Panteleimon, in a silver gilded robe with such a crown. The robe measures 6 inches high and 5 inches wide.

In the Vozdvizhensky chapel behind the right choir "... the image of our Lord Jesus Christ< … >in Byzantine style, the fields are decorated with gold embossing< … >image of the Mother of God< … >with the same coinage... In front of them is a silver gilded lamp... In front of the icon of the holy Forerunner of the Lord on a lectern< … >icon of the Resurrection of the Lord in a silver gilded robe, surrounded by 12 holidays, height 5 inches, width 4 inches. On another lectern< … >icon “Joy of All Who Sorrow” in a gilded silver robe.”

In the Smolensk chapel “behind the left choir there is an icon of the Mother of God and the Holy Great Martyr Panteleimon and the Martyr Tryphon, painted in Byzantine style and decorated with gold embossing all around, in front of the icons< … >silver gilded lamp.

According to the recollections of contemporaries, the inside of the Nativity Cathedral resembled “an art gallery with paintings of spiritual content: paintings in massive gilded frames are hung on the walls. These paintings belong to the brush of more or less famous artists of the Italian school, and some of them are remarkably good. Most of the paintings are a gift from landowners, many were exported from Italy." The dimensions of the largest of them are given - 4x4 arshins and 4x2.5 arshins. There were 16 such icons in the temple part, and 4 31 in the refectory. These paintings are also mentioned in Soviet-era documents - in inventories of the cathedral’s valuables compiled before its robbery: “Large paintings on artistic canvas in gilded frames with carvings< … >29 pieces".

According to the inventory of 1896, on the southern wall of the temple “the painting “The Appearance of the Lord Jesus Christ after the Resurrection of Mary Magdalene” was fixed, painted on canvas and inserted into a gilded frame decorated with carvings< … >the size of the frame is 4 arshins in height, 2.5 arshins in width... On the same wall, on the other side of the exit doors, is the painting “The Flight of the Child Lord Jesus into Egypt”< … >measuring 5 arshins in width and 4 arshins in height.

On the southern wall of the temple there is a wooden icon case with two carved and gilded columns, between them an image of St. Alexander Nevsky, holding in his left hand a banner depicting the head of Christ the Savior...

On the parallel wall is the painting “The Resurrection of Jairus’ Daughter by the Lord”< … >measuring 4 arshins in height and 4 arshins in width< … >On the same wall is the painting “12-year-old Jesus Christ among teachers in the Jerusalem Temple”< … >4 arshins in width and 4 in height (in 1895 it was moved to the refectory on the northern wall). Between two stone columns in a recess there is a painting “King-Priest Melchizedek meeting Abraham with the five loaves”...

On the other side of the column< … >St. Gregory the Theologian in full holy vestments, frame size 4 arshins in height and 2.5 in width< … >Parallel to it on another column is the painting “St. John Chrysostom"< … >Between two columns is the painting “St. Tikhon Zadonsky” one size< … >with the painting “St. Melchizedek." On the northern wall in the chapel of St. Nicholas is the painting “The Nativity of the Blessed Virgin Mary”< … >4 arshins high and 2.5 wide. On the same wall on the left side of the exit doors is a painting (the subject of it is Matthew 19, Chapter 1, 625 Art.)< … >On the other wall, parallel to the painting “Jesus in the Synagogue of Nazareth among the Teachers”< … >4x4 arshins... In the vestibule of the same church on the right side “Sermon of St. John the Baptist in the Wilderness”< … >4x4 arshins... On the parallel wall... “Jesus the Savior on Calvary before the crucifixion”... 4x4. Parallel to the left side is a painting... “The Holy Family”... 4x4. On the other wall there is a parallel painting - on the canvas the plot of its events during the betrayal of the Lord Jesus Christ by Judas in the Garden of Gethsemane< … >4x4. Above the entrance door from the meal... “The Supper in the House of Simon the Pharisee”< … >4x4. In the refectory of the church on the southern wall there is a painting...

“St. Great Martyr Catherine” size 4 arshins in height and 25 in width. On the same wall between the windows< … >“Blessing of the Lord Jesus Christ on the children”< … >4x4. On the north wall parallel< … >“The twelve-year-old boy Jesus in the temple of Jerusalem among the teachers” (transferred from the temple part). On the same wall< … >“St. Great Martyr Barbara"< … >4 arshins in height and 2.5 in width 33.

The attractions of the cathedral church included the Synodik of 1747, the Gospels of 1748 and 1786 with silver covers decorated with enamel, stones and rhinestones, measuring 11.5 inches in height and 8 inches in width, the Gospel of 1815, overlaid with silver, size 11x7 vershoks, Interpretation for the four Evangelists, 1703. In the Vozdvizhensky chapel there was a small silver cross donated by the deacon of the temple Matvey, and he inherited it after the death of his brother, the abbot of the Epiphany Monastery of the Ryazan province, Pavlin. In the cross, as was clear from the inscription, particles of St. hair were kept. the prophets Zechariah and Baruch, St. Apostles Peter and Paul, Prochorus, Ananias, St. Metropolitan Philaret, Athanasius, Metropolitan of Alexandria, Clement, Pope of Rome; martyrs: Philaret, Arethas, Januarius, Mercury, John, Simeon, Anicetas, St. Modestus, Archdeacon Euplaus, Anthony and Pimen the Great, John the New.
The cross was kept in another silver and gilded cross weighing 138 spools, donated to the temple by benefactors.

In addition, in the altars of the cathedral in 1896 there were six altar crosses:

1) “four-pointed silver cross of 84 samples, gilded, measuring 10 in length and 5 vershok in width. Weight in silver is 2 pounds 19 spools.” The cross was decorated with enamel, rhinestones, and pearls;

2) "octagonal silver gilded 84 karat< … >weight in silver 1 pound 39 spools." The cross is decorated with enamel and chasing;

3) “octagonal gilded 84 samples, measuring 7 inches high, 4 inches wide, weighing 1 pound, 30 spools”;

4) “four-pointed silver gilded 84 samples, measuring 6 inches in height and 4 inches in width.” The cross is decorated with niello;

5) "silver without gilding, length 6, width 4 inches, 84 samples. Weight 63 spools;

6) “four-pointed gilded 84-karat silver with engraved images under niello.”

Among the church utensils, 5 silver chalices weighed respectively 3 pounds 63 spools, 1 pound 43 spools, 1 pound 56 spools and two chalices of unknown weight stood out. The chalice included silver utensils: patens, stars, plates, ladles and spoons. In addition, there were 5 silver tabernacles weighing 5 pounds 7 spools, 3 pounds 8 spools, 2 pounds 17 spools and the weight of one is unknown, 2 silver censers weighing 1 pound 17 spools and 1 pound 11 spools 35. The cathedral has kept parish registers since 1800.

The temple also had its own shrines. Every year on July 28 (Old Style), on the day of the celebration of the Smolensk Icon of the Mother of God from the Nativity of Christ Cathedral, a procession of the cross was held through Lipetsk with the main shrine of the temple - the “Passionate” Icon of the Mother of God (Hodegetria). It was installed in memory of the miraculous deliverance of the city from cholera. This icon, which was previously located in the wooden Church of the Nativity of Christ, was highly revered by the residents, who received help and healing from it before praying, but was subsequently practically forgotten.

Only in 1831, when a cholera epidemic was raging in Lipetsk and the district, did Lipetsk residents remember the miraculous image. Not relying on helpless doctors, the Lipsk residents turned to the Most Holy Lady with tears, asking her for deliverance from the terrible disease. A religious procession was held with the icon, and after several days of fasting and home prayer, the epidemic stopped. Lipchan residents attributed such beneficial effects to the miraculous Passion Icon of the Mother of God. This is how the first church historian of Lipetsk, priest Gavriil Delitsyn, described these events more than one hundred and fifty years ago: “During the raging cholera in the memorable year, this holy icon, in memory of it by some old-timers, was reverently lifted from the church and carried throughout the city with the godfather on the way, with a large gathering of people, and upon her return to her home - to the holy temple, almost every house took this icon for service. Since that time, not only the townspeople, but also those who come to the city of Lipetsk for mineral healing waters have been flocking to it for worship with warm faith and firm hope for her speedy intercession and help, and receive what they ask for.”

In 1833, at the suggestion of Tambov Bishop Arseny, the Holy Synod officially established a procession of the cross, since then every year on July 28 after the late liturgy it has been carried out from the cathedral with a large gathering of people, icons and banners from other city churches. Both old and young gathered for this celebration.

Grateful Lipetsk residents eventually decorated the miraculous icon with a silver robe weighing 20 pounds 65 spools and many precious stones. According to a contemporary, “this icon can be attributed to deep antiquity, based on the inscription on it and the faithful depiction of the instruments of the Passion of the Lord. The face of the Mother of the Lord is depicted so vividly and diligently that it brings tenderness to everyone who looks at it.”

When carried around the city, the icon was inserted into a richly decorated canopy.

After the closure of the Nativity Cathedral, the icon disappeared. In recent years, she was in the St. Nicholas Church. Dvurechki of the Gryazinsky district, from where, with the blessing of Metropolitan Methodius of Voronezh and Lipetsk, after restoration it was transferred to the Nativity of Christ Cathedral on July 30, 2000. At the head of the procession, she returned to her original place, where she was installed for public worship. Unlike the usual image, on the Lipetsk Icon of the Mother of God “Passionate” the instruments of the Lord’s Passion are depicted in an enlarged form at the bottom of the image, and the cross is diagonally behind the back of the Mother of God, depicted without the Infant of God.

Under the left (northern) aisle of the temple part of the cathedral there was a crypt where the teacher of the Lipetsk Theological School and the archpriest of his home church of St. Sophia Ioann Mikhailovich Rozhdestvensky was buried in 1898. At the grave of Fr. John, his admirers performed funeral services every day. It was considered a rule by all believers in Lipetsk and visitors to the Lipetsk resort to visit the crypt and pray at the elder’s tomb.

In 1902, the building of the cathedral church was made warm - steam heating with a steam pump was installed.

Even before 1917, the cathedral had installed running water and even electric lighting with 800 light bulbs! Additionally, the temple was illuminated by seven chandeliers. In front of the main altar there was a silver-plated copper chandelier in three tiers, and the same one was in the center of the refectory. In front of the altar of St. Nicholas and the altar of the Dormition of the Mother of God there was a chandelier in two tiers, with 10 candlesticks in each tier.

In front of the altars of the Exaltation of the Holy Cross and the Smolensk Icon of the Mother of God, there was a 1-tier chandelier with 10 candlesticks. The chandelier hanging in the third arch of the refectory is in two tiers, with 9 candlesticks in each. Multi-colored glass was inserted into the window frames of the cathedral. In 1909, with bequeathed funds (9,000 rubles) from the former patron of the cathedral, Ivan Vasilyevich Khrennikov, an iron fence on a stone foundation with 2 gates and 3 wickets was built around the cathedral.

Attributed to the Nativity of Christ Cathedral were the Evdokievskaya Cemetery Church (until 1891), the Church of St. Sophia of the Lipetsk Theological School, the chapels of the Holy Apostles Peter and Paul (on Starobazar Square) and in memory of the rescue of the royal family during a train crash in Borki in 1888 - in the fence of the cathedral from the side of the altar.

At the cathedral there was a parochial school in a brick building built in 1896. At the beginning of the twentieth century. 92 boys and 89 girls studied there. The teacher's apartment was in the basement. In 1915, the head and teacher of the cathedral school was the rector of the church, Archpriest Alexander Vasilyevich Suvorov, the teachers of the law were Archpriest Pavel Dionisovich Preobrazhensky and psalm-reader Vasily Vasilyevich Petrovsky, the teachers were Zinaida and Liliya Semyonovna Bobylkin and the psalm-reader Pavel Ivanovich Kochemirovsky. The cathedral library consisted of 100 volumes.

The cathedral's prosphora was located in a wooden building built in 1903. The clergy of the temple lived in their own houses. The cathedral owned 34 acres of field land 6 versts from the city.

In 1896, there were 614 households in the parish, in which 1,839 men and 1,964 women lived. In 1910, in the parish of the temple there were 483 courtyards with 1,394 men and 1,549 women, as well as the suburban Lipetsk settlement with 178 courtyards, 714 male and 737 female souls.

A notable event in the life of the cathedral and a real holiday for parishioners were visits to the main church of the city by Tambov bishops. On August 17, 1899, the cathedral was visited by His Grace George, Bishop of Tambov and Shatsky. In the cathedral, all those gathered were given the archpastoral blessing, and on August 18 a liturgy was performed, at the end of which a prayer service to the Savior was held. The Lord proclaimed: “Peace to this city and to those who live in it.” Then he inspected the parochial school, where up to 130 people were studying at that time.

On October 12, 1896, while reviewing the diocese, Bishop Alexander of Tambov arrived at the Nativity of Christ Cathedral, where he was met by all the city clergy in vestments. After the prayers laid down at the bishop’s meeting, Vladyka addressed those present with a brief word, in which “...after outlining the history of the emergence and initial fate of the city, he pointed out the special mercy of God shown to the city of Lipetsk in endowing it with the beauties of nature and vegetation with a healing healing spring and that the inhabitants of the city in their behavior should express gratitude to God for granting such an advantage to their city."

The next day, His Grace Alexander celebrated the liturgy in the Nativity of Christ Cathedral with a very large crowd of worshipers, and at the end of it, a prayer service to the Savior with the participation of the city clergy. “The spacious, well-appointed and magnificent cathedral church with a choir at the top was overflowing with worshipers. The solemn bishop’s service and the harmonious singing of the cathedral choir made a touching impression on those present in the church.”

In 1910 and 1916 Lipetsk was visited by His Eminence Kirill (Smirnov), Archbishop of Tambov and Shatsky, always solemnly greeted by the city clergy and believers in the Nativity of Christ Cathedral.

He visited the cathedral and attended a prayer service, which was served by the rector, Archpriest John Mikhailovich Serebryakov.

In 1917, there were 4,930 people in the parish of the Nativity of Christ Cathedral. In 1919 there were 745 households, in which there were 2,350 men and 2,540 women 46 .
From the time of its founding, the Nativity of Christ Cathedral had three staff members - its clergy included three priests (the rector was an archpriest), two deacons and three psalm-readers (until the 1870s - two sextons and two sextons).

The rectors of the main church of Lipetsk have always been the most respected and honored priests - Archpriests Andrei Ivanovich Kalugin, Ioann Ioannovich Nesmelov, Kosma Ioannovich Chugunov, Ioann Mikhailovch Serebryakov. The last rector of the Nativity of Christ Cathedral, Archpriest Alexander Vasilyevich Suvorov, who had the heavy burden of rectorship in the post-revolutionary years, enjoyed no less honor in Lipetsk.

Father Alexander was born in 1858. After graduating from the Tambov Theological Seminary in 1881, he served as a psalm-reader, in 1886 he was ordained a priest, and from 1890 he was a cleric of the Nativity of Christ Cathedral in Lipetsk. Since 1911, he served as rector of the city’s main church. Archpriest A.V. Suvorov enjoyed universal respect from the diocesan authorities and parishioners. During his service, he would have been awarded the nabedrennik (1890), skufia (1894), kamilavka (1900), pectoral cross (1904), the rank of archpriest and the Order of St. Anna III degree (1911), Order of St. Anna II degree (1915) and the Order of St. Vladimir IV degree (1916). Proof of the enormous spiritual authority of Fr. Alexander may be served by the fact that he was elected as a participant in the All-Russian Congress of Clergy and Laity in Moscow in 1915 and the All-Russian Local Council in 1917.

Before the revolution, the Nativity of Christ Cathedral was not only the main temple of the city, but also its true center, a place of attraction for all residents and visitors. Here is what one of the visitors to the Lipetsk resort wrote about the cathedral and his impressions of it in 1885: “At 9 o’clock in the morning they announced the late liturgy. The thick sounds of the bell, spreading from the cathedral bell tower far into the surrounding area and reminding the laity of the feast of the Holy Trinity, involuntarily beckoned to them and called them out of the house. The noble street, all immersed in greenery, had a festive look; along the sidewalks, hiding under the shadow of linden trees, pilgrims could be seen everywhere, hurrying to the temple for prayer< … >By halfway through mass the cathedral church was completely filled< … >The society gathered in the cathedral church could rightly be called the best, the most selective. In the middle of the temple, an icon of the Vladimir Mother of God was displayed on a lectern for the worship of those praying.

The interior of the temple, spacious and extremely clean, was striking with its splendor, expensive decoration and decoration of the altars. The liturgy and prayer service were served by two priests, one of them was emeritus, as could be judged by his vestments. A small choir of singers, harmonious and singing, complemented the picture of church deanery; When leaving the altar, the clergy were preceded by a psalm-reader and two boys with lamps, all three in bright and new surplices. The whole atmosphere in the temple made the most joyful and delightful impression on the soul of the pilgrim."

Despite all this, after the revolution of 1917, the Nativity of Christ Cathedral shared the fate of thousands and thousands of Orthodox churches in Russia, which for the new government at the first stage became only a source of replenishment of the state budget. In 1922, in accordance with the secret protocol of February 23, an inspection and inventory of church property was carried out in churches in the city of Lipetsk. Its main goal was to take stock of the silver and gold utensils belonging to the temples. Immediately after this, under the beautiful and noble pretext of helping the hungry, and the famine, as we know, was created artificially, the confiscation of church valuables began.

On March 8, 1922, a decree of the All-Russian Central Executive Committee was issued, signed by the chairman M. Kalinin: “... hastily mobilize all the resources of the country that can serve as a means of combating hunger in the Volga region...” The Local Council was ordered to “... within a month from the date of publication of this decree, withdraw from church property< … >all precious items." Instructions were urgently transmitted by telegraph: "... no obstacles to the seizure< … >not available... From silver and gold dishes< … >leave the amount needed for worship< … >with the exception of gold, which will be confiscated in any case. Of silver and gold crosses< … >leave one copy at a time. As a general rule, gold and diamonds are subject to confiscation."

Obeying the imperious instructions of Moscow, on March 14, 1922, the Lipetsk executive committee decided to “proceed with the seizure first of all in the city of Lipetsk. Start with the cathedral as a richer temple.” According to the inventory, in the cathedral church, in addition to 10 silver gilded and 6 silver forged frames of icons, there were 4 silver tabernacles with gilding, 5 silver altar crosses, 2 Gospels of "solded silver", 8 silver gilded chalices, 7 silver paten, 12 silver dishes, 6 silver stars, 2 spoons, 1 steel spear with a silver handle, 1 silver vessel for peace, 2 silver censers with gilding, 2 silver bottles, 20 silver lamps, 1 forged silver cover.

To carry out the confiscation of church utensils, a special commission was created, which began work on March 16 and came first to the Nativity of Christ Cathedral. Believers, numbering 200 people, began to protest, calling the commission members robbers and antichrists. The commission retreated and tried to put pressure on the church council and priest A.V. Suvorov in order to persuade them to cooperate. In vain.

Then the Red Army soldiers were sent to help the robbers. The soldiers forcibly removed the believers who tried to prevent the requisition from the temple. This time, 61 silver items weighing 54 pounds, 63 spools of 10 shares worth 12,960,000 rubles were seized: tabernacles - 3, crosses - 3, vessels - 6, paten - 5, small dishes - 10, stars - 5, censers - 2, lamps – 20, icon vestments – 4, censer tops – 3 50.

The requisition continued on March 23: 17 silver robes of icons with 14 diamonds were confiscated. The maximum weight of one of the vests is 20 pounds 84 spools.

The weight of the confiscated silver was 6 poods 14 pounds 22 spools in the amount of 61,960,000 rubles.

The robbery of Orthodox churches, organized by the Soviet authorities in Lipetsk, was strictly controlled by higher authorities. On April 6, the Lipetsk regional committee received a telegram from the provincial Tambov: “Incomplete seizure will be considered as negligence of local authorities.” In May, 6 more large vestments and one small one were seized, weighing a total of 2 pounds 14 pounds 835 spools.

Another serious problem that the parishioners of the cathedral had to face these years was the activity of the Renovationists, supported by the Soviet government in the hope of splitting and disorganizing the Orthodox Church. They, in turn, did not hesitate to attempt to take possession of the Lipetsk Cathedral by force. After the next imprisonment of the rector, Fr. Alexander Suvorov parishioners on May 26, 1925 repelled the attempt of the renovationists to seize the temple.

On the occasion of the “deliverance of the cathedral from the renovationists,” Father Grigory Yastrebov even served a prayer service and delivered a sermon that began with the words: “The cloud has lifted from the cathedral.” Upon leaving prison, despite his absence during the skirmish, Fr. Alexander was again arrested “for ideological agitation against the revolution, for inciting the crowd in this direction.”

The next stage of the “people’s” government’s policy towards the Orthodox Church was the campaign to close churches. In 1925, the Nativity of Christ Cathedral was to suffer this fate. The Lipetsk executive committee, preparing the closure of the city's main temple, organized a commission to find a pretext for the closure, but nothing significant could be come up with.

Services in the temple were conducted regularly. On weekdays, 100 people came to the service, on “ordinary” holidays up to 1,000 people, and on highly solemn ones – up to 2,500 people. The temple, despite the difficult times, was kept in perfect order, and the commission only noted that the basement, where the steam heating and water supply is located, was “collapsing in places.”

Also, the room under the temple altars, which served as a wood storage, “collapsed in places.” In fairness, it is worth noting that these vaults survived all the long hard times and are still standing - the builders of communism were lying. Perhaps the ardor of the zealous atheists who dreamed of closing and then destroying the cathedral was somewhat cooled by the fact that in 1926 the Tambov Society of Local History, with the consent of the Main Science of the People's Commissariat of Education, included the cathedral church of Lipetsk in the list of monuments subject to protection. In addition, in 1926, after the opening of the Lipetsk diocese, the Nativity of Christ Cathedral became a cathedral, and the first Lipetsk bishop Uar (Shmarin) served in it.

In 1927, the authorities tightened the conditions for “exploitation of church buildings by believers.” The community of the Nativity of Christ Cathedral, burdened with the high price and strict deadlines for paying for the rent of the building, had nowhere to wait for help except from the Lord. Although sometimes it came from the most unexpected quarters. Thus, according to the memoirs of Vasily Mikhailovich Allenykh, the altar server of Lord Uar, in 1929 the Germans, who studied at the Lipetsk flight school and regularly visited the Nativity Cathedral, of their own free will helped the believers pay taxes for the rent of the building.

But already in 1930, based on the will of the “workers and poor peasants of the city,” who demanded to ban bell ringing, a resolution was issued by the Presidium of the City Council on February 28, according to which bells were removed from all Lipetsk churches. The parishioners tried to complain to the All-Union elder M.I. Kalinin. The Lipetsk City Council responded to a request about this from Moscow in a very original way: “... from all churches in Lipetsk, with the exception of the church of the Evdokievsky cemetery, all bells, not excluding small ones, were removed. As for bell ringing, it was not prohibited... "

And all this time, the Lipetsk City Council was preparing to close the cathedral. During the election campaign, “orders from 6 thousand voters” were collected to close city churches. Then a political campaign was launched on the same topic, organized by the local newspaper Lipetsk Commune. During it, they managed to collect 4,770 votes for the closure of the Nativity of Christ Cathedral and the Church of the Ascension. And on March 14 and 21, 1931, relevant materials appeared on the pages of the Lipetsk Commune.

After the preparation of public opinion by the authorities and the press, in March 1931, a resolution of the Lipetsk City Council was published to close the cathedral and adapt the building as living space for Lipetskstroy workers.

On May 22, 1931, a solemn plenum of the Lipetsk City Council was held, convened to commemorate the 3rd anniversary of the Central Black Sea Region, which also decided to close the Nativity Cathedral and the Ascension Church. The resolution stated: “Given the existing housing crisis, in connection with the expansion of capital construction of the metallurgical plant, the reconstruction of the Svobodny Sokol, Rudstroy plant, which entailed an influx of tens of thousands of workers and their families into the city, and the lack of housing stock has a detrimental effect not only on the living conditions of the working class, but also on the progress of construction itself< … >close the cathedral and the Church of the Ascension, urgently filing a petition with the regional executive committee of the Central Black Sea Region to approve the decisions of the plenum of the Lipetsk City Council."

On August 4, 1931, a City Council commission inspected the condition of the cathedral church “in order to verify the contractual terms” of the lease dated October 30, 1918. The commission even noted that the steps in front of the temple were weathering and that the inactive steam heating boiler had “exposed to oxidation.” The authorities acted, as always, decisively and brazenly, which is confirmed by the lines of the document: “During the severe housing crisis< … >if there are 5 churches in the city that are functioning, in addition to those subject to closure, and can fully satisfy the religious needs of believers, it gives the right to close without unnecessary formalism.”

Wanting to receive confirmation of their actions, on August 4, 1931, the Lipetsk City Council turned to the Presidium of the Lipetsk District Executive Committee with a request to “approve the resolution of the City Council Presidium on the closure of the cathedral.” In response to this appeal, the presidium of the district executive committee decided: “Noting the growth in the cultural level and political activity of the working masses of the city, their persistent demand for the closure” of the cathedral, to approve the decision of the presidium of the city council. This was followed by a resolution of the Presidium of the Regional Executive Committee of the Central Black Sea Region dated September 2, 1931 on the liquidation of the Nativity Cathedral and the Ascension Church: “...Taking into account the wishes of the majority< … >At the same time, taking into account the urgent need for premises for cultural institutions< … >close the Ascension and Cathedral churches in Lipetsk, transferring the buildings to the Lipetsk City Council for their conversion into housing and cultural institutions for workers.”

In response to the decisions of the authorities, on September 10, 1931, parishioners of the cathedral, having collected 7,200 signatures, turned to the All-Russian Central Executive Committee with a petition to leave the cathedral at the disposal of believers and soon received a response signed by M.I. Kalinin: “No one has the right to take away the cathedral until the final decision of the Presidium of the All-Russian Central Executive Committee.” However, the hopes of believers were once again deceived - on March 16, 1932.

The Presidium of the All-Russian Central Executive Committee approved all previous decisions of the city authorities and the resolution of the Presidium of the Regional Executive Committee of the Central Black Sea Region dated September 2, 1931 on the closure of the cathedral and the Ascension Church. Soon, on March 29, representatives of the community of the Nativity of Christ Cathedral were called to the City Council, and the secretary of the City Council invited them to hand over the cathedral building. All parishioners unanimously opposed this, but the cathedral was sealed, and on March 31, 1932, in the presence of the police and an agent of the financial department, 5 locks were knocked down from the doors of the cathedral without warning to the “twenty”, without drawing up an act or inventory, and all property and documents were taken away.

Believers managed to save only part of the icons and the crucifixion on Golgotha. The latter, after the Great Patriotic War, was transferred to the newly opened Transfiguration Church. Members of the “twenty” contacted the complaints bureau of the Lipetsk Regional Executive Committee and the Lipetsk prosecutor’s office. And on April 5, representatives of the believers of the cathedral, Vasily Egorovich Bukreev, Vasily Egorovich Zaitsev, Ivan Politovich Zaitsev and Dmitry Yakovlevich Bykov again appealed to the All-Russian Central Executive Committee, but the complaints remained unanswered.

A repeated appeal in August also did not bring results. Thus, the closure of the main Orthodox church of the city, the Nativity of Christ Cathedral, took place. And, probably, few of those who contributed or opposed this in every possible way could then have imagined that 60 years would pass and the cathedral would begin to operate again.

And then, in the early 1930s, the authorities were puzzling over how to use the cathedral building, taken away from the believers. At first they wanted to adapt it as a dormitory for workers, but after calculating the costs of reconstruction they decided that it was expensive and announced the construction of a theater in the cathedral. The proletarian theater was never created; the cathedral was turned into a warehouse for grain and vegetables. And in the refectory there was a local history museum, which, according to documents, was already there on January 29, 1933. The museum became, as it were, a justification for the necessity of what had happened, since they could not leave the cathedral empty. But the struggle for him and for the rights of believers continued. On December 7, 1932, the Presidium of the All-Russian Central Executive Committee Kalinin received a complaint about the illegal confiscation of the temple from believers signed by Lipetsk residents Bukreev, Korostelev and Zaitsev. In March 1933, they wrote to prosecutor Vyshinsky: “... the cathedral was seized illegally...” About the “wrong< … >seizure of the cathedral by the City Council" a letter was written and sent to M.I. Kalinin signed by 10 thousand Lipetsk residents.

Only the beginning of the repressions and the war forced the suspension of the fight for the Nativity of Christ Cathedral.

The difficult years of the Great Patriotic War brought changes in relations between the state and the Church. Realizing the need to weaken the strict anti-church policy of the state, on November 28, 1943, the Council of People's Commissars of the USSR issued Resolution No. 1325 “On the procedure for opening churches.” The struggle for the return of the Nativity of Christ Cathedral began again. Believers appealed to the City Council about this, but were refused. On March 8, 1943, they sent a letter to M.I. Kalinin. To no avail. Complaining that they had not received a response to repeated appeals to the All-Russian Central Executive Committee, on January 22, 1944, Lipetsk residents of 1,200 people turned to the Holy Synod (the letter was signed by the commissioner of the church “twenty” Nikolai Egorovich Goloshchapov, who at that time lived at the address: Nizhnyaya Logovaya St. , no. 34.). There followed a petition from the Synod to the government to open the Nativity Cathedral in Lipetsk.

In early May 1944, signed by Fyodor Ivanovich Zaitsev, a letter was sent from believers to the Council of People's Commissars of the USSR addressed to the Commissioner for the Affairs of the Orthodox Church. Believers wrote that “the church will benefit the state by raising funds for the defense of the country,” and that “out of the large, up to 80 thousand people, population of the city of Lipetsk, all families have defenders of the state at the front, about whom believers: wives, fathers, and mothers – want to pray, finding in this the only consolation of which they are deprived.” The Council for the Affairs of the Russian Orthodox Church, in a letter dated June 23, 1944 No. 1473/15, asked the Lipetsk authorities “in view of the great persistence of believers, whose representatives twice came to Moscow, to the Council for the Affairs of the Russian Orthodox Church, to once again consider their request.” .

When you read these letters from the faithful Lipetsk residents with requests to return the temple of God to them, replies and unsubscribes to them, new requests, you understand what the parishioners of the cathedral had to endure, you are amazed at their courage and strength of faith. After all, all these trips to Moscow, signing petitions, collecting signatures in a godless state, which shortly before sent hundreds of local priests and ordinary believers to execution and concentration camps - such a manifestation of dissent could have ended sadly. It was necessary to have strong faith and courage to work for the opening of churches in this difficult time! Moreover, the authorities persisted and did not want to make concessions.

September 21, 1944 in the name of Akim Kuzmich Valyaev, who lived at st. 1st Srednyaya, 7, the city authorities refused to open a cathedral church. A new letter was sent by believers to the Holy Synod and the “highest church administration of Moscow” in October 1944.

And on December 24, 1944, zealots of Orthodoxy, in connection with the advent of the Nativity of Christ, again turned to the commission of the regional executive committee for church affairs with a request to open the cathedral for 20,000 believers of Lipetsk and again received a refusal, despite the fact that the temple part was still empty and was used for a sprinkle of bread.

The cathedral did not return power in the post-war period, when several churches were opened in the city and in the territory of the present Lipetsk region.

Only in 1949 the Lipetsk City Council confirmed the status of the cathedral as an architectural monument. Until 1956, there was a warehouse in the temple part of the cathedral, and the vestibule and refectory were used as a museum.

The decision of the government of the country on January 6, 1954 on the creation of the Lipetsk region became, to some extent, fateful for the Nativity of Christ Cathedral. In connection with the formation of a new administrative center inherent in the regional city on the International (formerly Cathedral) Square of Lipetsk, it was necessary to decide the fate of the cathedral building, which by that time had become very dilapidated. Two proposals were made: to repair the cathedral or, if there are no performers, to demolish it. By the will of God, people were found interested in preserving and restoring the cathedral.

Architect Leonid Efimovich Rudakov took charge of the restoration of the building. Renovation work began in 1957 and was completed the following year, 1958.

At this time, one of the workers destroyed and looted the crypt where the remains of Fr. John of Rozhdestvensky. A year later, according to eyewitnesses, the looter died.

During the renovation, the paintings that were preserved in the interiors of the cathedral were painted over. Before this, photographer V.P. Malykh carried out their photographic recording, and photographs in the amount of 8 units entered the funds of the regional museum of local lore. Later, in 1966, photographer L.E. visited the museum. The Tsaplins handed over negatives with paintings of the cathedral made before 1917. These photographs make it possible to visualize and restore the paintings of the temple.

By December 1970, watchmaker M.T. Grebenkin mounted an electric tower clock with four dials on the bell tower of the cathedral.

The diameter of the dials is two meters. The clock echoed the square with its melodious chime. In 1980, a fire occurred in the bell tower of the cathedral, the clock burned, and the gilded spire was again damaged. The clock was restored by May 1 of that year.

In 1989, the bell tower was renovated and the exhibition “Lipetsk in Old Photographs” was opened. This was the last new exhibition within the walls of the cathedral, since the question of returning the temple to believers was urgent.

The city residents, who gathered at the initiative of the Lipetsk Regional Local History Society, demanded the return of the cathedral to believers and the transfer of the former House of Political Education to the regional local history museum. In response to this appeal from Lipetsk residents, the presidium of the Lipetsk Regional Council of People's Deputies made the decision on September 20, 1991: “1. To transfer the building of the Nativity Cathedral to believers by November 1, 1991. 2. To instruct the regional executive committee to locate the Lipetsk Regional Museum of Local Lore in the building of the former socio-political center Regional Committee of the CPSU".

On November 2, 1991, the consecration of the Nativity of Christ Cathedral took place, and services resumed there. A prayer service on the occasion of the opening of the cathedral was performed by Metropolitan Methodius of Voronezh and Lipetsk, co-served by the abbot of the Zadonsk Nativity of the Theotokos Monastery, Archimandrite Nikon (Vasin) - now Metropolitan of Lipetsk and Zadonsk ( editor's note) and Lipetsk clergy.

Archpriest Vasily Bilchuk was appointed the first rector of the newly opened Nativity of Christ Cathedral, who currently fulfills these duties, being also the secretary of the Lipetsk diocese.

In memory of the 200th anniversary of the foundation of the cathedral church, on November 2, 1991, a memorial plaque was installed on the western facade of the bell tower with a corresponding inscription, almost repeating the previous inscription on the choir of the temple.

The second memorial plaque was installed on October 23, 1991 - on the 100th anniversary of the repose of St. Ambrose of Optina: “From March 1838 to October 1839, the Rev. Ambrose of Optina (A.M. Grenkov) taught at the theological school of Lipetsk.”

In subsequent years, wall paintings of the cathedral were completed. Artist V.D. Podolsky painted the dome and altars, the main part of the refectory and temple parts, the upper tier of the latter - together with N.I. Danshin. It was possible to recreate some of the paintings from surviving fragments. Several authentic Italian frescoes from the 19th century. preserved in the altars of the refectory part of the cathedral and above the entrance to the refectory from the narthex.

On the holiday of Slavic literature and culture in 1994, a worship cross was erected near the cathedral in memory of Sts. Slovenian teachers Cyril and Methodius.

By 2002, carved wooden iconostases with gold leaf were installed, and marble floors were laid.

The recreated and newly consecrated altars of the Nativity of Christ Cathedral were dedicated to the same holidays and shrines as before. Only the right altar altar in the temple part of the cathedral was consecrated in the name of St. Seraphim of Sarov.

In 2003, in connection with the creation of the independent Lipetsk and Yelets diocese, the Nativity Cathedral again became a cathedral. The Head of the Lipetsk Metropolis, Bishop Nikon, often serves there.

The bishop's service is always an event and holiday for the Lipetsk believers.

Recently, the Nativity of Christ Cathedral has been greatly transformed through the efforts of its rector, Archpriest Vasily Bilchuk. In 2004, its domes shone with gold - a titanium nitride coating similar to the precious metal, but more affordable and durable. In 2005, the facades of the cathedral church sparkled with bright colors.

Cathedral today

The interior decoration continues. To date, a porcelain iconostasis with icons painted on gold has been installed at the main altar of the cathedral.

The chapels in honor of St. are decorated with porcelain iconostasis. Nicholas the Wonderworker and St. Seraphim of Sarov.

Chapel of Seraphim of Sarov

The new painting of the cathedral has been completely completed.

Dormition of the Blessed Virgin Mary. Cathedral fresco

Christ visiting Martha and Mary. Cathedral fresco

Appearance of the Holy Trinity St. Alexander Svirsky. Cathedral fresco

Venerable Sergius of Radonezh. Fragment of the painting of the iconostasis of the chapel in honor of the Smolensk Icon of the Mother of God

Icons of holy saints. Cathedral frescoes

Among the special temple shrines located in the cathedral at the moment, one should name porcelain shrine with 81 pieces of relics Kiev-Pechersk miracle workers from the Near and Far caves of the Kiev-Pechersk Lavra, as well as particles of the relics of St. Tikhon of Zadonsk, St. Mitrofan of Voronezh, St. Hilarion Troekurovsky, martyr. healer Panteleimon and the Bethlehem babies. The Cancer is located under a porcelain canopy with many crystal lamps.

Porcelain shrine with particles of the relics of holy saints

On the right, in the temple part of the cathedral, a particle of the relics of the holy elder Fyodor Kuzmich, according to legend, the Sovereign Emperor Alexander I, who, after 24 years of reign, took upon himself the feat of wandering and foolishness to atone for the sin of participating in a conspiracy against the murdered father of the Sovereign Emperor Paul I, was brought out for veneration. The young heir did not foresee that the overthrow of his father-Emperor from the throne would result in his death at the hands of the conspirators. The tragedy that occurred left its mark on Alexander’s entire subsequent life and reign. Unable to withstand the pangs of conscience, Alexander I, according to legend, receives a blessing for the feat of pilgrimage. Having initiated his death in Taganrog, Alexander headed to Tomsk, where he labored in feats of fasting, prayer and repentance. The height of repentance made him the chosen vessel of Divine grace, so that already during his lifetime the blessed elder Theodore Kuzmich began to be revered as a saint. After his death, things were found on him that indicated his royal origin, which were subsequently kept in the office of Alexander III with the signature “things of my grandfather.” This is how eras and destinies of people are invisibly united in Orthodox churches...

In the center is the icon of the Cathedral of Lipetsk Saints. In front of the icon - a lectern with an icon and a particle of the relics of the blessed elder Fyodor Kuzmich

On the right side of the central iconostasis there is icon of the Cathedral of Lipetsk Saints, the feast of which is celebrated on September 23, the day of remembrance of the first Lipetsk bishop, Holy Martyr. Uara (Shmarina).

Particularly revered by Lipetsk residents Icon of the Mother of God of Lipetsk “Passionate” in a porcelain icon case, now located in the temple part of the cathedral to the left of the main iconostasis. The icon became famous for many miracles of healing and to this day it continues to provide gracious help to those suffering, who come running to the Most Holy Theotokos with faith in prayer.

Opposite the icon of the Mother of God, on the left side, in a porcelain case there is icon sschmch. War, Bishop of Lipetsk, canonized at the Jubilee Council of Bishops in 2000.

Currently serving in the cathedral are:

The rector of the cathedral is Archpriest Vasily Alekseevich Bilchuk;
Keykeeper of the cathedral, Archpriest Vladimir Romanovich Maksimchuk;
Archpriest Alexy Yurievich Nosach;
Priest Viktor Vladimirovich Arkhipkin;
Priest Sergiy Vasilievich Grishanov;
Deacon Alexander Vladimirovich Aleshin;
Deacon Oleg Yuryevich Maltsev.

In the XIX - AD. XX centuries served in the cathedral:
Priests:
Kalugin Andrey Ivanovich – 1811–1856
Bolkhovitinov Andrey Fomich – 1805–1816
Bacchus Stefan – 1805–1825
Dmitriev Alexander – 1818–1829
Smirnov Stefan Petrovich – 1827–1862
Dobrinsky Platon Antonovich – 1827–1829
Kastalsky Philip Efimovich – 1831–1842
Dmitriev Ivan Petrovich – 1843–1850
Rozhdestvensky Zakhar Egorovich – 1855–1856
Kalugin Anton Ivanovich – 1859–1860
Bogoyavlensky Apollo Vasilievich – 1860–1874
Kamensky Ivan Yakovlevich – 1860–1863
Nesmelov Ivan Ivanovich – 1863–1894
Ostroumov Alexander Petrovich – 1864–1909
Berezin Pavel Grigorievich – 1874–1890
Chugunov Kosma Ivanovich – 1894–1899
Serebryakov Ivan Mikhailovich – 1900–1911
Suvorov Alexander Vasilievich – 1890–1904, 1911–1931
Yastrebtsev Mikhail Vasilievich – 1905–1915
Preobrazhensky Pavel Dionisovich – 1909–1919
Yastrebov Grigory Yakovlevich – 1915–1919
Deacons:
Mikhailov Matvey – 1805–1832
Kruchinin Evdokim Andreevich – 1805–1840
Romanovsky Alexey Grigorievich – 1840–1850
Ostroumov Nikanor Matveevich – 1832–1856
Golubev Georgy Mikhailovich – 1855–1856
Bogdanov Fedor Grigorievich – 1860–1862
Uspensky Luka Stefanovich – 1842–1867
Marinovsky Ioann – up. 1867
Saburov Andrey Grigorievich – 1867–1868
Golubev Mikhail Ionovich – 1863–1914
Ventsov Vasily – 1868–1872
Epiphany Peter - up. 1872
Troitsky Alexander Vasilievich – 1873–1877
Tsvetkov Vasily Ivanovich – 1879–1880
Nechaev Vasily – 1914–1916
Shalnev Vasily Petrovich – 1917–1918
Sextons:
Semyonov Gerasim – unitary enterprise. 1805
Aristov Yakov Elizarovich – 1808–1819
Andreev Ivan Andreevich – 1821–1850
Savvin Jonah – 1818–1861
Zamyatin Dmitry Maksimovich – 1850–1862
Golubev Mikhail Ioannovich – 1862–1863
Bulgakov Leonty Petrovich - up. 1867
Venetsiansky Mikhail Konstantinovich – up. 1867
Arkhangelsky Nikolai Nikanorovich – 1867–1868
Pokrovsky Ivan Ivanovich – 1868–1873
Sexton:
Kruchinin Pyotr Andreevich –1805–1835
Stepanov Ankindin – 1805–1812
Aristov Ivan Elizarovich – 1814–1825
Andreev Alexey Andreevich – 1820–1856
Pozharsky Ivan Petrovich – 1835–1873
Kazansky Nikolai Ivanovich – 1860–1861
Psalmists:
Pozharsky Ivan Petrovich 1873–1882
Pokrovsky Ivan Ivanovich – 1873–1903
Kazansky Ivan Alexandrovich – 1873–1874
Arkhangelsky Ivan Mikhailovich – 1874–1876
Tretyakov Alexey Alekseevich – 1877–1879
Orfeev Ivan Pavlovich – 1881–1882
Pospelov Dmitry Alekseevich – 1882–1885
Bazilev Georgy – 1883–1884
Politov Dmitry – 1884–1886
Bogoyavlensky Dmitry – 1886–1887
Uspensky Mikhail Andreevich – 1886–1890
Krasnodubrovsky Pyotr Mikhailovich – 1887–1889
Voskresensky Mikhail Pavlovich – 1890–1893
Berezin Alexander Pavlovich – 1890–1891
Matveev Pavel Ivanovich – 1892–1893
Rumyantsev Vasily – 1893–1894
Shchegolev Dmitry Vasilievich – 1894–1899
Lamkin Mikhail Vasilievich – 1894–1899
Petrovsky Vasily Vasilievich – 1899–1918
Smoleyev Vasily Alexandrovich – 1900–1916
Leontyev Vasily Petrovich – 1904–1905
Bobrov Nikolai Ilyich – 1905–1906
Zhemchuzhnikov Ivan – unitary enterprise. 1906
Shishkin Sergey Petrovich – 1907–1908
Kochemirovsky Pavel Ivanovich – 1908–1915
Lebedev Valentin Afanasyevich – 1916–1918
Bolkhovitinov Vasily Semenovich - up. 1918

Historical information for the official website
The Lipetsk Metropolis was provided with the head
State Directorate for the Protection of Cultural
heritage of the Lipetsk region by Andrei Anatolyevich Naydenov.

The Nativity Cathedral is not only the main Orthodox church of Lipetsk, but also the real spiritual center of the city, one of its symbols. From an architectural point of view, this is undoubtedly the main dominant feature in the city landscape. The construction of the temple was initiated by Empress Catherine II, and the building project was developed by the Italian architect Tomaso Adalini.

Construction of the Cathedral Church of the Nativity of Christ began during the life of the Empress, in 1791, and was completed 11 years later. The temple stood for less than a year and was soon badly damaged as a result of a strong fire that destroyed all the wooden elements. By 1805, the church was completely restored, and in 1807 the solemn consecration of the main altar took place in honor of the Nativity of Christ. In 1825-1835, the cathedral bell tower was built, made in the style of classicism. At the end of the 19th century, eight bells hung on it, the largest of which weighed 489 pounds. A few more years later, the bell tower and the main volume of the cathedral were connected by a refectory.

In 1931, the cathedral was closed, and the question of its demolition arose due to its disrepair, but in order to save the architectural monument, it was decided to house a local history museum in the building. It was possible to defend the cathedral then with the active participation of the chief architect of the region. In 1991, the cathedral was returned to the diocese.

Nativity of Christ Cathedral

The Nativity of Christ Cathedral is located on the central square called Sobornaya, in the city of Lipetsk, its architect was Tommaso Adolini.

Construction of the cathedral began in 1791, and the construction of the temple part of the Nativity Cathedral was completed in 1803.

A fire occurred in the not yet consecrated church, it destroyed all the wooden parts of the cathedral, and the building itself was severely burned due to the fire. After which the temple was opened in 1805, and already on June 20, 1805, the throne of the renewed temple in honor of St. Nicholas the Wonderworker was consecrated.

In 1842, the church cathedral was built, all decrees were from Empress Catherine Alekseevna, but already in 1931 the cathedral was closed due to the fact that the main square of the city was created. But so that the city’s monument would not be lost, the Lipetsk Museum of Local Lore was placed in its building.

And soon, in 1991, the temple was given to believers, and it became a cathedral.

Cathedral of the Nativity of Christ- cathedral church of the Latvian Orthodox Church. Located in Riga, on the Esplanade (Brivības Boulevard, 23).

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Construction of the temple[ | ]

At the end of the 18th century, the question arose about the need to build a new Orthodox church, but after lengthy discussions the project was never implemented. Discussions on this topic were returned in 1836, when the opening of a suffragan see of the Pskov diocese in Riga was announced in the Riga Orthodox Church of Peter and Paul, and also in 1850, when an independent Riga diocese was formed and the same church was declared a cathedral.

At the very beginning of the 1870s, the Governor-General of the Baltic region, Prince Bagration, on the advice of his associates, representatives of the Russian population of the Baltic provinces, sent an official petition to the head of the foreign affairs department of the Russian Empire A. M. Gorchakov, in which the idea was formulated about the need to build a temple, with which Gorchakov agreed. After this, Archbishop of Riga and Mitau Veniamin (Karelin) turned to the Orthodox who inhabited the province with a request for donations in favor of the construction of an Orthodox church. At the same time, it is known that on September 1, 1873, the strongest storm in recent times occurred over the provincial capital, and the Church of Peter and Paul was struck by lightning, seriously damaging the bell tower of the temple, breaking the glass in the upper windows and damaging the gilding - probably this circumstance also contributed to resolve the issue of building a new temple as soon as possible. Finally, on April 17, 1874, Russian Emperor Alexander II allocated 900,000 rubles to the Riga diocese for the creation of a new cathedral, which would become a truly representative Orthodox church in the territory of the Livonia Governorate.

Three projects for the future cathedral were sent to Moscow for consideration. One is the project of a young and promising architect Jānis-Fridrikhs Baumanis, the first Latvian architect with a higher architectural education. The second project belonged to the academician of the St. Petersburg Academy of Arts, Heinrich Schel, who worked in Riga since 1853, the author of many famous buildings in the city. But in the end, in 1875, preference was given to the project of a young but ambitious graduate of the St. Petersburg Academy of Arts Robert Pflug, who proposed the construction of a temple in the neo-Byzantine style, which partly pursued certain political goals (in the middle of the 19th century, a “war” broke out between the Russian and Ostsee communities in the region monuments" and architectural styles).

It was decided to build the temple on the territory of a free plot - an esplanade, the development of which was formally prohibited. Only in 1902, on the opposite side of the same esplanade, the construction of the Riga Commercial School will begin, which will be carried out by the architect Wilhelm Boxlaff.

The contractors' competition was won by the construction master of the Vilna province, academician N. M. Chagin. The ornamental decoration and stone building details were made in the workshop of August Folz. The consecration of the foundation stone of the cathedral took place on July 3, 1877. Emperor Alexander II donated 12 bells to the temple, the largest of which, in the name of the blessed Prince Alexander Nevsky, weighed more than 820 pounds. The foundry master who cast the bells was Ksenophon Verevkin, who worked in the workshop of N. D. Finlyandsky in Moscow. To accommodate the bells brought as a gift, an additional construction of a bell tower above the entrance to the Orthodox cathedral was required, which was also financed by the Russian emperor.

Well-known masters of painting in Russia participated in the design of the interiors of the Nativity Cathedral: the rector of the St. Petersburg Academy of Arts P. Shamshin (his brushes belonged to the icons “John the Baptist” and “The Virgin and Child”), as well as academicians K. Wenig and V. V. Vereshchagin. Vereshchagin was the author of the icons of the first tier of the main iconostasis; He also owns the painting of the Royal Doors. In addition, Vereshchagin created the following icons for the Nativity Cathedral: “The Nativity of Christ”, “The Nativity of the Blessed Virgin Mary” and “St. Alexander Nevsky”. Professor Vasiliev painted icons for the second and third tiers of the iconostasis; he was assisted by artists F. Zhuravlev and A. Korzukhin.

Temple at the beginning of the twentieth century[ | ]

View of the cathedral in 1900

At the beginning of the 20th century, Archpriest V.I. Pliss, who was also a teacher of history, exposing schism and accusatory theology at the Riga Orthodox Theological Seminary, became the rector of the cathedral, and served as the seminary's librarian. During the first decade, the prestige of the temple among the people reached its culmination point, which was also facilitated by the previous rector of the temple, Archpriest V.S. Knyazev, who, being a professor of church and biblical history, being a subtle expert and connoisseur of Orthodox icons and impeccably understanding the peculiarities of the Orthodox Church canonical architecture, instilled in the Russian population of Riga a desire to visit the Church of the Nativity of Christ.

After August 21, 1917, when Riga was occupied by German regular forces for the first time, the occupation administration decided to turn the Orthodox Cathedral of the Nativity of Christ into a garrison church. In addition, it was decided to cut down parts of the eight-pointed Orthodox cross that adorned the dome of the temple in order to deprive the cross of its symbols of belonging to Orthodoxy. Eyewitnesses claim that at the moment when the German soldier had almost finished cutting off the “extra” crossbars, the autogenous gun slipped out of his hands and sawed off his hand.

The church served as a garrison church until mid-1918, when, during the ongoing revolutionary upheavals in Riga, political power changed several times. At the same time, the Riga government banned worship in the cathedral. When Archbishop John (Pommer) arrived in Latvia at the invitation of the All-Latvian Council of Orthodox Parishes, he found the church in a catastrophic state. The iconostases were destroyed, many valuable things were taken from the temple during several years of the civil war. In order to prevent further desecration of the temple, Archbishop John settled in the basement of the cathedral. He collected and preserved everything that was valuable and that they did not have time to take out of the temple. To heat the temple, as well as the semi-basement room in which the archbishop settled, a stove was built. In general, liturgical life was resumed with difficulty. At first, each service required special permission from the authorities. And only from Christmas 1922 services began to be held daily. The service was performed in Church Slavonic and Latvian.

Closing of the cathedral [ | ]

In post-war Riga, the cathedral remained active until October 5, 1963, when by order of the Riga City Executive Committee it was closed again. The temple was turned into the House of Knowledge: its interior decoration, including paintings, was completely destroyed, interfloor ceilings were installed in the main hall and a planetarium was located, and a cafe was located in the basement. The former Minister of Culture of the Latvian SSR V.I. Kaupuz in an interview in 2010 indicated that the Riga Nativity Cathedral after the war was under the care of the city executive committee, and the remodeling of the temple was initiated by the deputy chairman of the Riga City Executive Committee Reichmanis. As part of the city's campaign to collect non-ferrous metals, he ordered the copper crosses of the cathedral to be cut down, and then the object as a whole was repurposed.