these early churches was Kiev’s Cathedral of Divine
Wisdom (1037–1050s), commissioned by Prince
Yaroslav the Wise and built with the direction of
Greek masters. The interior contained extensive
mosaics as well as frescoes. Other major churches
of this period include the Sophia Cathedral in Nov-
gorod (1045–1052), the Cathedral of the Transfig-
uration of the Savior in Chernigov (1031–1050s),
and the Cathedral of the Dormition at the Kiev Cave
Monastery (1073–1078; destroyed in 1941).
Regardless of size, the churches adhered to a plan
known as the “inscribed cross”: a cuboid structure
with a dome marking the intersection of the main
aisles. The dome was elevated on a cylinder sup-
ported by the four main piers. The facades usually
culminated in curved gables known as zakomary.
In addition to Kiev, Novgorod, and neighbor-
ing cities, the third center of architecture in pre-
Mongol Rus was the Vladimir-Suzdal principality,
whose limestone churches were distinguished by
carved decoration and precision of design. Grand
Prince Yury Dolgoruky commissioned the first of
these churches, such as the Transfiguration in
Pereslavl-Zalessky (1152–1157). His son Andrei
Bogolyubsky began the great era of limestone
building in this area with the Cathedral of the Dor-
mition in Vladimir (1158–1160); his palace church
at Bogolyubovo (1158–1165) of which only frag-
ments remain; and the Church of the Intercession
on the Nerl (1165). His successor, Vsevolod III, en-
larged the Dormition Cathedral (1185–1189) and
built the Cathedral of St. Dmitry in Vladimir
(1194–1197), whose upper tier is covered with
elaborate carving representing Biblical and secular
motifs.
After the Mongol invasion of 1237–1241,
church construction sharply declined; but by the
middle of the fourteenth century, masonry con-
struction revived, particularly in Novgorod, with
the support of wealthy merchants and neighbor-
hood craft guilds. The Church of St. Theodore
Stratilates on the Brook (1360–1361) and the
Church of Transfiguration on Elijah Street (1374;
frescoes by Theophanes the Greek) exemplified a
distinct local style with steeply pitched roofs.
Moscow also enjoyed an architectural revival in the
construction of limestone churches, but not until
the last quarter of the fifteenth century did the ma-
jor churches of the Kremlin take shape under the
direction of Italian masters imported by Ivan III.
During the sixteenth century, Moscow’s brick
churches displayed boldly inventive designs, also
with Italian influence. The culmination of this
period occurs in the most famous of Russian
churches, the Intercession on the Moat, popularly
known as Basil the Blessed (1555–1561). Built on
what later became known as Red Square, in cele-
bration of Ivan IV’s conquest of Kazan and As-
trakhan, the structure consists of a central tent
tower surrounded by eight tower churches. The
latter part of the sixteenth century also witnessed
the building of major brick fortresses, most notably
the citadel at Smolensk (1595–1602) by Fyodor
Kon. With the restoration of order after the Time
of Troubles (1605–1612), the building of brick
churches occurred on an unprecedented scale, es-
pecially during the reign of Alexei (1645–1676).
THE IMPERIAL PERIOD (C. 1700–1917)
The assimilation of Western architectural styles,
which had begun in the late seventeenth century,
increased radically during the reign of Peter I
(1682–1725). In 1703 Peter founded St. Petersburg,
which became the Russian capital in 1711. West-
ern European architects Jean Baptiste Le Blond
(1679–1719) and Domenico Trezzini (1670–1734)
submitted plans for its development. At this stage
Petersburg’s architecture owed much to the north-
ern European baroque, particularly in Sweden and
Holland. The stuccoed brick walls of the city’s
baroque buildings were painted, with white trim
for window surrounds and other details. Bar-
tolomeo Francesco Rastrelli (1700–1771) defined
the high baroque style during the reigns of Anna
(1730–1740) and Elizabeth (1741–1762). Among
his major projects are the Stroganov Palace
(1752–1754), the final version of the Winter Palace
(1754–1764), and the Smolny Convent with its
Resurrection Cathedral (1748–1764). In addition
Rastrelli greatly enlarged the existing imperial
palaces at Peterhof (1746–1752) and Tsarskoye Selo
(1748–1756).
During the reign of Catherine the Great
(1762–1796), imperial architecture moved from
the baroque to neoclassicism. With the support of
Catherine, a constellation of architects endowed the
city during the second half of the eighteenth cen-
tury with a grandeur inspired by classical Rome.
Charles Cameron (ca.1740–1812), the leading pro-
ponent of neoclassicism, designed the palace at the
imperial estate of Pavlovsk (1780–1796), a gift
from Catherine to her son Grand Duke Paul. An-
drei Voronikhin (1759–1814) created a still more
obvious example of the Roman influence in his
Cathedral of the Kazan Mother of God (1801–1811),
ARCHITECTURE
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ENCYCLOPEDIA OF RUSSIAN HISTORY