The Church of St. Catherine (арм. Սանկտ Պետերբուրգի Սուրբ Կատարինե
եկեղեցի) is the temple of the Armenian Apostolic Church in St.
Petersburg. Located at Nevsky Prospekt, 40-42.
The first Armenians appeared in St. Petersburg almost immediately
after the founding of the city. In 1710 they created their own
community. At this time they gathered in private houses. The first
petition for the construction of an Armenian church from Archimandrite
Minas was submitted in 1714, but was rejected by the authorities. Only
on September 25 (October 6), 1725, the metropolitan community, numbering
30 households, received the consent of the Synod to open a prayer house
in a wooden building on the 3rd line of Vasilyevsky Island. In January
1740, Luka Shirvanov (Ghukas Shirvanyan) received permission to build "a
small stone Armenian church at his expense." But after the death of Anna
Ioannovna, the construction stopped. In accordance with the manifesto
issued in July 1763, on the free practice of church rites by all peoples
who settled in Russia, places were allocated in both capitals for the
construction of churches of other faiths and buildings associated with
them.
On May 22 (June 2), 1770, according to the petition of the
head of the Armenian community, I. L. Lazarev (Hovhannes Lazaryan),
“with other Armenians”, Catherine II verbally ordered “to allow them to
build a church in St. Petersburg”. A place for the church was allotted
on the site of the former Small Court Stables "in a noble position near
the capital on Bolshoy Prospekt, opposite the stone Gostiny Dvor, which
is why the construction of the church required considerable capital
...".
The work was carried out according to the project of Yu. M.
Felten rather quickly, and already in 1772 the church was consecrated.
Its construction cost 33 thousand rubles. I. L. Lazarev personally
donated 30 thousand rubles for the construction of the temple, for which
the church was built in accordance with the ceremonial splendor of the
center of the capital. For such a service, the community allowed him to
build his own house on church land on the south side in line with the
development of the avenue (Nevsky Prospekt, 42). The residential
building built according to the project of Felten cost Lazarev 50,000
rubles. The construction of the northern wing was carried out a decade
later. Having built the buildings entirely with his own money, Lazarev
thereby strengthened the authority of the most influential person in the
Armenian community. He later sold the houses for the same price to the
parish.
On February 18, 1780, the Armenian Archbishop Joseph
(Argutinsky), with the participation of eight priests and in the
presence of Prince G. A. Potemkin-Tauride, consecrated the temple in the
name of the Great Martyr Catherine, the heavenly patroness of the
Empress. The church became the center of Armenian culture in St.
Petersburg: a printing house and a national school were opened under it,
which still operates to this day.
In 1794-1797, gates were built
in front of the church.
In 1841, the first major overhaul of the
church was carried out by the architect L. F. Vendramini.
At the
end of 1858, a cast-iron gate grill was installed, cast at the Chopin
factory according to the project of N.P. Grebenka (existed until the end
of the 19th century).
In 1865, the original turret was turned
into a belfry for three bells.
In 1887, the artist I. K.
Aivazovsky presented the community with the painting “Christ on Lake
Tiberias”.
In 1900-1906 A. I. Tamanyan made a new overhaul of the
building, strengthening the walls and ceilings and making choirs.
In 1915, particles of the relics of the Apostle Thaddeus and St.
Gregory the Illuminator were transferred from the sacristy of the Great
Church of the Winter Palace. The parish was subordinate to the
Nakhichevan-Bessarabian episcopate with the center in Chisinau.
In May 1930 the church was closed. In 1931-1934 it was divided by
ceilings. The building housed the headquarters of the air defense, and
after the war - the workshop of the scenery of the theater of musical
comedy.
In 1990, the Armenian community, headed by a descendant
of O. Lazaryan, Vyacheslav Pashaevich Lazaryan, requested the return of
the church. On March 14, 1993, the first service was held in it, after
which restoration began.
The complete consecration of the temple
was carried out on July 12, 2000 by the Patriarch-Catholicos of All
Armenians Garegin II in the presence of Patriarch Alexy II of Moscow and
All Rus'. On that day, the relics of St. Gregory were returned to the
community from the Hermitage.
The church was built between 1771 and 1776 (or up to 1779 in some
accounts) under the patronage of Empress Catherine II. The Armenian
community, present in the city since its founding, received the
site—formerly occupied by imperial stables—through a 1770 decree.
Prominent Armenian merchant and court jeweler Ivan (Hovhannes) Lazarev
(Lazaryan) largely funded it, donating around 30,000 rubles. Architect
Yuri (Georg Friedrich) Felten (1730–1801), a leading figure in early St.
Petersburg Classicism, designed it. The church was consecrated on
February 18, 1780, by Archbishop Joseph (Hovsep) Argutinsky in honor of
St. Catherine, the patron saint of the Empress, with Prince Grigory
Potemkin in attendance.
Felten positioned the church in the depth of
the lot, aligned with flanking residential buildings (Nos. 40 and 42,
also by him or his circle), creating a recessed ensemble that enhances
its visibility and prominence along the grand Nevsky Prospect. This
arrangement echoes similar setups for other non-Orthodox churches on the
avenue.
Exterior Architecture
The church exemplifies early
Russian Classicism with restrained elegance, symmetry, and proportional
harmony, while incorporating subtle Armenian elements. It is a compact,
single-domed structure with a light, airy appearance—often described as
"graceful" or "festive" against the stricter flanking houses.
Main (South) Facade: Oriented toward Nevsky Prospect due to the site
constraints (unusual, as traditional church entrances are typically
western). It features a prominent Ionic portico with columns raised on
pedestals for added height and slenderness. The portico has a strong
projection, flanked by walls with pilasters. Above the entrance, angels
(putti) place a cross, a Baroque-inspired motif. The triangular pediment
contains a multi-figure bas-relief depicting Catholicos Gregory the
Illuminator baptizing King Trdat III (Tiridates III) in 301 AD—the event
that made Armenia the first nation to adopt Christianity as a state
religion. This Armenian-specific historical scene is unique in
18th-century St. Petersburg monumental sculpture.
Walls and
Decoration: The facade uses varied openings—rectangular and arched
windows on the lower level, smaller circular windows combined with
square panels above—for visual interest. Ionic capitals (with "hanging"
elements) adorn columns and paired pilasters at corners. Baroque-style
bas-reliefs of putti heads in clouds decorate the spaces between
windows, blending Classicism with lighter decorative elements.
Dome
and Upper Elements: A slender drum supports a spherical dome, topped by
a small bell tower (added or modified in 1865 for three bells). The
overall silhouette is harmonious and lightweight.
Plan and
Orientation: The church has a single eastern apse (traditional for
Christian churches), but the southern main entrance creates an
asymmetrical internal flow. The floor plan adapts a tetraconch
(cross-shaped with four apses or arms) motif common in traditional
Armenian architecture, though modified.
The building is set back,
"framed" by the symmetrical residential wings, emphasizing its central
role in the Armenian community complex. Later additions included gates
(1794–1797) and a cast-iron fence (1858).
Interior Architecture
The interior feels spacious and luminous, thanks to large windows and
the dome. It prioritizes clarity of lines, light, and restrained
ornamentation typical of Classicism.
Columns: Twenty
composite-order columns, clad in yellow artificial marble, form the
primary decorative and structural element, dividing the space and
supporting the vaults.
Vaults and Dome: The dome and altar conch
feature painted imitation of coffered (kassetted) ceilings. Murals and
decorative painting (possibly involving artist K.L. Khristinek) adorn
the surfaces, restored in the 20th century.
Materials and Finishes:
Walls and floors use colored artificial and natural marble. The space
lacks a traditional Orthodox iconostasis (consistent with Armenian
Apostolic tradition) and emphasizes openness and light. Two original
marble baptismal fonts from 1782–1784 survive.
Modifications: In
1900–1906, architect Alexander Tamanyan (future designer of Yerevan's
master plan) added choirs (galleries), strengthened walls and ceilings,
and performed other updates without altering the core design.
Armenian Influences and Adaptations
While the overall style is
Russian Classicism (reflecting Felten's training and the imperial
context), the design subtly nods to Armenian heritage. The
tetraconch-like plan echoes ancient Armenian churches (e.g., comparisons
to St. Hripsime). The pediment relief directly references Armenia's
Christian origins, blending national identity with the local
architectural canon. Scholars note this as an adaptation of Armenian
ecclesiastical traditions to Russian Classicism, similar to how other
Armenian structures incorporated Byzantine or Sasanian elements.
Visiting Tips (Practical Advice)
Opening Hours: Generally daily
09:00–19:00. Confirm in advance as hours can vary with services or
events (call +7 (812) 570-41-08 or check official Armenian church
sites).
Admission: Free (donations appreciated). As an active church,
it may close or limit access during services.
Best Time to Visit:
Mornings or early afternoons for quieter visits and better light.
Check the schedule for Armenian Divine Liturgy (often around 10:30).
Attending a service offers cultural immersion but expect it to be more
crowded and formal.
Avoid peak tourist rush on Nevsky (weekends,
afternoons).
Dress Code and Etiquette (Important for Armenian
Apostolic churches):
Modest clothing: Shoulders and knees covered for
both men and women.
Women traditionally cover their heads (scarves
often available at entrance).
Men remove hats.
No loud talking,
flash photography during services, or disruptive behavior. Be
respectful—it's a working house of worship.
Duration: 15–30
minutes for a quick look; longer if attending part of a service or
lingering for photos/architecture appreciation.
Photography:
Generally allowed outside services, but ask or be discreet inside. No
tripods or commercial shoots without permission.
Accessibility:
Central location, but check for steps at entrance. Modest size makes it
easy to navigate.
Seasonal Notes: St. Petersburg's white nights
(summer) make evening exterior views magical. Winters are cold—dress
warmly for the short outdoor approach.
Nearby Attractions and
Combining Visits
Pair it with:
Kazan Cathedral (short walk).
Shopping/eating at Gostiny Dvor or Passazh.
Armenian or Caucasian
cuisine nearby (e.g., khinkali spots) to tie in the cultural theme.
It's a low-key gem on busy Nevsky—ideal for a brief cultural breather
during a city tour.