The Kazan Cathedral
Address of the Kazan Cathedral of Saint-Petersburg, Nevsky prospect, the house 25.
Working hours of the Kazan Cathedral in St. Petersburg On A Daily Basis. On weekdays from 8.30 until the end of the evening service, in weekend - from 6.30 until the end of the evening service.
How to get
Metro station:Nevsky Prospect, Gostiny Dvor. Exit from the metro station to the channel Griboyedov. The cathedral is in front of the exit from the metro.
The kazan cathedral in Saint-Petersburg - the orthodox temple, located in the heart of the city. The facades of the temple are to Nevsky prospect and Griboedova channel. This is one of the largest buildings in the Northern capital. It& grow to a height 71,5 meters. On his behalf named the island in the delta of the Neva river, the bridge at the intersection of Nevsky prospect and Griboedova's channel and the street, which departs the temple.
The history of the creation of the Kazan Cathedral
In the second half of the 18TH century, the role of the railway began to change. By the end of the century the appearance of ветшавшей the church no longer suited the new purpose of Nevsky prospect. And since 1801 begins construction of a new temple.
The Project of Kazan cathedral
Completely the project was not completed. On a plan of Voronikhin is the same colonnade was to decorate the opposite, the southern facade of the temple. Whether this project is carried out, Petersburg enriched would ensemble, a grand scale which would be equal to the scale of the urban ensembles Karl Russia, which appeared only after two decades after the outstanding works of Andrei Voronikhin.
Photogallery of the Kazan cathedral.
The icon of the Virgin of Kazan that gave the cathedral its name is one of the most precious copies of a legendary icon that appeared in Kazan in the 16th century. The fate of the original is unknown. The copy was made (or significantly renewed) at the very end of the 17th century on the orders of Tsarina Praskovia (wife of Peter I's brother, Ivan V, and mother of Empress Anna loannovna). Since the Polish intervention and the liberation of Moscow in 1612 by volunteers led by Minin and Pozharsky, the Virgin of Kazan has been considered the protectress of Russian forces and, since 1649, of the House of Romanov.
The building has a Latin-cross ground plan; hence the unusual spatial arrangement and acoustics that make the cathedral a realm of harmony and silence broken only by singing on religious festivals. The chief vertical elements in the interior are the broad piers supporting the dome and a two-row colonnade ol 56 polished red granite columns (each 10.7 metres high with its base and cast bronze capital). The sanctuary with its vast apse is separated off by an iconostasis in the Venetian style designed by Konstantin Thon (1836). The iconostasis, cast from looted Russian silver recovered from the French in 1812, was confiscated after the revolution and is now being gradually recreated with funds provided by parishioners.
In August 1733 it was determined "by Her Imperial Majesty's personal order to build, on (Nevsky Prospekt), beyond the Green Bridge over the Moika, on the right-hand side, a church." On 6 September Anna Ioannovna herself laid the first stone in the foundation of the church dedicated to the Nativity of the Virgin.
The famous icon of the Virgin of Kazan that Peter I had had brought to St Petersburg was installed here.
In the 1790s Paul I decided to replace the church and in 1800 he approved the design by Andrei Voronikhin (1760-1814), who had been recommended by Count Stroganov, the man responsible for organizing the construction. The foundation : stone of the cathedral was laid a year later, in August 1801, by the new emperor, Alexander I.
Voronikhin based his project on St Peter's in Rome, a gigantic domed basilica- 132.5 metres high with the crosswith a square in front, enclosed by a tremendous circula colonnade. (Until 1990 it was the largest Christian church in the world.)
The Kazan Cathedral is a much more intimate edifice, barely half the size of its famous prototype. The richly articulated exterior of the building was executed in Pudost limestone and abundantly decorated with reliefs and sculpture by Ivan Martos, Stepan Pimenov, Ivan Prokofiev, Kiodor Gordeyev, Jean-Dominique Rachette and Vasily Demuth-Malinovsky. The finishing work was carried out in great haste, and for the massive doors they used casts made from existing moulds of Lorenzo Ghiberti's masterpiece, the Golden Doors of the Baptistery in Florence, that had been commissioned back in the 1760s by Nikita Demidov. The sculptural decoration was intended to be even richer, but the work was interrupted by war in 1812 and never resumed. Empty pedestals by the colonnade are reminders of the builders plans. The cathedral is strongly associated with Kutuzov, who laid its chief icon upon himself before setting off to join the army in 1812. and all Russian tsars from Alexander 1 onwards.
In the 1990s the cathedral was returned to the Orthodox Church and on feast days services are conducted here by the Metropolitan.