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| Виртуальный Владимир » Город Владимир » Old Russian Towns » Suzdal » Historic buildings » Cathedral of the Deposition of the Robe |  |
...On the way to the Cathedral of the NativityCathedral of the NativityArchbishops palace and bell-towerChurch of St. NicholasChurch oi St. Boris and St. GlebMonastery of St. DmitriChurch of St. NicholasChurch of St. Cosmas and St. DamianChurch of the Signmarket placeChurch of John the BaptistChurch of the Entry into JerusalemGostiny DvorChurch of the ResurrectionChurch oi the Emperor ConstantinoChurch of St. LazarusConvent of the Deposition of the RobeHoly GatesCathedral of the Deposition of the RobeTrinity CathedralMonastery of St. Alexanderbrick kilnChurch of Tanners SettlementChurch of Our Lady of TikhvinChurch of St. Peter and St. PaulConvent ot the IntercessionChurch of the ConceptionSpaso-Yevfimiev MonasteryCathedral oi the TransfigurationChurch of Our Lady of Smolensk17th century houseMonastery of St. BasilYuri Dolgorukys castleChurch oi St. Boris and St. Gleb
Just behind the gates stands the Cathedral of the Deposition of the Robe (111. 82) restored by Olga Guseva in 1964. Its exact date is unknown, but it clearly belongs to the first half of the sixteenth century. The north chapel was added in 1586. It is possible that the cathedral was built during the 1520s by Ivan Shigonya-Pod-zhogin, a boyar who helped to imprison Vassili Ill's wife Solomonia in the Convent of the Intercession. It is a comparatively small building and one of the earliest specimens of pillarless churches in Central Russian architecture, covered with a vaulted roof divided into three sections reflected in the zakomaras on the exterior. The smooth surface of the outer walls is pierced by plain windows and encircled by a frieze of large pentagonal niches bordered with strips of fine moulding. The top of the dome drums is decorated with a matching motif of double niches. The cathedral's three-domed roof may have been modelled on the original roof of the Cathedral of the Nativity in the kremlin.
The cathedral must have seemed excessively austere and restrained at the end of the seventeenth century, which is probably why Mamin, Gryaznov and Shmakov added galleries to its south and west walls in 1688 at the same time as the Holy Gates were built. Here their passion for rich decoration displayed itself to the full. The main west wall of the parvis was particularly lavishly embellished with intricate pilasters, a magnificent portal and the rich interplay of colour from white, green, yellow and brown glazed tiles.
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