Cathedral of the Resurrection of the Lord (Petrozavodsk). Council in the name of the resurrection of Christ in the name of the resurrection of Christ

Council of the Resurrection of Christ

on the Catherine Canal ("Spas-on-Blood")

emb. Canal Griboyedov, 2

The Church of the Resurrection of Christ was built on the spot where on March 1, 1881, by decision of the Executive Committee of the People's Will, Emperor Alexander II was mortally wounded by its member I. Grinevitsky.

Although Alexander II is not officially canonized by the Russian Orthodox Church, it is with him that the martyrology, even if unofficial, of the Russian new martyrs, among whom there are many patron saints of St. Petersburg, begins. Therefore, it is quite legitimate to consider that this temple is a monument to all the St. Petersburg new martyrs, to all who fell at the hands of terrorists.

On March 2, the City Duma asked Alexander III “to allow the city public administration to erect a chapel or monument at the expense of the city.” The emperor replied: “It would be desirable to have a church, not a chapel.”

However, they temporarily decided to build a chapel. According to the design of the architect L.N. Benois, the chapel was erected in April. It was installed by the merchant of the 1st guild Gromov, the construction work was paid for by the merchant Militsin, who also became the headman. Every day, memorial services were held in the chapel in memory of Alexander II.

This chapel stood on the embankment until the spring of 1883, and then, in connection with the start of construction of the cathedral, it was moved to Konyushennaya Square. On April 29, 1882, a competition was held for the best design of a new temple.

The competition committee included the largest architects of the time, including A. I. Rezanov (chairman) and D. I. Grimm. However, all projects submitted to the Commission were not approved by Alexander III. The Emperor wished that the temple be built in the style of Russian churches of the 16th-17th centuries.

Later, a wish was added to this that the place where Alexander II was mortally wounded “should be inside the church itself in the form of a special chapel.” The emperor wanted to have not an ordinary church, but a memorial complex. In October 1882, Alexander III approved the project of Archimandrite Ignatius, abbot of the monastery at the Trinity-Sergius Hermitage in the Strelna region.

Archimandrite Ignatius (in the world Ivan Vasilyevich Malyshev) studied at the Faculty of Architecture of the Academy of Arts and was not a complete amateur in the field of architecture. Later, newspapers reported that Ignatius had a co-author on the approved project - the young architect A. A. Parland.

On October 6, 1883, the foundation stone for the new temple took place, construction work began in 1885, and the final project developed by Parland was approved only in May 1887.

Parland abandoned the usual driving of piles for the foundation in St. Petersburg, replacing them with a concrete foundation. The construction of the temple took an endlessly long time, 24 years, and the son of Alexander II, Vladimir, took a leading part in this;

Finally, on August 19, 1907, on the day of the Summer Savior, the consecration of the temple took place. The illumination was attended by Nicholas II and his wife, the court, representatives of the highest clergy, and ministers. People were allowed into the temple only with passes signed by P. A. Stolypin.

The complex picturesque silhouette of the Church of the Resurrection of Christ and its bright multi-colored decoration are perceived as a sharp contrast to the classic ensembles.

It should be noted that the temple reproduces the main features of outstanding Russian churches of the 16th-17th centuries, characteristic of Yaroslavl, Rostov and Moscow, and especially St. Basil's Cathedral in Moscow on Red Square.

A. A. Parland created a collective image of a Russian temple. He did not simply repeat examples of the 16th-17th centuries, but combined traditional forms of architectural decoration with new constructive foundations for the entire composition.

This temple restores the Moscow tradition of temple architecture, interrupted by the West-oriented Peter the Great era. It is distinguished by a complex silhouette and rich multi-colored architectural decoration.

The author of the project reworked the compositional techniques and forms of ancient Moscow and Yaroslavl architecture. The building, pentagonal in plan, is traditionally oriented to the east. The main volume, crowned with a five-domed structure, is adjacent to a two-tier bell tower with a golden dome, two porches and three apses ending in small domes.

All the heads of the cathedral are onion-shaped and covered with jewelry enamel. The same dome is crowned by the central tent, cut through by two rows of skylights. The central tent reaches a height of 81 m. This figure is symbolic, it indicates the year of the king’s death - 1881.

The decorative decoration of the cathedral facades is very rich and multi-layered. The basement of the building is lined with Serdobol (Karelian) granite. Twenty planks of Norwegian dark red granite are installed in the shallow niches of the plinth.

N and on them the deeds of Alexander II are inscribed in gilded letters. These are the main events from Russian history during the reign of the emperor from February 19, 1855 to March 1, 1881. Without dwelling on the boards, the inscriptions of which are purely memorial in nature, we note the content of those that are of fundamental importance.

On the seventh board the following are indicated important events as the accession of the Amur and Ussuri territories to Russia under the Aigun and Beijing treaties with China (1858 and 1860).

The eighth board reflects the greatest deed of the tsar - the liberation of the peasants from serfdom on February 19, 1861. The words of the Manifesto compiled by St. Philaret, Metropolitan of Moscow, and signed by Alexander II are inscribed on the board: “Autumn yourself sign of the cross, Orthodox people, and call with Us God's blessing on your free labor, the guarantee of your domestic well-being and the public good."

The ninth board contains provisions on economic and financial transformations and network development railways and telegraph message: in this regard, the transformations were so great that in just 20 years Russia made a leap equal to an entire historical era.

On the tenth board there is a decree of April 17, 1860 on the restriction (in fact, complete abolition) corporal punishment. The following boards contain the provisions “On Zemstvo Institutions”, “On Granting a Seal of Possible Relief”, “On General Military Service”, which replaced conscription and twenty-five-year military service with short military service, compulsory for all eligible men.

On the fourteenth board are the words of the emperor dedicated to the judicial reform, which should “establish in Russia a court that is quick, just, merciful and equal for all subjects:.”

On the fifteenth board there are a number of provisions on the reform of primary, secondary and higher education, including women.

Several plaques glorify the actions of Alexander II to strengthen the military power of Russia, associated with the victorious wars for the final annexation of the Caucasus and Central Asia, the restoration of Russia's sovereign rights in the Black Sea and the liberation of Balkan Christians from the Ottoman yoke.

Above the basement of the building there is a trim made of brownish-red brick, against which colored and white marble and ceramic tiles stand out. The windows are framed by various columns made of Estonian marble, the delivery and processing of which was carried out by the company Kos and Duerr from Estland. The walls are decorated with ornaments in the form of belts and crosses made of colored porcelain and ceramic bricks.

But the main decoration of the facade is the magnificent mosaic, concentrated mainly on three sides of the bell tower. The coats of arms of Russian cities, provinces and districts were made using the mosaic technique. The area of ​​the mosaic covering of the outer part of the temple exceeds 400 square meters. meters.

The decorative decoration of the interior amazes with its splendor. First of all, this applies to the wonderful mosaics that almost completely cover the walls of the cathedral. In 1894, it was decided to recruit them according to the author’s sketches. Total coverage area - 6560 sq. meters. The largest order for mosaic work was received by the Frolovs' company. Order for 800 thousand rubles. were entrusted to the mosaic department of the Academy of Arts, and the four icons in the lateral limits were assigned to the German company Paul and Wagner. A number of talented craftsmen worked on the mosaic decoration of the walls of the cathedral. The most famous of them are G. F. Batyushkov, I. M. Baranov, V. S. Kuznetsov, M. A. Petrov. Sketches for mosaics were created large group artists. The degree of their talent and manner of performance are different. But work in the most important places was entrusted to the most gifted artists. Among them we can note M. V. Nesterov, V. M. Vasnetsov, N. N. Kharlamov.

Among Nesterov’s works, the icon of the northern icon case “St. Alexander Nevsky” stands out. He is depicted praying at the icon in the house church. In the distance outside the window you can see the modest landscape of northern Rus'. Above the image of the Mother of God are inscribed the words spoken by the holy prince before the Battle of the Neva: “God is not in power, but in truth.” The mosaic is made in silver-gray tones and fits organically into the pink eagle frame. The mosaic of the southern icon case “Resurrection” was made in surprisingly gentle colors according to Nesterov’s original. The central place in the frame of the iconostasis is occupied by mosaics created according to sketches by V. M. Vasnetsov - “The Virgin and Child” and “The Savior”. These works are distinguished by a high artistic level and perfect technique of smalt setting. The works of N. N. Kharlamov, the son of a Vladimir priest, are distinguished by their amazing beauty and high artistic taste. Kharlamov was the director of the Kholuy school of icon painting for a long time. He was commissioned to create most of the designs for the cathedral's mosaics. Over the course of three years, Kharlamov created 42 cardboards for the mosaics of the interior of the cathedral, on which the mosaics were assembled: the image of “Christ the Pantocrator” located in the main dome, the altar panel in the main altar “Eucharist”, “Savior-Emmanuel”, “Saviour” Benevolent Silence", "John the Baptist" and a number of others.

Of the other painters whose sketches were used to create the mosaics of the temple, mention should be made of the famous A.P. Ryabushkin, who painted in a traditional academic manner and created panels on New Testament subjects - such as “The Calling of the Apostle Matthew”, “Healing of a Possessed Youth”, “Healing of a Withered Hand” ", "The Savior's Walking on the Waters" and many others. One can also note such artists as V.V. Belyaev, who is close in the style of icon painting to Nestorov, academic artists N.A. Koshelev and N.K. Bodarevsky. A separate group of mosaics consists of ornaments made according to the originals of A.A. Parland and A.P. Ryabushkin, making up a colorful wall carpet.

One cannot ignore another feature of the decorative decoration of the temple - the abundance of ornamental and semi-precious stones, competing in their beauty and brightness with mosaics. Over twenty domestic and foreign minerals were used in the decoration of the temple. The walls of the building and the solea in front of the iconostasis are lined with Calabrian marble. The iconostasis itself is made of dark red and pink marble, also of Italian origin. To this we must add Ural and Altai jasper, porphyry, orlets, blue-black asp, rock crystal, topazes and other domestic minerals.

The floor is made of multi-colored marble slabs representing continuous colorful patterns. The floor covering is dominated by Italian marbles - Carrara, Genoese, Siena. The layer of marble that covered the floor was surprisingly thin, only a few millimeters. There are four pylons inside the cathedral, the lower part of which is lined with Kyiv labradorite.

A special place in the interior of the Church of the Resurrection of Christ is occupied by the canopy, installed on the site where Alexander II was mortally wounded by the Narodnaya Volya. It was made according to a drawing by A. Parland and installed in July 1907. The base of the canopy consists of four columns made of Altai jasper. The columns support a high entablature and a carved stone pediment with stylized vases made of “Nicholas” jasper in the corners. Above the entablature rise 24 kokoshniks, arranged in three rows. The canopy ended with an octagonal pyramid and a cross made of 112 topazes. Inside the canopy, the metal frame was lined with plywood sheets and faced with Florentine lapis lazuli mosaics. 3 pounds (48 kg) of Bukhara blue were used to cover the vault. The canopy vault is inlaid with Siberian gems and topazes in the shape of stars. The canopy was fenced with a balustrade made of orlets and metal openwork grilles made at the Yekaterinburg and Peterhof lapidary factories. Under the canopy is part of the grating of the Catherine Canal and the cobblestones on which the mortally wounded Tsar fell. The canopy floor is located 7 steps below the church floor.

The entrances to the cathedral are located on the northwestern and southwestern sides and are designed as vestibules with porches on granite columns. They are identical, have a hipped top, crowned with a double-headed eagle. The tents are covered with multi-colored tiles. Between them, in the place where the main entrance is usually located in churches, on the facade there is a mosaic Crucifixion facing the canal, made according to a drawing by V. M. Vasnetsov. On the facades of the cathedral, mosaics are included in kokoshniks and niches. The pediments of the cathedral's porches are decorated with mosaic panels created on Gospel subjects and made according to sketches by V. M. Vasnetsov "Carrying the Cross", "Crucifixion", "Descent from the Cross" and "Descent into Hell". All four mosaic panels are remarkable in composition and color.

The cathedral was equipped last word technology of that time. By the time the temple opened, the building was fully electrified. There were three types of lighting: duty, regular and front. The temple was illuminated by 1689 electric lamps. The relatively small size of the building and at the same time its high heat output placed increased demands on the heating of the temple. It was airy. 2 steam boilers and 8 air heaters were installed in the basement. Heated air was supplied through channels in the walls to the main hall, to the domes and to the windows of the 1st tier on the southern and northern walls. The main dome was additionally heated by cast-iron batteries, to which steam was supplied through a copper steam pipeline. The heating system has been constantly modernized. Lightning protection was created, with the crosses of the central dome and bell tower serving as lightning rods.

The Resurrection Cathedral was the only temple Petersburg, which received the same rights to state maintenance that the Cathedral of St. Isaac had. In the Church of the Resurrection of Christ they did not baptize, did not perform funeral services, did not marry, i.e. there were no usual requirements of the parish church. Sermons were read here every day and memorial services were served. After the transfer of St. Isaac's Cathedral in 1923 to the Renovation Church, the Resurrection Cathedral became the Cathedral. Since December 1927, the cathedral became the main temple of the Josephites - a movement that did not recognize compromises between the Deputy Patriarchal Locum Tenens Metropolitan Sergius and Soviet power. However, on October 30, 1930, by a special resolution of the All-Russian Central Executive Committee, it was closed as an active church. It was supposed to be handed over to a society of political prisoners and exiled settlers. In the mid-1930s. There was a garbage dump in the cathedral. All this time, the question of the possibility of complete demolition of the building was not removed from the agenda. Only the technical calculations carried out, which showed what consequences the city could face from committing this barbaric act, made us think about a more reasonable use of the building. During the war and blockade, the temple suffered significant losses. Suffice it to say that in the main dome, next to N. N. Kharlamov’s “Pantocrator” mosaic, an unexploded shell was stuck, which was neutralized only in the 1980s. After the war, upon completion of the priority restoration work, the building was transferred to the Maly Opera House for storage of scenery.

In 1970, the devastated and dilapidated cathedral was transferred to the jurisdiction of the State Museum " St. Isaac's Cathedral", becoming its branch. For almost thirty years, work was underway to restore mosaics and marble, improve the waterproofing system, and repair utility networks. After a long-term restoration, which partially stopped the destruction of the temple, it was opened to visitors on August 19, 1997.

By the beginning of the new century, the work was largely completed. However, the question of transferring the temple to the Russian Orthodox Church still remains open.

To the north of the temple, behind the bridge over the Griboyedov Canal, is the former chapel of the Iveron Icon of the Mother of God of the sacristy of the Resurrection Cathedral, built in 1907 according to Parland’s design. Nowadays it is used as a museum and exhibition hall.

The temple is separated from the Mikhailovsky Garden by a semicircular fence, completed in 1903 - 1907. at the enterprise of K. Binkler according to the project of A. A. Parland. The design of forged links with large floral patterns is characteristic of early modernism.

Part 8 -
Part 9 - Cathedral in the name of the Resurrection of Christ on the Catherine Canal ("Savior on Spilled Blood")
Part 10 -
Part 11 -
Part 12 -
Part 13 -
Part 14 -

The Orthodox complex “In the Name of the Resurrection of Christ” was built in honor of the 2000th anniversary of the Nativity of Christ. The height of the majestic Church of the Resurrection of Christ, built in the traditions of Russian architecture of the 19th century, is 59 meters, and the bell tower located nearby is 62 meters. Cathedral of the Resurrection of Christ - Orthodox church in the city of Khanty-Mansiysk is dedicated to the most important Christian holiday- The Resurrection of Christ.

The Orthodox complex “In the Name of the Resurrection of Christ” is considered one of the main attractions of Khanty-Mansiysk. Its majestic structures, topped with golden domes, can be seen from almost any part of the city.

On December 10, 1999, Archbishop Dimitry of Tobolsk and Tyumen consecrated the foundation stone with the inscription “In the name of the Father and the Son and the Holy Spirit! On August 12, 2001, the construction site of the temple complex was visited by His Holiness Patriarch of Moscow and All Rus' Alexy II. On May 24, 2005, Archbishop Dimitry of Tobolsk and Tyumen consecrated the chapel in honor of the saints Equal-to-the-Apostles Cyril and Methodius of the temple complex under construction in honor of the Resurrection of Christ. And already on June 25, 2005, for the first time in the church under construction in honor of the Resurrection of Christ, the Archbishop of Tobolsk and Tyumen served a prayer service.

Built in 2005, the temple complex includes more than 10 buildings, the main of which are the cathedral Church of the Resurrection of Christ, an Orthodox gymnasium and school, a temple in honor of Prince Vladimir and a 62-meter bell tower - one of the tallest buildings in the city. The country's first Orthodox park is located near the temple. Slavic writing and culture “Slavyanskaya Square”, decorated with sculptures on the theme of the Ten Commandments. In addition, on the territory of the complex there are monuments to saints, alleys, playgrounds and places for recreation.
In the Park of Slavic Literature and Culture you can see small architectural forms on the theme of the ten biblical commandments. Here, in pairs, there are monuments to Cyril and Methodius, as well as to the first churchmen of Ugra - Metropolitans of Tobolsk Philotheus and John.

Made in the style of Russian architecture of the second half of the 19th century, the temple complex is considered the largest in the Khanty-Mansiysk region and has no analogues.
With the blessing of the governor of the Khanty-Mansi diocese, Bishop Pavel of Khanty-Mansi and Surgut, the Church of the Resurrection was painted in the Serbian-Byzantine style by icon painters from the art workshop of the Tomsk Union of Monumentalists, Sculptors and Designers.

Today, in the Resurrection Cathedral there are many holy icons with particles and relics of the holy saints of God: St. John, the Wonderworker of Tobolsk, St. Nektarios, Archbishop of Siberia and Tobolsk, Blessed Paul of Taganrog, St. John of Shanghai and San Francisco, St. Luke of Voino- Yasenetsky, ark with the relics of holy saints Kiev-Pechersk Lavra, reliquary with particles of the stone of the Holy Sepulcher, the Maurian Oak, the relics of the Apostle Andrew the First-Called, St. Luke of Simferopol, Prmchtsy. Grand Duchess Elizabeth and nun Varvara. On the name day of Bishop Pavel of Khanty-Mansiysk and Surgut, the relics of the Apostle Paul were delivered to the Khanty-Mansiysk diocese; the Cathedral also contains the relics of the family’s patrons - the holy noble princes Peter and Fevronia of Murom.

Address: Tyumen region, Khanty-Mansiysk Autonomous Okrug - Ugra, Khanty-Mansiysk, st. Gagarina, 17.

The monastery is located on the shore of the Great Nikon Bay, the main harbor of Valaam, in the place where, according to the Valaam legend, St. ap. Andrew the First-Called erected a stone cross (or apostolic staff). Subsequently, there was a chapel in the name of St. Andrew, restored in 1846. late XVIII IN early XIX V. Hieromonk Nikon (1745(6)-1822) labored in the cave where the snakes lived, after whom the Big and Small Nikon bays were named.

In 1896, philanthropist and pilgrim I.M. Sibiryakov suggested that Abbot Gabriel build a monastery on this site, where the monastic fishermen lived, and donated 10 thousand rubles. He was going to stay here, but went to Mount Athos, where he accepted the Great Schema and soon died. The plan of the two-story church was drawn up by the Finnish diocesan architect V.I., who worked a lot on Valaam. Barankeyev (1850-1902). In 1901, clearing of the site for the future temple began: with the help of explosions in the diabase rock, they deepened the place, laid the foundation, and in the summer of 1902 they began to lay the walls. In just a year, the temple was roughly ready. In 1905, interior decoration was completed. On July 30, 1906, the main Resurrection throne was consecrated by Archbishop of Finland and Vyborg (later Patriarch of Moscow and All Rus') Sergius (Stragorodsky).

The architecture of the temple, built on a gray granite plinth made of Valaam brick, with a three-flight staircase and granite columns, combines features of classicism, baroque and Russian style. The lower church in the name of St. Apostle Andrew was consecrated by Abbot Paphnutius and built in the likeness of the cave of the Church of the Holy Sepulcher in Jerusalem - Edicule. Past the small marble iconostasis located on the right and on the left - the stone of anointing, denoting the stone on which Righteous Joseph and Nicodemus anointed the Most Pure Body of the Savior, the passage leads to the Angel's Porch, where there was a stone, as if taken by an Angel from the Savior's Tomb with a particle of the original. A low and narrow opening connects it with the Cave of the Holy Sepulcher, where there was a marble likeness of the Holy Sepulcher with an authentic piece of stone from Jerusalem.

Decoration full of light upper temple, in which the service was held in the summer, recalled the Holy Resurrection of Christ. All icons were painted by Valaam monks.

Only an image Mother of God Jerusalem was transferred from Moscow in gratitude for the establishment of the Valaam metochion there. In this temple they sounded all year round Easter chants. This tradition is observed even now, only in the summer, when the Choir of the St. Petersburg Metochion comes to the island.

The first six inhabitants of the monastery settled in a house under the mountain. When their number increased to 50 people by the beginning of 1910, three buildings were built: one-story buildings - a cell and a utility building to the east, and a two-story building with a refectory and cells to the north of the church (design by the architect N.N. Nikonov). In 1931, a shelter school for boys was opened with training in church reading, singing and icon painting according to the public school course.

After the completion of the external restoration, the gilded dome of the Church of the Resurrection, as before, served as a landmark for ships arriving at Valaam. Nikon Bay is one of the best marinas on Ladoga and is now the main harbor of Valaam. Monastery guides live here and meet pilgrims.

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As a sign of victory over Napoleon and in memory of the fallen brave sons of Russia, in 1842 the people of Arzamas erected a majestic five-domed, with 48 columns, cathedral Resurrection of Christ.

The temple stands on a high hill in Arzamas, completing the ensemble of Cathedral Square. In panoramas from distant points, the white cube and five-domed cathedral completely dominate the development, subordinating the entire variety of temple buildings in the city.

The cathedral took 28 years to build from 1814, using funds donated by Arzamas residents for construction. The cathedral project was carried out by Mikhail Korinfsky (1788-1851), a local native, an outstanding master of classicism, and a student of the famous Russian architect Andrei Voronikhin. The painting in the cathedral was done by students of the school of academician A.V. Stupin.

The building has the shape of a Greek cross placed on a square. The length and width of the building are equal and have 30 fathoms (63 m 90 cm), and the height to the middle cross is 22 fathoms (46 m 86 cm). On the pediments of the cathedral there are large frescoes on biblical scenes: “The Resurrection of Christ” (eastern pediment), “The Appearance of the Holy Trinity to Abraham” (southern), “The Cathedral of All Saints” (western), “The Intercession of the Holy Virgin” (northern).

In its general appearance and excellent proportions, the Arzamas Cathedral has no equal among the classical cathedrals of Moscow and can only be compared with the St. Petersburg cathedrals of Stasov.

Revered shrines: Life-giving Cross of the Lord, miraculously acquired from Makaryevsky Monastery; WWII icons healer Panteleimon, St. Nicholas the Wonderworker, Kazan Mother of God.

This is a description of the landmark Cathedral of the Resurrection of Christ in Arzamas, Nizhny Novgorod region (Russia). As well as photos, reviews and a map of the surrounding area. Find out the history, coordinates, where it is and how to get there. Check out other places on our interactive map for more detailed information. Get to know the world better.

Cathedrals No. 903 – Resurrection of Christ, Cathedral

Temples of Russia No. 12869 – Cathedral of the Resurrection of Christ in Arzamas (Resurrection Cathedral, mid-16th century)

A grandiose cathedral, one of the best examples of classicism style. Built as a temple-monument to the victory in Patriotic War 1812 instead of the previous stone cathedral built in 1742. Founded in 1814, consecrated on September 15, 1840. A four-pillar, five-domed temple, the cubic volume of which is complicated by symmetrical rectangular porches and an altar, decorated with twelve-column porticoes. On the sides of the main altar are the chapels of John the Warrior and Seraphim of Sarov (right) and Alexander Nevsky and Mitrofan of Voronezh (left), in the side porches are the Pokrovsko-Ioanno-Bogoslovsky (right) and All Saints-Nikolsky (left). Closed in 1932, occupied by an anti-religious museum. In 1944 it was returned to believers with the personal participation of the patriarch. Sergius (Stragorodsky), a native of Arzamas. It was no longer closed.

Cathedral of the Resurrection of the Lord- the unpreserved cathedral of the Olonets and Petrozavodsk diocese in Petrozavodsk. It was located on Cathedral Square (now Kirov Square).

Appearance

A warm stone-wooden temple about 28 m long, 17 m wide with a bell tower (the domed part of the temple, crowned with 9 domes, was wooden). In addition to the main chapel, two side chapels were consecrated in the cathedral: in honor and glory of the Nativity of Christ and in honor of the Nativity of the Blessed Virgin Mary. A particularly revered icon of the cathedral was the Three Hands.

The cathedral had three entrances - from the western, northern and southern sides. In special premises there was a spiritual library, a sacristy and an ancient storage room.

At the northern gate of the cathedral's stone fence there was a stone icon case in the form of a chapel with an icon of St. Nicholas the Wonderworker. At the western entrance to the temple there was the grave of Thaddeus of Petrozavodsk.

Story

Built in 1800 at the expense of the townspeople next to the Peter and Paul Cathedral on the site of the Holy Spirit Church, which was dismantled due to disrepair in 1799. Until 1875 - Svyatodukhovsky, in 1875 it was renamed in the name of the Resurrection of the Lord.

In October 1924, the temple was badly damaged by a fire that destroyed the wooden Peter and Paul Cathedral. The authorities refused the believers permission to repair the building, and it was dismantled.

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Literature

• Olonets diocese. Pages of history. 2000.
• Petrozavodsk: Travel Guide Orthodox shrines Karelia. Petrozavodsk. 2003.
• Sorokina T.V. Gendelev D.Z. Cathedrals of Petrozavodsk. Petrozavodsk. 1999.
• Karelia: encyclopedia: in 3 volumes / chapter. ed. A. F. Titov. T. 3: R - Y. - Petrozavodsk: “PetroPress”, 2011. - 384 p.: ill., map. ISBN 978-5-8430-0127-8 (vol. 3) - page 105

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An excerpt characterizing the Council of the Resurrection of the Lord (Petrozavodsk)

From the house of Prince Shcherbatov, the prisoners were led straight down along the Devichye Pole, to the left of the Devichye Monastery and led to a vegetable garden on which there was a pillar. Behind the pillar there was a large hole dug with freshly dug up earth, and a large crowd of people stood in a semicircle around the pit and the pillar. The crowd consisted of a small number of Russians and large number Napoleonic troops out of formation: Germans, Italians and French in different uniforms. To the right and left of the pillar stood fronts of French troops in blue uniforms with red epaulettes, boots and shakos.
The criminals were placed according to known order, who was on the list (Pierre was sixth), and was brought to the post. Several drums suddenly struck from both sides, and Pierre felt that with this sound it was as if part of his soul had been torn away. He lost the ability to think and think. He could only see and hear. And he had only one desire - the desire for something terrible to happen that had to be done as quickly as possible. Pierre looked back at his comrades and examined them.
The two men on the edge were shaved and guarded. One is tall and thin; the other is black, shaggy, muscular, with a flat nose. The third was a street servant, about forty-five years old, with graying hair and a plump, well-fed body. The fourth was a very handsome man, with a thick brown beard and black eyes. The fifth was a factory worker, yellow, thin, about eighteen, in a dressing gown.
Pierre heard that the French were discussing how to shoot - one at a time or two at a time? “Two at a time,” the senior officer answered coldly and calmly. There was movement in the ranks of the soldiers, and it was noticeable that everyone was in a hurry - and they were in a hurry not as they are in a hurry to do something understandable to everyone, but as they are in a hurry to finish a necessary, but unpleasant and incomprehensible task.
A French official in a scarf approached the right side of the line of criminals and read the verdict in Russian and French.