The Church of Michael the Archangel (also known as Archangel Michael's Church or the Church of St. Michael the Archangel) is a notable religious structure located in the city of Vladimir, Russia, specifically in the Krasnoye Selo district near the historic Golden Gate. Situated at 1A Studenaya Gora, it stands as a relatively modern addition to Vladimir's rich architectural heritage, which is dominated by ancient white-stone monuments from the 12th century. This church exemplifies late 19th-century ecclesiastical design and serves as an active Orthodox place of worship today. Its distinctive red-brick construction and tower-like form make it stand out amid the city's more traditional landmarks, offering a glimpse into the evolution of Russian church architecture during the Imperial era.
The Church of Michael the Archangel (also known as the
Mikhailo-Arkhangelsky Church or Krasnoselskaya Church) is a historic
Russian Orthodox temple located in what was once the village of Krasnoye
Selo, now integrated into the eastern part of the city of Vladimir in
Vladimir Oblast, Russia. Situated on Oguchelnaya Hill along
Krasnoselskaya Street, it stands as a federal-level cultural heritage
monument and an active parish church. Its history spans several
centuries, reflecting the evolution of local settlements, architectural
trends, and the broader socio-political changes in Russia, from
pre-revolutionary times through Soviet suppression to post-Soviet
revival.
Early History and Origins
The roots of Krasnoye Selo
trace back to at least the early 16th century, with the first documented
mention in 1515 in a charter from Grand Prince Vasily III to the
Dmitrievsky Cathedral in Vladimir. This document obligated villagers to
supply annual provisions like grain, peas, salt, and firewood to the
cathedral clergy. The designation of Krasnoye as a "selo" (a village
with a church) suggests a place of worship may have existed by the late
15th or early 16th century, though no direct evidence confirms this. By
the late 16th century, records from the nearby Tsare-Konstantinovsky
Monastery list Krasnoye as a state-owned village.
The church itself
is first explicitly documented in the patriarchal tax books of 1628 as a
wooden structure dedicated to Archangel Michael. During the 17th
century, the village changed hands among private owners, including
Prince Yuri Baryatinsky, who sold his share to Patriarch Nikon in 1658.
Nikon later transferred it to the New Jerusalem Voskresensky Monastery
he founded. The wooden church deteriorated quickly and required frequent
repairs; it was rebuilt in 1652 at the request of A.L. Plescheev and
underwent further reconstructions in later years.
In 1731, village
owner Major Ivan Dmitrievich Dubrovsky petitioned Bishop Platon
(Petrunkevich) of Vladimir and Yaropolch for permission to replace the
dilapidated structure with a new wooden church dedicated to the
Transfiguration of the Lord. This was likely intended as a "warm" church
suitable for winter services.
Construction of the Stone Church
and Pre-Revolutionary Period
By 1788, parishioners funded the
construction of the current stone church, which incorporated a spacious
refectory and a tent-roofed bell tower. The main altar remained
dedicated to Archangel Michael (as a "cold" church for summer use), the
southern side chapel honored the Transfiguration in memory of the
previous wooden church, and a northern side chapel was added for the
Protection of the Holy Virgin.
Initially, the parish encompassed only
Krasnoye Selo itself. In the second half of the 19th century, it
expanded to include two new villages, Arkhangelovka and Mikhailovka
(named after the church's main altar, founded by villagers displaced by
an 1869 fire), plus Vladimirka. By the 1890s, the parish had grown to
nearly 2,000 Orthodox members, many of whom were stonemasons. The church
housed 42 ancient icons of patriarchs, prophets, apostles, and saints,
possibly transferred from the nearby abolished Fedorovsky Monastery
(closed in 1764). Other treasures included Gospels printed in 1642,
1663, and 1697 (the latter donated after a fire in a Moscow Province
church in 1804), and a revered cross containing relics of saints,
reportedly found by a peasant in 1812.
The clergy consisted of a
priest, deacon, and psalm-reader, with an annual income of about 700
rubles. They lived in church-owned houses on dedicated land, including
arable fields and meadows. A church-parish school opened in 1881, funded
by donations, serving around 60 students by the late 19th century. In
1902, a poorhouse and patronage for the mentally ill were established,
accommodating over 100 patients by 1908. The last pre-revolutionary
priest, Sergei Pavlovich Bogoslovsky (1880–1955), was appointed in 1904.
He organized a choir and was awarded a skufia in 1914 for his service.
Soviet Era and Closure
Following the 1917 Revolution, the church
faced increasing pressure. In 1922, valuables like silver crosses,
vessels, and Gospel fittings were confiscated for famine relief.
Parishioners "rented" the building, and a religious community was
registered in 1923 with about 100 members. Tensions mounted in the
1920s–1930s amid collectivization; Bogoslovsky's home was temporarily
seized, though returned after appeals. Anti-religious efforts, including
local atheist groups, largely failed due to community resistance.
Bogoslovsky was arrested on March 17, 1938, on fabricated
counter-revolutionary charges, exiled to Kazakhstan for three years, and
returned in 1943 to serve elsewhere until his death in 1955. Services
halted in 1938. Church utensils were removed, books burned, gravestones
toppled, and the bell removed. On May 17, 1940, local authorities cited
safety concerns and proposed repurposing it as a club; the Ivanovo
Oblast executive committee approved closure on December 14, 1940. From
the 1950s, it served as a warehouse for shoes, lumber, and workshops
until the early 1990s, sparing it from total demolition but leading to
gradual decay.
Revival and Modern Era
In the early 1990s, the
church was returned to the Russian Orthodox Church amid perestroika and
the spiritual revival following the Soviet collapse. The first service
since closure occurred in 1991, coinciding with Patriarch Alexy II's
visit to Vladimir for the transfer of St. Seraphim of Sarov's relics.
Full consecration followed on June 16, 1996, by Archbishop Eulogius
(Smirnov) of Vladimir and Suzdal. Restoration work in the 1980s and
mid-1990s addressed roofs and structural issues, with state funding for
some repairs. A new iconostasis was completed in 2011 by icon painter
Igor Dronov and carver Nikolai Zaitsev, and a new bell was added in
2016.
Architecturally, the Church of Michael the Archangel is a striking
example of neo-Byzantine style, drawing inspiration from earlier
Byzantine influences while incorporating elements of Russian revivalism
popular in the late 19th century. Built primarily from vibrant red
bricks, it contrasts with the white-limestone churches that define
Vladimir's UNESCO-listed historic core, such as the nearby Assumption
Cathedral or Dmitrievsky Cathedral.
The design features a tower-like
form, which is somewhat unusual for Vladimir's churches but aligns with
certain Russian Orthodox traditions emphasizing verticality and
grandeur. At its core is a hexagonal structure serving as the base for
the main dome, which is adorned with curved, smaller domes that add a
dynamic, flowing silhouette to the building. This hexagonal drum
supports the central dome, creating a sense of elevation and harmony.
The exterior's red-brick facade is unadorned in a minimalist way,
emphasizing the material's texture and color over elaborate carvings,
though subtle decorative elements like arched windows and cornices
enhance its aesthetic.
Adjacent to the main structure is a separate
bell tower, which complements the church's vertical emphasis and houses
bells used in Orthodox services. There is also a distinct chapel nearby,
possibly for smaller ceremonies or memorials, adding to the complex's
functionality. Internally, while specific details on the interior are
limited in available sources, it likely features traditional Orthodox
iconography, frescoes, and an iconostasis, though these may have been
restored or added post-1997 to reflect its renewed religious role.
As of the latest available information, the church remains an active
site for worship, hosting regular Orthodox services and attracting both
locals and tourists interested in Vladimir's diverse architectural
tapestry. Its proximity to key attractions like the Golden Gate makes it
a convenient stop for visitors exploring the city's historical center,
near amenities such as the Hotel Zarya. Public reception is generally
positive, with a modest Google review score of 3.5 out of 5 based on a
small number of ratings, often praising its unique design and peaceful
atmosphere.
The church's significance lies in its representation of
continuity and adaptation in Russian history. Unlike Vladimir's ancient
monuments, which symbolize the medieval grandeur of Kievan Rus', this
19th-century structure highlights the enduring influence of Orthodox
faith through periods of change. It also underscores the role of private
benefactors in preserving cultural heritage. For those studying Russian
architecture, it offers insights into neo-Byzantine revivalism and the
use of industrial materials like red brick in ecclesiastical contexts.