Church of the Trinity in Nikitniki (Церковь Троицы в Никитниках) was constructed in 1635 by the wealthy Russian merchant Grigoriy Nikitnikov, hence the name of the church.
Origins and Early History
The site's religious history dates back
to the 16th century, when a wooden church dedicated to the holy martyr
Nikita stood there. This structure was destroyed in a major fire around
1626, prompting the construction of a new stone church. The new edifice
was commissioned by Grigory Nikitnikov, a prominent Yaroslavl merchant
who owned an estate nearby and traded extensively with Eastern
countries. Nikitnikov funded the project personally, intending it to
serve as a parish church for the local community and a private burial
place for his family. The southern aisle was dedicated to St. Nikita,
and the revered icon of the saint from the original wooden church was
transferred there.
Construction began in 1628 and continued until
1651, with the main building phases occurring between 1631 and 1634,
followed by additional work in 1653. There is some scholarly debate on
the exact alignment of these dates with the surviving structure, but the
church was fully operational by the mid-17th century. No single
architect is definitively named for the primary design, though it is
suggested that the builders drew from the same artisanal traditions as
those used in the Terem Palace of the Moscow Kremlin.
Historical
Events and Royal Patronage
From its inception, the church was tied to
significant events. In 1654, it became home to a copy of the Georgian
Icon, credited with delivering Moscow from pestilence, leading to the
lane being historically called "Georgian" (renamed Nikitnikov in 1926).
Tsar Alexey Mikhailovich gifted two copper chandeliers adorned with
double-headed eagles, one still hanging in the main vault. In April
1900, Tsar Nicholas II and his wife visited, ordering personal updates
to the temple. Early 20th-century alterations to the northern facade
added extensions, distorting the original symmetrical porch. In 1903, a
basement chapel was added and consecrated by architect Viktor Verigin to
mark the 250th anniversary of the plague's end.
Soviet Period and
Closures
Following the 1917 Revolution, the church was closed for
worship in 1920. It was transferred to the State Historical Museum in
1934 and operated as the Simon Ushakov Museum from 1923 to 1941,
focusing on icon painting. From 1963 onward, it housed the Museum of Old
Russian Painting. During the post-war era, modern office buildings
encroached on the site, altering its visual prominence.
Modern
Restorations and Current Use
In 1991, the church was officially
returned to the Russian Orthodox Church, though some sources note the
transfer process has been incomplete or delayed. Restorations followed,
and religious services resumed in the basement chapel. Since 1999,
Archpriest Arseny Totev has served as rector. Today, it functions as an
active Orthodox church while preserving its museum aspects, attracting
visitors for its architectural beauty and historical significance. It
remains a hidden gem in Moscow's urban landscape, accessible near the
Kitai-Gorod metro station.
The Church of the Trinity in Nikitniki (also known
as the Church of the Holy Life-Giving Trinity in Nikitniki or the
Church of the Georgian Icon of the Mother of God on Varvarka) is a
remarkable example of 17th-century Russian Orthodox architecture
located in Moscow's Kitay-Gorod district. Constructed between 1628
and 1651 by wealthy Yaroslavl merchants, particularly the Nikitnikov
family, it served as both a parish church and a family chapel. The
church exemplifies the Muscovite uzorochye style, an elaborate form
of Russian baroque characterized by intricate patterns, abundant
decoration, complex compositions, and dramatic silhouettes. This
style marks a transitional phase in Russian architecture, blending
traditional elements with emerging baroque influences, and the
church itself became a prototype for many subsequent Moscow churches
in the latter half of the 17th century. Hidden amid government
buildings near Staraya Ploshchad, it was closed in 1920 during the
Soviet era and used as a museum for ancient paintings and icons
before being restored and returned to the Russian Orthodox Church in
1991.
Exterior Architecture
The church's exterior is a
vibrant display of uzorochye aesthetics, built primarily from red
brick with contrasting white stone accents that highlight its
ornamental details. It features five decorative onion-shaped domes,
painted green and topped with golden crosses, clustered in a
picturesque arrangement that creates a dynamic skyline. These domes
rise from a square tower base, with tiers of red-and-white spade
gables (kokoshniki) that add layers of visual complexity and height.
The facades are richly adorned with elaborate window surrounds,
including arched frames with pointed or ogee shapes, pilasters, and
balustrades, all carved in white stone against the red brick
background. Decorative elements include colorful glazed tiles in
geometric patterns, such as diamond shapes, embedded in friezes and
cornices.
The overall composition is asymmetrical yet harmonious,
with protruding porches and side chapels contributing to its
intricate silhouette. A notable feature is the carved doorway
leading to the Chapel of St. Nikita the Martyr, integrated above the
family vault of the Nikitnikov patrons. The church's compact
size—tucked into a narrow lane—enhances its jewel-like quality,
surprising visitors with its exuberant decoration amidst urban
surroundings.
Interior Architecture and Decor
Internally,
the church is a compact, cross-in-square plan typical of Russian
Orthodox designs, but elevated by its lavish 17th-century frescoes
and iconostasis. The walls and vaults are entirely covered in
vibrant frescoes dating to the 1650s, executed by master painters
from the Moscow Armory, including Simon Ushakov, Yakov Kazanets, and
Osip Vladimirov. These murals depict gospel scenes with a notable
inclusion of unconventional Apocalypse imagery, blending traditional
Byzantine influences with emerging realistic elements in Russian
art. The iconostasis, a multi-tiered screen separating the nave from
the altar, features intricately carved wooden frames holding icons,
some attributed to Ushakov himself. Natural light filters through
the ornate windows, illuminating the frescoes and creating a sense
of divine luminescence. The interior's modest scale fosters an
intimate atmosphere, with side chapels and vaults adding spatial
depth.
Architectural Significance and Influence
As a
milestone in Russian architecture, the Church of the Trinity in
Nikitniki bridges medieval Russian traditions with the opulent
baroque trends that would dominate later centuries. Its uzorochye
style, with its emphasis on decorative excess and pictorial forms,
influenced numerous churches across Moscow and beyond, serving as a
model for the "patterned" aesthetic in ecclesiastical design.
Despite its historical challenges, including Soviet repurposing, the
church remains a well-preserved gem, offering insights into the
cultural and artistic patronage of 17th-century merchant classes.
Today, it stands as a testament to Moscow's layered architectural
heritage, blending functionality, spirituality, and artistic
innovation.
The temple in Nikitniki is replete with decorative details, which will form an architectural vocabulary of patterned and Russian style of the 19th-20th centuries. Late Moscow architecture will be characterized by intricately decorated architraves, arches with hanging weights, and extensive use of glazed tiles. According to the conclusion of P. A. Rappoport, “the picturesque asymmetric composition of the church, combined with its extreme saturation with decorative elements, made the monument, as it were, a model for Moscow churches of the subsequent period.”
Icon of the Mother of God of Vladimir (“Tree of the
Russian State”).
Icon "Annunciation with Akathist".
Miraculous
Georgian Icon of the Mother of God (the image became famous in 1654
during a pestilence)