The Peter and Paul Cathedral, the oldest, tallest, and most unusual church in St. Petersburg. It is where the history of the Peter and Paul Fortress and the entire city began. Until 2012, no building in the Northern capital could surpass its height of 122.5 meters. The cathedral became a model of architectural style for an entire era. The history of this iconic place for Petersburg is full of adventures, feats, mysteries, dramatic events, human wisdom, and mistakes.

In 1703, Peter I laid the foundation of a large fortress on Hare Island at the mouth of the Neva, founding St. Petersburg. Here, the river splits into two branches before flowing into the Gulf of Finland, providing excellent visibility and allowing one to see the enemy from afar. Construction began with the church on June 29 (July 10), on the day of the holy apostles Peter and Paul. Hence the name, Cathedral in honor of the chief apostles Peter and Paul, abbreviated as Peter and Paul.

Initially, it was a small wooden church with a tower. It was consecrated on April 1, and a month later, a solemn service was held in honor of the victory over the Swedish fleet. However, Peter I, known for his ambitious plans, wanted to see the church made of stone. On June 10, 1712, the first brick was laid. A symbol of the new Russia, a great European maritime power, it was meant to surpass all famous Moscow buildings in height. To realize this idea, the emperor chose architect Domenico Trezzini. Construction lasted 20 years and was completed after the king's death. The stone giant fully matched the designs: it amazed foreigners and demonstrated the power of the Russian Empire, surpassing the height of Ivan the Great's bell tower in Moscow by 32 meters.

Trezzini's creation combined features of different architectural styles and bore little resemblance to a traditional Orthodox church. It had thin walls, large windows, one dome, modest column-pilasters outside, and plenty of space inside. European strictness and conciseness replaced the opulence of the Asian style. The facade resembled Catholic churches, the tower, Scandinavian churches, while the gilded spire was unique. It resembled the masts of ships sailing on the Neva. Since then, needle-shaped spires have become the signature style of Petersburg, reflecting its romantic spirit and status as the capital of a maritime power. Soon the famous "Admiralty Needle" appeared, and spires began to adorn the city's buildings.

In the 21st century, St. Petersburg continues to strive upwards, and even the modern Lakhta Center resembles a narrow tower. This architectural style is called Peter's Baroque, differing from classical Italian architecture by an abundance of elements characteristic of Russian, German, and Dutch architecture. After traveling through Europe, Peter I became a fan of everything Dutch. Domenico Trezzini, of Italian origin, loved experiments. He was born in Switzerland, studied in Italy, built fortresses in Denmark, where he received an offer to work in Russia. As the chief architect of the capital, he designed the Twelve Collegia building, Alexander Nevsky Lavra, and the Anichkov Bridge, but he considered the Cathedral of the Apostles Peter and Paul his best work. His descendants even saw a resemblance between the tall and narrow structure and the figure of the emperor himself.

Churches in Russia were built in the likeness of this iconic structure until the mid-18th century, after which, by decree of the Synod, they returned to traditional five-domed designs.

By the order of the tsar, construction began with the bell tower to monitor the surroundings. The design of the 25-meter spire belonged to the Dutchman Herman van Bolles, who also erected it. Masters from Riga forged and gilded 887 copper sheets for its cladding. Currently, there are 103 bells in Peter and Paul, the richest collection in the world, with 31 of them preserved since 1757.

The tsar wanted to have chimes like in Europe, so he ordered the purchase of three clocks, one of which was installed on the unfinished tower. Peter I and his associates oversaw the construction, sourcing building materials that were in short supply. Peasants, gathered from all over the country, fled and died from diseases. Construction was completed in 1720. Peter proudly showed his "child" to foreigners, making them climb to the upper tier and listen to the chimes, which left an indelible impression.

The angel for the bell tower, meant to protect the church, was painted by Trezzini himself. The cherub made by Steinbes and Eberhardt served as a weathervane, freely rotating around its axis. In 1724, the gilded bell tower with the angel on top shone over the Neva and the city of Peter.

The interior decoration of the cathedral also amazed contemporaries. Until then, Russian churches were decorated only with biblical scenes, but here secular themes appeared for the first time. The iconostasis, dedicated to the victory over the Swedes, resembled a triumphal arch. It was designed by Trezzini, and more than 50 masters carved it under the guidance of artist Ivan Zarudny. It was brought from Moscow in disassembled form, assembled, and gilded. In the center, the royal gates with figures of the apostles were installed.

In front of the altar, a pulpit for sermons was placed, a novelty introduced by Peter I. Above the pulpit, made of carved gilded wood, were figures of the apostles, higher up, four evangelists, and at the top, a dove, symbolizing the Holy Spirit. The tsar stood during services, his place was opposite the pulpit.

On June 29, 1733, the cathedral was consecrated. It became the largest and tallest building in the city and held the status of a cathedral until the opening of St. Isaac's Cathedral. Soft blue in color, with white cornices and a dome in dark blue tones, it did not stand for long. Due to natural disasters, it was constantly updated and reconstructed. In the mid-18th century, it survived a fire caused by a lightning strike. The iconostasis miraculously survived; it was carried out in parts, but the bell tower burned down. It was decided to make it of stone. Restoration work lasted 20 years. As a result, a sacristy and Catherine's vestibule appeared, where the remains of Nicholas II and his family are now buried, and the clock by Dutchman Oort Kras was installed on the tower, the oldest outdoor clock in the city.

In 1777, a storm damaged the spire, destroying the angel. Antonio Rinaldi designed a cherub that only slightly turned. But it soon needed repairs: a strong gust of wind deprived the angel of a wing. Climber Telushkin repaired it without scaffolding, only with ropes. A crowd watched his daring movements at height.

In 1858, the spire was made of metal. It was built at a Ural factory. At a height of 47 meters, it weighed 56 tons. With it, the bell tower reached 122.5 meters. The movable structure ensured strength; the spire could bend by 90 centimeters. A minute hand was added to the clock. The angel acquired its final appearance.

In the 19th century, a marble base was laid under the iconostasis so that the icons would not suffer from dampness, and the royal gates were replaced with bronze ones.

The cathedral housed keys from captured cities and fortresses, trophy banners. Later, they were sent to the Hermitage, and copies remained on the walls.

From the very beginning, Peter I intended to make the cathedral a burial place for the ruling dynasty. The first to be buried there were the daughter of Catherine and Peter, his sister, and Tsarevich Alexei with his wife. The tsar himself had his son rot in the dungeons of Peter and Paul, suspecting him of treason, but the voice of blood proved stronger.

Peter I awaited a peculiar retribution: his embalmed body waited for burial for 6 years. After some time, his wife Catherine I joined him. In 1731, they found peace before the altar under simple marble slabs. Tombstones of white marble appeared in the 1760s. The coffins of the ruling figures were marked with coats of arms. The tombstones of Alexander II and his wife differ: they are monoliths made of jasper and orletz weighing 6 tons.

All crowned members of the Romanov dynasty are buried in the cathedral, except for Peter II and Ivan VI.

By the beginning of the 20th century, the burial place could not accommodate all the Romanovs. A Grand Ducal burial place was built for members of the royal family. Before World War I, 8 burials were moved there, and 5 new ones were added. The Romanovs planned to rule for a long time; the room was designed for 60 burials, but history had other plans.

Burials resumed here after the fall of the communists, in the 1990s, with the great-grandson of Alexander II, Vladimir Kirillovich, followed by his parents and wife. On July 17, 1998, the remains of Nicholas II and his family, executed in Yekaterinburg in 1918, were buried in the Catherine Chapel. They were discovered in the early 1990s, an examination was conducted, but the church is in no hurry to recognize it, so the burial looks modest. The last to be buried was the wife of Alexander III; her remains were transported from Denmark.

After the February Revolution, the church suffered desecration. In 1917, by order of the Provisional Government, all valuables were sent to Moscow, where they disappeared. The Bolsheviks closed the cathedral and turned it into a museum. The remaining valuable items were taken to other museums.

The royal tombs survived, while the Grand Ducal burial place suffered: marble slabs were broken, coffins were looted. The robbers were disappointed; orders and jewels were not placed in the graves. The room was repurposed as a book warehouse.

Soviet atheists were disturbed by the angel, a symbol of "opium for the people." In the 1930s, there were plans to replace it with a ruby star. The war saved it. Wrapped in burlap, it survived all the cataclysms.

The gilded spire was painted over, and the cathedral suffered from bombings during the blockade. The stained glass "Resurrection of Christ" was destroyed. Restoration was completed by the end of the 1950s, by this time it had become the Museum of the History of Leningrad.

In the 1990s, the cathedral returned to its intended purpose. Panikhidas for the emperors are held here, and since the 2000s, divine services. It is also a museum visited by thousands of tourists.

The unique carillon, a bell organ, can perform any melody, from classical to jazz. It was created in the 90s at the Belgian Royal School of Carillon and gifted to the city. The first carillon purchased by Peter I perished in a fire, the second "died" of old age.

In the 21st century, the cathedral remains a living, constantly changing organism and an unparalleled monument of the Peter era, a structure that has radically influenced Russian architecture.