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The Cathedral of the Epiphany, commonly known as the Epiphany Cathedral at Yelokhovo (or Elokhovo), is a prominent Russian Orthodox church located in Moscow's Basmanny District. It serves as the vicarial church of the Moscow Patriarchs and is dedicated to the Epiphany and the Baptism of Jesus Christ, with additional side chapels honoring Saint Nicholas and the Annunciation. This cathedral stands as a testament to Russia's religious heritage, blending historical significance with architectural grandeur in the late Empire style.
Origins and Early History
The site's religious roots trace
back to the 15th century, when a wooden church dedicated to the
Mother of God of Vladimir stood in the village of Elokhovo (or
Yelokh), which was later incorporated into Moscow in the 18th
century. This area was notable as the birthplace of St. Basil the
Blessed (Vasily Blazhenny) around 1468, a revered Russian saint and
miracle-worker. The first stone church was constructed between 1717
and 1731 (some sources specify 1722–1731) at the behest of Tsarevna
Praskovia Ivanovna, a daughter of Tsar Ivan V, and funded by Prince
Koribut-Voronetsky. This early structure replaced the wooden
predecessor and marked the beginning of the site's prominence.
In
1790, the church was expanded with the addition of a refectory and a
four-tiered bell tower. A pivotal moment in its early history
occurred in 1799, when the renowned Russian poet Alexander Pushkin
was baptized here as an infant—a event commemorated today with a
plaque on the cathedral's exterior. By the mid-19th century, the
growing congregation and the church's deteriorating condition
necessitated a complete rebuild, as the existing structure could no
longer accommodate the needs of the parish.
Construction of
the Current Building
In 1835, clergy and wealthy parishioners
initiated plans for a new cathedral, commissioning architect
Yevgraph Tyurin (also known as Evgraf Tyurin), a prominent figure in
Russian neoclassical architecture. Construction spanned from 1837 to
1845, with the new building consecrated on October 18, 1853.
Tyurin's design embodied the late Empire style, incorporating
neoclassical elements with European eclectic influences, such as
triumphal arch-inspired entrances and a monumental scale that
reflected the era's imperial aesthetics. The project was funded
through donations from parishioners and the church's resources,
resulting in one of Moscow's last major monuments of late
classicism.
Notable Events and Figures
Throughout its
history, the cathedral has been linked to key figures and events.
Beyond Pushkin's baptism, it hosted the enthronements of several
Moscow Patriarchs, including Sergius I in 1943, Alexius I in 1945,
Pimen in 1970, and Alexius II in 1990. Patriarchs Sergius I and
Alexius II are buried here, with Sergius's tomb designed by
architect Alexey Shchusev. During the late Soviet era and early
post-Soviet period, Christmas and Easter services were nationally
televised, often attended by President Boris Yeltsin and Patriarch
Alexius II, until the Cathedral of Christ the Savior was rebuilt in
2000.
Soviet Era and Modern Significance
The cathedral's
resilience during the Soviet period is particularly noteworthy.
Unlike many churches, it remained open after the 1917 Revolution.
Following the 1918 closure of the Kremlin Cathedrals, the 1931
demolition of the Cathedral of Christ the Savior, and the 1938
destruction of the Dorogomilovo Cathedral, Yelokhovo became the de
facto seat of the Russian Orthodox Church as the largest operational
church in Moscow. Officially designated the Patriarchal Cathedral
from February 25, 1945, to 1991, it played a crucial role in
preserving Orthodox traditions amid anti-religious campaigns.
Today, the cathedral continues as a vital spiritual center, hosting
regular services and attracting pilgrims and tourists. Its
well-preserved state, including ongoing maintenance, underscores its
enduring importance in the Russian Orthodox Church and Moscow's
cultural landscape.
(Note: There is another historic site in
Moscow called the Epiphany Monastery, founded around 1296 in the
Kitai-Gorod district, with its own Cathedral of the Epiphany built
in the 17th century in Moscow Baroque style. However, based on
common references, the query likely pertains to the standalone
Yelokhovo Cathedral. If you meant the monastery, please clarify for
a focused description.)
Exterior Architecture
The cathedral's exterior is characterized by
its grand, symmetrical form, embodying the monumental scale typical of
late Empire Neoclassicism. It features a five-domed configuration, with
the central dome being the most prominent—modeled after Michelangelo's
dome on St. Peter's Basilica in Rome, it rises majestically above the
structure, gilded in gold and supported by a drum with arched windows.
The four smaller domes, also golden and onion-shaped in the Russian
Orthodox tradition, flank the central one, creating a balanced,
cross-in-square plan that is a hallmark of Russian church design. The
facade is painted in a distinctive turquoise or aqua hue with white
decorative accents, emphasizing its classical pilasters, cornices, and
entablatures.
Entrances are designed as triumphal arches, adorned
with columns and pediments that evoke Roman grandeur, while the overall
silhouette is robust and imposing, with arched windows punctuating the
walls. The bell tower, or campanile, integrates the preserved lower tier
from the 1790 addition, rising in tiers with arched openings for bells
and culminating in a spire. Materials primarily include brick and stone,
rendered with stucco for a smooth, painted finish. The structure's
eclectic touches, such as subtle Baroque influences in the dome
transitions, add a layer of European flair to the otherwise restrained
Neoclassical lines. Surrounding gardens and a fence enhance its serene
urban presence.
Interior Architecture
Inside, the cathedral
exudes "riotous opulence," particularly from the 1912 restoration, which
transformed it into a lavish space filled with gilded carvings,
intricate frescoes, and elaborate iconostases. The main nave is
dominated by a soaring central dome, its interior painted with biblical
scenes and illuminated by natural light from the drum's windows. The
walls and vaults are adorned with vibrant murals depicting religious
narratives, including the Epiphany and Baptism of Jesus, to which the
main altar is dedicated. These paintings, originally applied in 1853 and
refreshed later, feature rich colors and detailed compositions that draw
from Byzantine and Renaissance influences.
The iconostasis, a
multi-tiered screen separating the sanctuary from the nave, is a
masterpiece of gilded woodwork with ornate frames housing icons of
saints and biblical figures. Flanking the main altar are two side
chapels: the left dedicated to St. Nicholas of Myra, featuring icons and
relics associated with the saint, and the right to the Annunciation of
the Blessed Virgin, with corresponding devotional elements. Chandeliers,
marble floors, and golden railings add to the grandeur, while the
refectory area includes its own domed ceiling from the 1889 addition.
Notable shrines include the relics of St. Alexius of Moscow and a
revered copy of the Kazan Icon of the Mother of God, which holds
historical significance for its role in the 1612 liberation from Polish
invaders. Other icons, such as those of the Tikhvin Virgin Mary and St.
Nicholas, contribute to the spiritual and artistic richness. The overall
interior blends Neoclassical symmetry with opulent Russian Orthodox
decoration, creating a space that is both awe-inspiring and intimate for
worship.
Notable Features and Significance
Beyond its
architectural merits, the cathedral is famed for historical
associations, such as the baptism of Alexander Pushkin in 1799 in the
predecessor church. It represents one of the last major examples of late
classicism in Moscow, bridging traditional Russian forms with Western
influences. During the Soviet era, its continuous operation as a
religious site underscores its resilience. Today, it remains a vicarial
church of the Moscow Patriarchate, housing important relics and serving
as a cultural landmark.
Until the 1930s, the necropolis in the lower church housed the tombs of the Golitsyn, Sheremetev, Dolgorukov, Saltykov, Lomodanovsky, and Repnin families of the nobility. In all, there were more than 150 graves. The gravestones of Mikhail Golitsyn, Commander-in-Chiefs Grigory Yusupov and Alexander Menshikov, and Senator Alexei Golitsyn were of great artistic value. The tomb of Marshal Mikhail Golitsyn was erected in 1765 by French sculptor Jean-Antoine Oudin; in 1935 it was moved to the necropolis of the Donskoi Monastery; most 18th-century tombstones are flattened, Baroque-style wall headstones. They are decorated with ribbons, wreaths, bouquets, intricate textile draperies, and human figures. In pre-revolutionary publications, its author was considered one of France's leading masters; in the 1930s, the tomb was looted. Only the most valuable monuments for historians were moved to the Donskoi Abbey.
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