The Assumption Cathedral of the Moscow Kremlin was the main Orthodox church of the Russian state from the 15th to the 19th century. Ceremonies of the coronation of all emperors of the Romanov dynasty took place here. The cathedral also served as a burial place for Moscow's metropolitans and patriarchs. It is one of the oldest and most significant cultural and historical monuments of Russia, a symbol of ancient Russian architecture. Built between 1475 and 1479, it is dedicated to the Feast of the Dormition of the Mother of God, who is considered the patroness of Russia. Even after the capital was moved to St. Petersburg in the early 18th century, the cathedral retained its high status.

History of the Cathedral's Construction

In 1326, under Ivan Kalita, the first Assumption Cathedral was laid in the Kremlin, representing a modest single-domed church. However, after the fire of 1337, it no longer corresponded to Moscow's status as the capital of All Rus. Prince Ivan III and Metropolitan Philip decided to build a new majestic cathedral that would become the spiritual center of the state.

Funds for the construction were gathered from all over: boyars, merchants, and laypeople donated money, while monasteries were taxed. Russian architects Kravtsov and Myshkin began the construction, but in 1474, the nearly completed cathedral collapsed due to an earthquake.

For the new construction, Ivan III invited the Italian architect Aristotle Fioravanti from Bologna.

Architect Aristotle Fioravanti and His Contribution

In the summer of 1475, the foundation of the new cathedral was laid. The construction impressed Muscovites with its speed and new working methods. By the architect's order, the first brick factory in Moscow was built. Oak piles were used for the foundation, and the walls were reinforced with metal ties.

The white-stone five-domed cathedral with cross vaults was built from hewn stone blocks. The internal pillars, vaults, and drums were made of brick faced with white stone. The architect used iron piles and strong lime to strengthen the walls.

Fioravanti took into account the mistakes of his predecessors, carefully checking all calculations. The cathedral, built in four years, amazed contemporaries with its size and the richness of its interior decoration.

Architectural Styles and Exterior Appearance

In Fioravanti's cathedral, Byzantine, Romanesque, Gothic, and ancient Russian styles are combined. The building, made of blocks, looks monolithic. The hall-type temple with six slender pillars impresses with its majesty and brightness.

The cathedral has an elongated western part, making it more spacious. The light pouring from the windows of the drums and zakomaras creates a sense of space and celebration.

The facade of the cathedral consists of pilasters and panels, separated by strips. The building is divided by a decorative belt of columns and arches, as well as pilasters with narrow windows. The cathedral is crowned with five domes, symbolizing Jesus Christ and the four evangelists. The central dome is higher and larger than the others.

Interior of the Assumption Cathedral

The cathedral is famous for its frescoes, which appeared in the 17th century during the reign of Mikhail Romanov. The golden light from the vaults and walls gave divine approval to the ceremonies of ascension to the throne.

For the frescoes, the icon painter Dionysius and his students were invited. 150 artists created cycles of frescoes. On the southern facade, the Vladimir Mother of God is depicted with archangels Michael and Gabriel.

In the lower tier, six saints, the Moscow and Rostov metropolitans, are depicted. Here is also the image of the Savior Not Made by Hands. In the upper part of the walls, illustrations of the Gospel. On the western side, the composition 'The Last Judgment.' On the pillars, numerous figures of martyrs. On the vaults and walls, there are 249 narrative compositions and 2066 figures.

On the northern side, Pafnutiy Borovskiy, Isaiah, Leontiy, and Ignatius of Rostov are depicted. Above them is the composition 'The Assembly of the Apostles' with Christ, the Mother of God, John the Baptist, and the 12 apostles. In the center of the eastern wall is the New Testament Trinity. On the vaults are compositions on Gospel themes.

In the temple hangs a silver chandelier weighing 328 kg, cast in memory of the victory over Napoleon. Here is also an ornate canopy for storing relics. In the center of the cathedral are three crosses with images of the crucified robbers and angels.

Iconostasis

Entering the cathedral through the western gates, visitors see a wide panorama of the interior with frescoes, chandeliers, and icons. However, attention is drawn to the enormous iconostasis that separates the altar from the rest of the cathedral.

The current five-tiered iconostasis, over sixteen meters high, replaced the previous one created by Dionysius in 1481. The new iconostasis was commissioned by Patriarch Nikon shortly after his election. The ensemble of 69 icons was created in ten months in 1653-1654. The icons were painted by a group of icon painters from different cities. Among them stood out Kostroma artist Vasily Ilyin and Yaroslavl painters Semyon Dmitriev and Joseph Vladimirov.

The iconostasis was adorned with a silver covering, which has not survived. During the Napoleonic invasion of 1812, the coverings of the icons were stolen but restored during the restorations in 1813 and 1882. The icons were washed and covered with oil in 1852. The iconostasis still impresses with its grandeur, and the innovations of Patriarch Nikon became widely used in cathedral iconostases across Russia.

Place of Major State Events

Under the vaults of the Assumption Cathedral, the main celebrations took place, including the coronation of Russian sovereigns. Through the copper gates with 20 biblical images, members of the royal family entered. The vaults of the cathedral witnessed how the 16-year-old Mikhail Romanov entered here, fearing responsibility. After the Time of Troubles, the new sovereign had to restore Russia. The coronation ceremonies became grand events. 21 Russian rulers were crowned in the cathedral.

Here, the marriages of sovereigns were performed. Alexei Mikhailovich was the first among the Romanovs to begin baptizing children here. In 1744, Catherine II accepted Orthodoxy here. Under the vaults of the cathedral, victories over the Horde, Kazan, in the Northern War, and over Turkey were celebrated.

In 1812, the French removed the vestments from the icons and melted them down for silver and gold. Some treasures were saved. Napoleon ordered the cathedral to be blown up, but the rain extinguished the fuses. In 1814, a 'hymn of praise' was sung here in honor of the capture of Paris.

In 1903, an act of excommunication of Leo Tolstoy from the church was read here. In 1918, the new authorities seized 65 poods of silver, and the icons were sent to the Tretyakov Gallery. According to legend, in the winter of 1941, Stalin ordered a secret prayer service for the salvation of the country.

Burial Place

Since 1382, metropolitans and patriarchs were buried in the cathedral, with 20 tombs here. Most of the burials are under the floor, marked by flat-topped monuments. The tradition began with the burial of Saint Metropolitan Peter.

On the western side is buried the last patriarch of the Petrine era, Adrian. The tombstones of the patriarchs are made of carved white stone with epitaphs. Next to the patriarchal tombs is the Tomb of the Lord, where the staff of Metropolitan Peter and the Lord's Nail are kept.

The Assumption Cathedral, the Patriarchal Cathedral, is open to tourists. Since 1991, it has been part of the State Historical and Cultural Museum-Reserve of the Moscow Kremlin. By the blessing of the Patriarch, services are held here on certain holidays. The cathedral is used for solemn ceremonies, its architecture and decoration correspond to the celebrations.