Город Владимир Путешествие по древним городам Владимирской земли Старый Владимир Old Russian Towns Памятники архитектуры Музеи Музеи, экспозиции

Город Суздаль История Суздаля Герб суздаля Архитектура Суздаля Музеи Суздаля

Досуг и развлечения Где поесть во Владимире Где поспать во Владимире Что можно посмотреть во Владимире Где поесть в Суздале Где поспать в Суздале Что можно посмотреть в Суздале

The cathedral's interior is equally impressive. Stripped of its later wall paintings, which had become very dark, the white majestic interior is now particularly striking. In spite of its limited area it gives an impression of spaciousness. All the divisions and openings are un­usually powerful. The broad, measured rhythm of the flattened arches lends a solemn stillness to the light, airy interior. At the level of the choir-gallery it was inter­sected by squared wooden beams which were probably decorated with carving just as impressive as that of the exterior, and possibly painted. As in the Cathedral of the Assumption, the imposts of the arches supporting the powerful drum of the dome and the vaulting of the choir-gallery are decorated with pairs of lions couchant. Here, however, they are carved in the flatter, more orna­mental manner typical of the carving on the exterior. In the masonry of the north wall under the vault of the nave we find a block of stone with a finely carved intricate pattern, evidently rejected as defective by the builders, which may have been intended for the parapet of the choir-gallery or as decoration for the altar screen.

The interior of the cathedral is particularly beautiful when seen from the choir-gallery. Here on the side walls there are clear traces of the arched stone openings, now blocked up, which used to lead into the choir-gallery.

Under the vaulting above the gallery there are remains of a rare twelfth-century fresco, discovered in 1918, which originally formed part of the Last Judgment in the west end of the church. The central vault of the gallery shows the main scene of the judgment with the twelve apostles sitting on their thrones and a host of angelic warriors behind them (111. 33). On the corner, southwest vault we see the righteous entering paradise, led by the apostle Peter and accompanied by trumpeting angels, and then paradise itself with the Virgin Mary seated on a throne and the figures of Abraham, Isaac and Jacob under a wondrous canopy of foliage. The style of the painting shows it to be the work of a remarkably skilled Greek master and a talented Russian painter.

The former painted the figures of the apostles and angels on the south vault. The apostles are depicted talking to each other in natural poses. Their graceful figures are clad in robes which fall in elaborate folds. The painter has endowed each of their severe, beautiful faces with individual, portrait-like features which make them seem very alive. The angels on the south curve are equally graceful and beautiful.

The Russian painter adds his own characteristic touch to the lessons of the Greek master. His angels on the north curve are more human and simple, and their con­templative, rounded faces seem to radiate human warmth. His typical, graphic, almost ornamental manner of painting faces is particularly evident in the row of figures in the corner vault, where there is no trace of Byzantine severity. This penchant for ornamentation links the work of this painter with that of the sculptors who decorated the cathedral's exterior in the same flat, ornamental style. His paintings show an urge towards realistic representation combined with a love of the fan­tastic. He has put a great deal of imagination and poetic feeling into his representation of the trees and plants of paradise, dressed his female saints in Russian costume, given his angels typically Russian faces, and added ex­planatory inscriptions in Russian.

The painting is endowed with particular charm and dignity by its subtle colouring based on gentle half­tones. Pale blues, light greens and bluish greys are skil­fully blended with light browns, mauves and greenish yellows. One can just imagine the impression which the paintings made when the whole interior shimmered with the pearly tints of these subtle shades.

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