The All Saints Church (Церковь Всех Святых) is a historic Russian Orthodox church located in Arkhangelsk, Russia, serving as a cemetery temple on the grounds of the Vologda Cemetery (also known as Kuznechevskoye Cemetery). Situated at Ulitsa Suvorova, 37, in the city's central district along the Bypass Canal, it stands at coordinates approximately 64.554923, 40.544484. This church is one of the oldest surviving religious structures in Arkhangelsk, notable for its role in the city's spiritual and communal life, its survival through Soviet-era persecutions, and its function as a place of burial and remembrance. It remains an active parish church with a single altar dedicated to All Saints, hosting regular services, pastoral outreach, and community programs.
The establishment of the Vologda Cemetery itself dates back to
the early 18th century, following a 1723 decree by Peter the Great
prohibiting burials within city limits to prevent disease outbreaks
and promote urban hygiene. Prior to this, Arkhangelsk residents
typically buried their dead at parish churches or, in the case of
the Solombala district, even at private homes until 1749. The
cemetery was allocated on the outskirts and became a
multi-confessional burial ground, reflecting Arkhangelsk's role as a
major northern seaport and trading hub. Merchants and visitors from
various countries—Orthodox, Catholic, Protestant, and Muslim—were
interred in designated sections based on their faith, a division
that persists today, though many old gravestones were demolished in
the 1930s under Soviet authority. Notable figures buried here
include the famous northern Russian storyteller Maria Dmitrievna
Krivopolenova (known as Golubkova), as well as Bishop Tikhon
(Stepanov) of Arkhangelsk and Kholmogory, who died on October 20,
2010, and is interred at the church's altar.
The All Saints
Church was conceived as part of a trio of cemetery temples. Two
earlier wooden churches—dedicated to the Beheading of John the
Baptist (built 1778) and Simeon the God-Receiver (built 1786)—once
stood nearby but have not survived. Planning for the All Saints
Church began in 1839, with materials gathered that year. In 1840, a
site was officially allocated, and on October 17, Bishop Georgy
(Yashchuzhinsky) of Arkhangelsk and Kholmogory performed the
ceremonial laying of the foundation. Construction commenced in 1840,
funded primarily through the bequest of the deceased merchant Andrey
Fedorovich Dolgoshein. His inheritance passed to his niece Alexandra
Kochurova, and her brother, merchant Alexey Ivanovich Tsyvarev,
oversaw the project. Additional donations came from local merchant
woman Plotnikova (later Shingareva), who in 1889 contributed
perpetual income bonds from the State Bank for the eternal
commemoration of her relatives, as noted in the Arkhangelsk Diocesan
News. The church was completed relatively quickly and consecrated on
October 17, 1843, by Bishop Georgy (some sources erroneously cite
1864, likely a conflation or transcription error from oral
traditions).
During the Soviet era, the church endured
significant hardship amid widespread religious persecution. It was
closed in 1927 (or by the early 1930s, per varying accounts) and
repurposed as a warehouse. In the 1930s, it briefly served as a
transit point for prisoners, an episode grimly referenced in
Aleksandr Solzhenitsyn's The Gulag Archipelago, where he describes
the collapse of eight-tier bunks that killed many inmates; the
victims were reportedly buried in the adjacent cemetery. The
building fell into disrepair: the dome and bell tower were
demolished, windows were bricked up, floors and stoves were
dismantled, plaster was damaged, and electrical wiring was removed,
leaving it abandoned and in ruins.
Post-World War II, amid a
brief thaw in Soviet religious policy, parishioners petitioned for
its return. On October 19, 1946, with the blessing of Bishop Leonty,
the church was transferred back to the Arkhangelsk Diocese. Igumen
Seraphim (Shinkarev), former rector of the Holy Ilyinsky Cathedral,
was appointed as the first post-restoration rector, and a parish
council was formed. Remarkably, initial restoration was completed in
just 10 days: an altar throne and table were installed, windows and
frames were added, stoves were rebuilt, a temporary iconostasis was
erected using small icons donated by local faithful, and other
essentials were prepared. On November 1, 1946, Bishop Leonty
consecrated the church in a ceremony attended by clergy and a large
congregation. Three venerated icons were transferred from the
Ilyinsky Cathedral: the Most Holy Theotokos "Joy of All Who Sorrow,"
the Mother of God "Tikhvin," and Saint Nicholas (depicted as
Golgoffa, or the Crucifixion with the Theotokos and John the
Evangelist). These icons remain in the church today, along with
other liturgical items provided for services.
Further
enhancements occurred over the following years, with modern
additions under subsequent rectors. The current iconostasis was
designed by Priest Vladimir Zhokhov and features icons painted by
artists from the Trinity-Sergius Lavra in Moscow. In 2008, the bell
tower was restored to its original form. The church celebrated the
55th anniversary of its restoration in 2001, marking the completion
of interior renovations, dome repairs, and wall paintings through
parishioner efforts. It has since avoided the fate of many
Soviet-era closures, standing as a symbol of resilience.
The All Saints Church (Church of All Saints) in Arkhangelsk stands as
a fine example of late Classicism, also known as the Empire style. This
architectural trend flourished in mid-19th-century Russia, prized for
its emphasis on restrained elegance, strict symmetry, harmonious
proportions, and clear, geometric forms inspired by ancient classical
ideals adapted to Orthodox needs.
Built of brick as a single-story
structure between 1840 and 1843, the church presents a compact yet
balanced composition of rectangular volumes. Funding came primarily from
merchant Andrey Fedorovich Dolgoshein (with construction completed under
merchant Alexey Ivanovich Tsyvarev per his will, alongside contributions
from merchant Pavla Mikhailovna Plotnikova). It was consecrated on
October 17, 1843, by Bishop Georgy (Yashurzhinsky) of Arkhangelsk and
Kholmogory.
The exterior facade remains simple yet dignified,
featuring pale beige or cream-colored walls that convey quiet solemnity.
Arched windows allow natural light to flood the interior, while a modest
entrance welcomes visitors with a distinctive blue door. The most
striking element is the multi-tiered bell tower, modeled after designs
from the historic Solovetsky Monastery. It ascends gracefully in tiers,
crowned by a tall, slender spire topped with a golden Orthodox cross. At
its base sits a large lantern (originally functional as a
lighthouse-like beacon in monastic architecture, guiding ships in the
White Sea region). The modest onion-shaped dome, gilded and
proportionate to the church’s scale, suits its role as a cemetery chapel
rather than a grand cathedral.
Soviet-era persecution took a heavy
toll: the church closed in 1927, served as a warehouse, and later a NKVD
transit prison point (notably referenced in Alexander Solzhenitsyn’s The
Gulag Archipelago for a tragic collapse of multi-tiered bunks that
killed many prisoners, hastily buried on-site). The dome and bell tower
were dismantled, floors and stoves removed, windows bricked up, and
interiors desecrated. Post-1946 restorations and practical
additions—including extensions for a refectory, prosphora bakery, and a
dedicated panikhida (memorial) chapel—have slightly altered the original
symmetrical harmony. Nevertheless, careful restorations, including the
bell tower’s faithful 2008 reconstruction, have successfully preserved
its classical essence.
Inside, the church offers a cozy, intimate
atmosphere that visitors often describe as warm, spiritually uplifting,
and ideal for focused prayer and quiet reflection amid the surrounding
cemetery. The central iconostasis—a multi-tiered wooden (later enhanced)
screen—features gilded frames and richly painted icons of saints, key
biblical scenes, and the church’s patrons, All Saints. Wall paintings
and frescoes, meticulously restored by 2001, display religious motifs in
vibrant yet subdued, harmonious colors that foster contemplation.
Additional revered elements include the venerated icons returned in
1946, such as the Theotokos of Tikhvin, “Joy of All Who Sorrow,” St.
Nicholas the Wonderworker, and others like the Feodorovskaya Mother of
God. Chandeliers, candle stands, and a marble floor (added in later
renovations) further enhance the peaceful ambiance. Its modest size
perfectly suits cemetery services, comfortably accommodating funerals,
panikhidas, daily liturgies, and smaller gatherings without any sense of
overwhelming grandeur.
As a cemetery church on the historic Vologodskoye (Kuznecheskoye)
Cemetery, All Saints Church holds profound cultural and spiritual
importance in Arkhangelsk—a northern port city whose maritime and
trading heritage has long intertwined life, death, and remembrance. The
multi-confessional cemetery reflects the city’s diverse past, serving as
the final resting place for Orthodox locals alongside international
merchants (Catholic, Protestant, Muslim) who died far from home. Of the
three original churches on the site (including those dedicated to the
Beheading of St. John the Baptist and St. Simeon the God-Receiver), only
All Saints survives, symbolizing the resilience of Orthodox faith in
Russia’s harsh North despite waves of destruction.
Today, the church
operates fully under the Arkhangelsk Diocese (part of the Russian
Orthodox Church). It offers regular Divine Liturgies, sacraments, and
pastoral support. Its dedicated clergy extend care far beyond the walls:
visiting the sick at home, elderly in nursing homes, students in schools
and orphanages, hospital patients, and prison inmates for sermons,
confessions, communions, and baptisms. They also minister to police
officers, military conscripts, and active soldiers.
A vibrant Sunday
school serves children of parishioners, adults, and even deaf youth,
focusing on the Law of God, holiday preparations (Christmas and Easter
concerts), and spiritual formation. A separate building for the school
was added in 2008. The church houses relics of St. Nicholas the
Wonderworker and Blessed Matrona of Moscow (added 2009) and continues
active community life.
Visitor reviews, including on Tripadvisor
(where it earns a perfect 5.0 rating from available feedback),
consistently praise its serene “cozy” ambiance, historical depth, and
spiritual warmth. While less crowded than Arkhangelsk’s larger
landmarks, it draws both locals seeking quiet reflection and tourists
exploring Russian Orthodox heritage. There is no entry fee, though
donations support ongoing maintenance and restoration.