Cathedral in Crimea in memory of Alexander. The most unusual and amazing Orthodox churches of Crimea

Attractions

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Many cultures have left their mark on the history and architecture of Crimea, including religious monuments. From the place of the baptism of Rus' to the small Jerusalem of Evpatoria, unique works of architects of different faiths have been preserved.

The central mosque of Yevpatoria is located near the park named after Karaev. This building has great cultural and historical value - it was founded back in 1552. Naturally, since then it has gone through many reconstructions and tragic events, but since 1990 it has again become the main mosque of the city. The architect is the famous Turkish architect Hoxha Sinan, the fruits of his labor remain in Istanbul - there more than 300 buildings were built according to his designs. The mosque is also called Khan Jami for its important role in politics during the Crimean Khanate. Now in this, perhaps the most beautiful mosque in Crimea, excursions are held on weekends for a small donation.

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Landmark, Religion, Historical Monument

The center of the religious life of all Karaites of Crimea, Karaite kenasses are located at the beginning of Karaimskaya Street in the old city. This complex includes two kenassas, a religious school, courtyards, a museum of Karaite culture and libraries. Towards the legacy ancient people Now everyone can touch it by taking part in a tour of these amazing buildings of the 18th century. In the exhibition of the museum named after S.I. Kushul you can get acquainted with items of Karaite national life. The interior features furniture from the houses of wealthy Karaites, photographs of famous Karaite figures, and national costumes.

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Landmark, Religion, Landmark

This temple is located at the beginning of the Evpatoria Embankment and is one of the main architectural dominants of the city, defining the recognizable silhouette of Evpatoria from the sea. The temple was built in 1911–1918 by city architect A.L. Henry. The temple building is decorated with beautiful sand-colored shell stone; the church itself was built in the Greco-Byzantine style, so traditionally the building plan has the shape of a cross. The building is especially attractive because of its three stained-glass arched windows, which reflect the light from inside the temple in the evening, and the three-tiered bell tower, which is significantly higher than the dome of the temple.

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Landmark, Religion, Landmark

This snow-white cathedral with blue domes is the second largest in Crimea; it was founded in the name of the events of the Crimean War in 1893. Up to 2,000 parishioners can be inside the building at the same time. Architecturally, this cathedral was created in the likeness of Hagia Sophia in Istanbul, its main highlights are a huge 18-meter dome and a square bell tower with 14 bells, as well as an octagon-shaped building plan. Unfortunately, the original decorations have not survived. However, the temple was lucky in another way - it was not blown up during the Great Patriotic War, only the windows were broken. The cathedral is located next to the mosque and, by choosing a good angle, you can take a photo of two monuments of different religions at the same time.

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Museum, Landmark, Religion, Historic Monument

The Jewish prayer house was founded in 1911 with donations from craftsmen, which is why it is sometimes called “craft house”. The first services were held here a year later, but the synagogue did not operate for long; in 1930 it was already closed. This is the only Jewish religious building in Evpatoria that has survived to this day. The rectangular building is located in such a way that the altar is oriented towards Jerusalem. Central entrance under the stained glass window in the shape of a six-pointed star is for men, and the side entrances are for women. The synagogue offers excursions; before entering, you must wear a special headdress. Thanks to the close proximity of buildings of different religions: a synagogue, Karaite kenass, the Muslim monastery of Tekie Dervishes and the Juma Jami mosque, Evpatoria received the name “Little Jerusalem”.

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Landmark, Religion, Landmark

The main temple of Sevastopol stands right in the city center on Bolshaya Morskaya Street. The cathedral building took 13 years to erect from local Inkerman stone. During the Great Patriotic War, the temple was severely damaged by bombing, an entire chapel was lost, and many people died, since a hospital was organized there. This unusual church is decorated with five domes, which were only gilded in 1992. The central dome is surrounded by four twelve-sided turrets, which are topped with small onions.

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Landmark, Religion, Landmark

It is believed that Kievan Rus They were baptized precisely in Chersonesus, which was called Korsun during the reign of Vladimir the Red Sun. The chronicle even mentioned the temple in which this happened. When archaeologists found its foundation, it was decided to erect a new church here, which was destined to become the largest temple in Crimea. Construction was completed in 1891, and the first stone of the future temple was laid by Emperor Alexander II three decades earlier. This temple is now the main symbol of the baptism of Rus', despite the fact that most of the time it stood in ruins and was restored only in the 90s of the last century.

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Landmark, Religion, Landmark

On the Central City Hill there is another Byzantine-style cathedral, named after Prince Vladimir. This temple is combined with an important monument to the history of the city - the tomb of the admirals, paying tribute to the heroes of the Sevastopol defense of 1854–1855. The graves of four admirals, the fathers of the city, who did not leave Sevastopol during the siege, were connected by a common tomb. On top of it is a flat black marble cross on four sides of which the names and dates of death of the admirals are engraved in bronze. Later, more fleet commanders and participants in the first defense of the city were buried near the temple.

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Landmark, Religion, Landmark, Historic Monument

This church has long been one of the recognizable symbols of Crimea. The construction of the church with unusual black domes commemorated the miraculous salvation of the royal family during a train crash in 1888. The chosen location is truly unique - a rocky cliff hanging over the southern coast. The church was built at an altitude of 412 meters above sea level and attracts a huge number of wedding ceremonies with its picturesque location. Around the church there is a spacious observation deck, cafes and souvenir stalls.

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The church in the Byzantine-Georgian style was commissioned by Grand Duke Konstantin Nikolaevich Romanov in 1885. The church has a special feature - arched doors arranged in parallel pairs, which give it a special lightness and affect the acoustics. The mosaics in the church were created with the assistance of an Italian master, one of them depicts such a rare subject as Jesus in adolescence. Beginning with Alexander III, people came here to pray royal family, all the Grand Dukes and Princesses who vacationed on the South Coast. A special type of Byzantine singing is used here, which cannot be heard anywhere else on the peninsula.

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Landmark, Religion

This new temple was built on a picturesque area at the foot of the Ai-Nikola rock in a place where archaeological remains of an ancient monastery were found. The surrounding rocks create excellent acoustics, which is used by the male choir during services. The temple was built in record time thanks to a local philanthropist and now attracts many visitors. Regular services are held here and there is a baptismal center.

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Landmark, Religion

The chapel of this temple in the old city center is best visible from the sea, and can be seen on all postcards and paintings of the 19th century. The first Orthodox church was built on Polikurovsky Hill, when Yalta was still literally a fishing village. It was originally built according to the drawings of an Italian architect. But later the famous city architect Nikolai Krasnov expanded the temple. However, in Soviet period the temple was lost, only the bell tower remained, and only due to its international significance - it is included in all international sailing directions for the Black Sea. And only by 1998 the temple was rebuilt according to Toricelli’s drawings found in the Vorontsov Palace.

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Landmark, Religion, Landmark

Alexander 2 in Crimea

“The war is silent and does not ask for victims;

The people flocked to the altars,

Raises zealous praise

To the skies that subdued the thunder.

The people are heroes! In a tough fight

You didn't stagger completely;

Brighter is your crown of thorns

Victorious crown!

Nekrasov.

Sevastopol burned for several days. Only by the thirtieth of August did the fires and explosions begin to subside little by little. The allies, who occupied the Malakhov Kurgan and the Korabelnaya Side, did not dare to look into the city for the first days. It was a desert and piles of ruins.

During the occupation of Sevastopol, the Allies found there about 4,000 cannons, which, unfortunately, our troops could not take away, 600,000 cannonballs, bombs and grapeshot, 630,000 cartridges and about 16,000 pounds of gunpowder. With this gunpowder they blew up our wonderful structures, dry docks, our pride and adornment.

These docks were located at the end of Korabelnaya Bay. There was a pool carved into the stone, 400 feet long, 300 feet wide and 24 feet deep. To accommodate the different ranks of ships, five separate docks were made, separated by locks. The three main locks were 58 feet wide. Water was supplied to the docks from the Chernaya Rechka.The construction of these wonderful docks cost more than five million rubles.

Walking around the city, the victors destroyed and spoiled everything more expensive and valuable. But they did not want to settle in Sevastopol, but remained in their previous bivouacs, leaving several battalions in Sevastopol.

With the retreat of our troops to the Northern side and with the occupation of the ruins of Sevastopol by the allies, both warring parties began to strengthen themselves in new places. Both we and the allies built new fortifications and batteries, and occasionally exchanged fire.Meanwhile, peace negotiations were underway.

At this time, the glorious army was delighted by the news that flew through its ranks about the imminent arrival of Emperor Alexander II in Crimea.The enemy at this time intended to move with his fleet and besiege Nikolaev.The Emperor arrived in Nikolaev and personally monitored the progress of defensive work; The city was vigorously and quickly strengthened.

The sovereign showed high, invaluable attention at every step of the Crimean army. Every day he visited hospitals and infirmaries, like a father he took care of the wounded and sick soldiers, awarded those who distinguished himself, and no one’s requests were refused. Wanting to see the troops of the glorious army as soon as possible, the sovereign ordered all naval crews and some regiments to move to Nikolaev. And there was not the smallest team that the king himself did not go out to meet when entering the city. These were touching, unforgettable moments. The Emperor met the defenders of Sevastopol with tears in his eyes. With unusually merciful, sincere words, he thanked the troops for their glorious service to the throne and the fatherland. Driving into the middle of the rows, the sovereign talked and caressed almost every soldier, every sailor.

On October 28, the sovereign, accompanied by the Grand Dukes of Sevastopol and a huge retinue, visited the Crimean army. The Emperor first of all went to Bakhchisarai.

At two o'clock in the afternoon, the ringing of the bells of the Bakhchisarai church and the joyful cries of the assembled crowd of people announced the arrival of the Emperor. At the entrance to the church, the sovereign was met by the clergy with a cross and holy water.

His Majesty deigned to leave Bakhchisarai to inspect the tenth division.The troops that had just arrived from Sevastopol were awaiting the sovereign.

I was eager to see my brave Crimean army! - the sovereign exclaimed in a touched voice.

An incessant, rolling cry rang out an enthusiastic “Hurray!” The Emperor rushed through the ranks and, stopping in the middle of the troops, waved his hand. The music and cries of delight fell silent.

Thank you guys for your service! - exclaimed the royal commander. - Thank you! In the name of the late sovereign, in the name of my father and yours... I thank you.

Hooray! Hooray! - it thundered again.

The Emperor continued with tears in his eyes:

I am happy to be able to personally thank you for your heroic service. This has been my desire for a long time!

Words cannot describe what happened after these words: cries of delight, gratitude and readiness to die.The Emperor got off his horse and went to the battalions.Many heartfelt words of concern, attention, and gratitude were spoken by the gracious king.Approaching the Kamchatka regiment and noticing that there was only one battalion in the ranks, the sovereign asked about the reason.The regiment commander replied that the other battalion was at the outposts.

One battalion of Kamchatka residents is worth four.

The happy Kamchatka residents responded with joyful cries.

“Immediately His Majesty deigned to notice two non-commissioned officers under the banner,” writes an eyewitness. - One was old, the other was young. Tall, with St. George’s crosses, with French sabers at their belts instead of cutlasses, and with pistols in their belts, these heroes were like two peas in a pod.”

What's your last name? - the sovereign asked them.

Mikhailovs. Father and son, Your Majesty,” the non-commissioned officers answered loudly.

Why are you so armed? - the emperor asked again.

“We were granted sabers by Prince Vasilchikov for our bravery,” the Mikhailovs answered.

Are you volunteers? - the sovereign asked again.

That's right, Your Majesty. We voluntarily came from the Novgorod settlements to Sevastopol, wanting to die for Your Majesty and for the Orthodox faith.

Thank you guys for good example! - said the emperor. - Thank you! I won't forget you. Come see me in St. Petersburg.

“We humbly thank you, Your Majesty,” the fellows answered.

The Grand Dukes paid special attention to the Mikhailovs, examined their sabers, pistols, and asked about the last assault, in which both heroes took part and both were slightly wounded and were not out of action.

After the ceremonial march, the sovereign called all the officers and said:

Thank you for always being ahead!

We will not spare ourselves, sir! - officers shouted from all sides.

Then the emperor addressed all the leaders and found a merciful word for everyone.

“Thank you for the third bastion,” the sovereign said to General Pavlov and extended his hand to him.

Having examined the troops located on Alma, Kach, Belbek and in the Baydar Valley, the sovereign spoke kindly to everyone and graciously thanked everyone. He accepted from the officers their modest treat - breakfast, and everyone was so happy. The father seemed to be between his children.

Upon leaving Crimea, the sovereign made the troops happy with a new merciful order and installed a medal.“In memory of the famous and glorious defense of Sevastopol, I installed a silver medal on a St. George ribbon for the troops defending the fortifications to wear in their buttonhole. May this sign testify to the merits of each and instill in your future colleagues that high concept of duty and honor, which constitutes the unshakable support of the throne and the fatherland.”

At the beginning of 1856, peace negotiations began. A truce was concluded.

The Black River Valley came to life after the truce was concluded. Red uniforms, English, French, and our native gray greatcoats were visible everywhere.

The French, the British and our soldiers met in the Black River valley and instantly made acquaintances, laughed, chattered, exchanged money, rings, and various small things. The Allies were interested in our money: everyone wanted to have a coin as a souvenir of Russia. Our soldiers were more interested in some hilarious clay pipe in the shape of a head, in a historical hat, or a little white nose warmer (a well-known product of St. Omer factories, which sold tens of millions a year around the world).

Hunters wandered throughout the valley: there was a lot of game, and shots were heard every minute. A dead duck fell in our direction; the obliging Russian soldier immediately found it and threw it to the murderer, while showing various kind gestures and speaking in French of his own invention.

Crowds of French and English walked along the shore, looking for Russians and everything Russian. Hundreds of correspondents from various newspapers wandered through these crowds, noticing every step, catching every phrase, studying every movement.

Many came here on horseback, in single carriages and other carriages.As soon as the Frenchman and the Russian stop and exchange a word, a crowd will gather around them. Everyone is so kind and polite.

On March 18, 1856, peace terms were signed in Paris. Under these conditions, the Russians did not have the right to maintain a fleet in the Black Sea. After a terrible, bloody war, peace was received with delight.

The allies hugged, kissed, congratulated each other and drank quite a bit.

In Kamysh, shots rang out from the fleet, and flags of French, English, Turkish, Sardinian, etc. fluttered on the ships. even Russians. The artillery saluted, shots rang out everywhere.

The Allies positively flooded the Russian camp: they came in crowds, almost entire regiments, of course, without weapons, approached the Russians with pleasantries, and invited them to come to them. I had to treat them.

It was hard for Russians to return to their native, dear to their hearts, Sevastopol. It was especially sad to set foot on the ground of the Kornilov bastion.

“It was bitter in my heart,” writes a war participant, “when, having made the sign of the cross, I again set foot on this land, drenched in the blood of my friends and brothers. There were fragments of weapons, scraps of ammunition, tours, and fascines lying everywhere. The Malakhov Kurgan seemed like a ghost to me. My legs trembled, my spirit froze. It seemed sacrilege to me to walk safely through this place. In many places the outer ditch of the mound collapsed. At the place where McMahon ran up the mound, there is a bridge across the ditch. A road was laid along the place where the “curtain” is connected to the mound and along which the first enemy troops penetrated into the mound. We drove along this road and, again with the sign of the cross, entered the labyrinth of half-drawn traverses covering the mound. The Malakhov Kurgan from the side of Sevastopol is difficult to recognize, to such an extent it has changed its external appearance: its former fortifications, now facing our side, have been completely redone. Oh, what a terrible feeling filled my chest at this visit! The past seemed like a painful dream. How long has it been since we came running here in response to an alarm?.. How long has it been since Nakhimov, Istomin, Khrulev were in charge here?.. How long have Russian overcoats been visible everywhere here, and native speech sounded?.. None of us could even think that there would be other rulers here and we ourselves will be guests here. No, it's unbearably hard here. Hurry home, so as not to see the French flag on the tormented Istomin tower, witness to so many exploits of our glory and so many deaths of our heroes...”

Our regiments also went home. The days of joyful meetings for those lucky ones who survived have arrived. But what was it like for those unfortunate mothers and wives who looked from afar at the happiness of others and themselves wept over the distant graves in Sevastopol!

There were many of these graves, and there was not a corner in Russia where bitter tears were not shed.

In all cities, ceremonial meetings were held for Sevastopol residents; They greeted us with crosses, bread and salt, and ringing bells.The meeting in Moscow was particularly solemn;

The Black Sea residents entered Moscow through the Serpukhov outpost, decorated with flags, ribbons, and greenery.

Just the day before, hundreds of thousands of people gathered in Moscow. They came, they came from neighboring villages, villages, from all nearby cities.

The day before, naval officers arrived from St. Petersburg to distribute medals to the soldiers.At eight o'clock in the morning the Black Sea people, the glorious defenders of Sevastopol, appeared. In old, worn out overcoats, with rough, black faces, with their chests decorated with medals and the St. George's Cross, they moved slowly, tired and exhausted.

All Russian hearts perked up at the sight of these dear heroes. No one could be calm at these moments. Something irresistible attracted everyone to them, who had suffered their radiant glory... I wanted to shake their hands, hug them, cry... Everyone was worried.

Our dear ones! “Martyrs,” whispered through the crowd.

The thunder roared: “Hurray! Hooray!"

The Chernomorians stopped. Representatives from Moscow came forward: Kokorev and Mamontov. They held a huge loaf of bread on a silver platter.

Everything fell silent. There was dead silence. Kokorev handed the bread and salt to the officers and loudly exclaimed:

Servants! We thank you for your labors, for the blood that you shed for us, in defense of the Orthodox faith and native land! Please accept our prostration!

Kokorev knelt down and bowed to the ground. Mamontov and everyone accompanying them did the same. And all the people fell to their knees and bowed to the people of Sevastopol.Moscow greeted the heroic defenders enthusiastically, joyfully, noisily and majestically. And all of Rus' merged into one joy with the Mother See and covered the defenders of Sevastopol with unfading glory.

K.V. Lukashevich

Photo beautiful places Crimea

The building of the Alexander Nevsky Cathedral is associated with the history of the birth of the provincial center and the beginning of its development and was one of the first monumental buildings in the city of Simferopol.

The temple was a favorite place to visit for the townspeople - the archbishop's chair was located here. Contemporaries noted that the Alexander Nevsky Cathedral was distinguished by the saints who sat on the pulpit; they were ranked among the persons of the first magnitude in the Russian church hierarchy. The sermons of Archpastors Innocent, Alexy, Gury, Hermogenes, Puca and other famous bishops inspired parishioners to good deeds and were examples of spiritual oratory.

The idea of building a cathedral church in Simferopol dates back to 1787 - the time of Catherine II’s visit to the provincial city. The poverty and cramped conditions of the Tatar house adapted for the temple struck the empress, and she deigned to express her will to Prince Potemkin to build a cathedral church in the Ak-Mosque for permanent residents and visiting Greeks. However, the death of Potemkin (1791), then Catherine (1796), delayed the construction of the cathedral for a long time. The matter moved forward in August 1804. Archpriest Nikita Petrovsky, known for his courage during the capture of Izmail, turned to the Tauride governor Mertvago with a request to build a temple. A similar request from Mertvago to Emperor Alexander I was granted, and the provincial architect Karasev developed a project for the future cathedral, the estimated cost of which was 81 thousand 529 rubles.

It was planned to build a temple “in the name of the Holy Blessed Grand Duke Alexander Nevsky in a new place near public places.” According to legend, this place was identified by Peter Simon Pallas. However, Karasev’s project was recognized by the Minister of Internal Affairs Kochubey as mediocre, and the construction of the temple was based on the design of the St. Petersburg architect P.I. Ruska, designed by the architect in classical forms. Simplicity of composition, the dominant role of the order, solemnity, and sophistication of proportions were characteristic of this church building, decorated on four facades with a six-column portico. At the beginning of May 1810, with a large crowd of people, the consecration of the place and the foundation stone of the temple took place. It was erected on the banks of the Salgir, in the Alexander Redoubt, a camp fortified by fortress walls, “built during hostilities by the Generalissimo Prince of Italy, Count Suvorov-Rymniksky, who was then the general commander in the Crimea.” As it later turned out, the location of the temple was not chosen entirely well - on a slope surrounded by ditches, with cliffs in its southern part.

Foreign masters contracted to build the cathedral - the French P. Nikolai, I. Ferri, B. Latti, who turned out to be the most ordinary “shabashniks”. According to the contract, the contractors undertook to build a temple, make an iconostasis, an altar device and at the same time carry out renovation work to strengthen the Suvorov redoubt (wall, ditches, stone bridges with gates). The construction of the temple was supervised by the provincial architect Martyanov, and the mayor Kasanchich informed the Ministry of Internal Affairs of St. Petersburg about the progress of construction. At the same time, an order was sent to the St. Petersburg icon painting workshop of K. Venediktov to paint icons of Christ the Savior, Our Lady, St. Apostle Andrew the First-Called, Resurrection of Christ; on the northern and southern door leaves - St. Archangel Gabriel and St. Archangel Michael. In just 2 months of work, K. Venediktov completed 30 icons worth 2,100 rubles; they were recognized as being of excellent quality and sent to Simferopol.

Construction of the cathedral progressed extremely slowly - there was not enough money. In 1811, the walls were erected in rough form only up to the capitals. In 1812, due to the outbreak of the Patriotic War, the construction of the temple was mothballed. A year later, the building had an extremely unsightly appearance: a strong storm blew away the entire roof, building materials were stolen, sand and lime were scattered by the wind. The temple stood in this condition for another 4 years. In 1816, the Supreme Commission created the conclusion that the temple must be dismantled to the ground “due to deep cracks and weakened structures.” The provincial architect of the city of Poltava, M. Paradisov, was sent to Simferopol, who confirmed the commission’s conclusions about the demolition of the temple and the transfer of the building to a convenient place remote from Salgir. Punitive measures followed immediately. All members of the Simferopol construction expedition were put on trial, and the case was transferred to the Senate to recover all government losses from the perpetrators. On the estate of Governor A.M. Borozdin was arrested.

In 1817-1819, the temple developed a new crack, and the southern wall of the building on the cliff to the Salgir River threatened to collapse. The first stage of construction of the cathedral has ended. There were new proposals ahead.

It should be noted that Simferopol, founded on free lands in 1784 as an administrative center

Tauride province, was supposed to develop according to a “regular” plan and with its architectural appearance reflect the corresponding level of Russian urban planning culture of the late 18th - early XIX century. The approved city plan was an example of a logically reasonable, ceremonial and solemn architectural and spatial organization. The role of the compositional accent was given to the semi-circular square, in the center of which the site of the cathedral was planned. The conditions of a newly built city with spacious plots suggested the design of a new church building with free landing. The design of the cathedral church was developed by the construction committee of the Ministry of Internal Affairs of St. Petersburg after much thought about the fate of the first church in the Alexander Redoubt. The construction committee believed that it was necessary to build the church on a large area in front of the redoubt, between government buildings and the police department. The task of the builders of the Alexander Nevsky Church was to erect a powerful architectural volume at the central point of the new city of Simferopol, which would serve as the main volumetric axis in relation to the entire development.

Two talented architects participated in the development of the project - a member of the construction committee of the Ministry of Internal Affairs, titular councilor I. Charlemagne and the famous architect, titular councilor I.F. Kolodin. According to the estimate of the first project, 237,185 rubles were required for construction. 95 kopecks, the second - 198 2 10 rubles. 10 kopecks Charlemagne's project met all the requirements of the architecture of mature classicism, which reached its highest peak by the first half of the 19th century. I. Charlemagne’s project, approved by the sovereign in 1821, was distinguished by its solemnity, refinement of proportions, and the dominant role of the order. Emperor Alexander I donated a large sum for the construction of the temple, and, according to legend, the location of the future construction was also indicated by him.

Clarifications and adjustments to the Charlemagne project on the spot were assumed by the ministerial architect of the Ministry of Internal Affairs represented by I.F. Kolodin, sent to Simferopol for architectural supervision. It took another two years to resolve all the tasks of constructing the cathedral in Simferopol, and already in 1822 Count Kochubey informed the Tauride Governor N.I. Perovsky about the highest approved project, an estimate drawn up (using old material from the dismantled church) in the amount of 2,18,965 rubles. and about the choice of architect I.F. Kolodina for architectural supervision of the construction of the Alexander Nevsky Cathedral, public places and other buildings in Simferopol. I.F. Kolodin, together with his assistant Ya. Kolodin and technician Abramov, arrived in Simferopol. In the presence of Tauride Governor A.N. Baranov, all members of the construction expedition, the provincial architect Limmerman and attesting citizens, a report was drawn up on the insolvency of the previous building - the fragility of the temple walls, columns, the absence of “iron connections” and the need to dismantle the structure. The site of the first temple was acquired by the leader of the nobility S.E. Notara and Archpriest Vasily Chernyavsky (later their houses belonged to the spiritual department, in the first there was a bishop's courtyard, in the second - a spiritual consistory; now the hotel complex "Ukraine" is located on this place).

In Simferopol, the architect Kolodin had to build the Alexander Nevsky Cathedral (1829), provincial government offices, complete the construction of the Taranov-Belozerov hospice house (1827), rebuild the Holy Trinity Church (1865), design and build the house of the civil governor (1835).

Members of the construction committee, consisting of architect I.F. Kolodin, the provincial architect Limmerman examined the new site for the cathedral. As a result of the inspection, it turned out that there were traces of the Suvorov redoubt and secret underground passages, so it was necessary to lay the foundations much deeper than the estimate. Kolodin developed a foundation plan on the spot and recruited privates from the Tauride Garrison Battalion for the work. Kolodin considered his primary task to be the recruitment of experienced workers - specialists in various professions. For this purpose, craftsmen were invited from various provinces of Russia: 10 masons arrived from St. Petersburg, carpenters - from the St. Petersburg merchant Terekhov. Masons and carpenters were also brought in from the Kursk province. The 10 best mason-restorers from the Bakhchisarai Khan's Palace were removed. Privates of the Tauride Garrison Battalion also took part in the construction. History has preserved the names of qualified carpenters of the Kursk province Stepan Nikiforov, Korney Somov, Ivan Anokhin and others.

I.F. Kolodin kept a diary of construction work and constantly informed the civil governor about the progress of the construction of the temple (the diary of work was preserved in the state archives of the Autonomous Republic of Crimea). So, in December 1822, Kolodin made the following entry in the journal for two months (from 1/11 to 1/1 1823) of contract work performed:

1. External scaffolding was installed to demolish the old church.

2. Stone columns with bases were removed from 3 portals of the temple.

3. An apartment for workers has been roughly completed and a shed for storing materials has been built.

On March 12, 1823, on the anniversary of the accession to the throne of Emperor Alexander I, after the Divine Liturgy in the Peter and Paul Church, a procession with a procession of the cross arrived at the site of the foundation of the temple, and His Grace Job consecrated the place. Governor Perovsky replenished the engraved medal with the plan and facade of the church in specially prepared stone, then received tools and mortar from the architect and personally performed the ritual of laying the brick, after which the craftsmen began to work.

The Alexander Nevsky Cathedral was built by the whole world. The Tatars of the villages Karagach, Mangush, Chokurcha and Baltochekrak carried rubble stone. P. Mikhailov and the Greek Turkish subjects Konstantin Sava, Georgiy Sava, Yeni Todora-Salyus and Yeni Apostol entered into a contract for the delivery of stone for capitals, columns, pilasters, architrave, frieze, cornices and other parts, which Kolodin proposed to make using the hewn technique, without plastering, as suggested by Charlemagne's project. In 1825, on a contract basis, they agreed with a skilled roofer from Karasubazar - tradesman Peter Bobrovsky and Karl Rieter - to cover the roof of the temple with sheet iron and then paint the roof green. These craftsmen undertook to make 5 metal crosses from iron and 5 under-cross apples, cover them with copper and gild them with red gold. On 4 small domes, stands were made - stands for crosses. During 1824, 1825 and 1826, construction of the cathedral progressed successfully. The construction of a monumental building required a large number of experienced workers, who continued to be hired “by hire and contract at favorable prices.” At the end of 1826, the architect Kolodin made a written statement about additional funding, and Minister Panskoy petitioned the emperor for another 40,697 rubles 12 kopecks to complete the temple. Naturally, there were delays in the estimate. Kolodin motivated this with the following reasons: when dismantling the old church due to its dilapidation, less building materials were used than expected, the foundations required large expenditures, all decorative details (cornices, belts, denticles, etc.) were made of cut stone, Kolodin introduced “iron connections”, brick and piece stone. Columns with bases and capitals are carved from stone. The drum of the main dome is tightened with iron rings with brackets; for the small 4 domes, iron rings are used for longitudinal bracing; for pediments - for lintels.

Kolodin introduced iron into the columns, arches, and used pyrons to cover the entire height of the entablature. Modules and brackets were also made of sheet iron. On the attic of the church facades, Kolodin proposed making a section not from stone, but from sheet iron. All this paid off in the future (for example, in 1927, during a strong earthquake, the cathedral building was not damaged).

It was necessary to take care of equipping the temple with bells and church utensils. The Ekaterinoslav Spiritual Consistory decided to abolish the Peter and Paul Cathedral in order to transfer the sacristy, utensils, and bells to a new church. In 1829, 7 bells weighing 193 pounds, valued at 9,625 rubles, were transferred from the old Peter and Paul City Cathedral. The largest of the bells had 104 p., the smallest - 20 f. In 1886, with donations from the Tauride clergy, a new bell weighing 470 pounds was purchased. Together with this bell, Moscow manufacturer P.N. Finnish donated two more small bells weighing 10 pounds each. These 3 bells, worth up to 90 thousand rubles in silver, were raised to the bell tower on August 17, 1886.

June 3, 1829, on the day of the Descent of St. In the presence of a large gathering of people, the single-altar cathedral church in the name of the Blessed Prince Alexander Nevsky was consecrated by His Eminence Gabriel. Archpriest Vasily Chernyavsky petitioned General Kantsevich for the provision of military guards or sentries to protect the cathedral from robbers - there was no development near the temple yet. Thus, the cathedral church was built with great difficulties and unforeseen obstacles; construction began in 1810, completed in June 1829, the construction epic lasted 20 years.

The spiritual consistory ordered Kolodin a project to improve the territory of the temple. In 1831, Kolodin presented to the consistory three options for a stone fence - “round, oval and quadrangular.” The choice fell on a project with a square layout. It was a well-organized complex, with all aspects of the compositional solution deeply thought out.

The layout of the territory, on a calm terrain, mainly landscape, was subordinated to the main architectural dominant - the temple. A front ground has been formed in front of the three facades, the composition of which includes alleys with trimmed bushes, trees, and lawns with flowers. Along the entire perimeter of the square plot, on a stone plinth, rested a fence lattice, in the corner links of which there was small architecture in the form of pavilions - guardhouses, rooms for the clergy, rooms for making candles. On the eastern side, the author provided a chapel and a candle shop. It was supposed to build a fence at the expense of the Synod (3 thousand) and the district collection (2 thousand). Bishop Gabriel of Ekaterinoslav, in a letter to the Novorossiysk Governor-General, asked for the allocation of funds necessary for the last stage of planning the territory, laying out the alleys (5,901 rubles in total). I.F. Kolodin assessed his work this way: “I happily see the future beauty around the temple.” And already in 1891 the main cathedral had a well-organized planning structure.

The Alexander Nevsky Cathedral had high artistic value; the traditions of the Russian classical school during its heyday were used in its construction. Prominent St. Petersburg architects took part in the design and construction: I.I. Charlemagne, known as the creator of the palaces of the St. Petersburg nobility through the reconstruction of the Vvedensky Monastery and other architectural monuments, and a student of A.N. Voronikhin, former serf, I.F. Kolodin, the author of many suburban ensembles in St. Petersburg, including the palace complex of the President of the Academy of Arts in Maryino, on the banks of the Tosno River.

The location of the Alexander Nevsky Cathedral on a vast area east of the redoubt, between the future streets of Police, Serova, Dolgorukovskaya and Alexander Nevskaya, initially determined its dominant position over the surrounding buildings. The five-domed temple had an ocher coloring of the facades (“brick”) with the details tinted in beige color. The northern, southern, and western branches of the cross were closed by six-column porticoes of the Ionic order with triangular profiled pediments, the tympanum of which had no fillings. The cathedral was crowned with a central hemispherical dome with a dome at the top, on which was erected orthodox cross. The dome rested on a light drum, circular in plan, cut through by ten slender semi-circular light openings with expressive platbands. A multi-profile cornice with finely crushed crackers complemented the artistic image of the building. In the corner sections of the temple on 4 sides there were onion-shaped domes with crosses at the top, resting on a slender octagonal light drum with identical semicircular windows. The elegant belt of “crackers” and the motif of triangular pediments were repeated in the artistic appearance of the domes. The three-tier bell tower had a massive volume in the lower part, topped with a quadrangle with bell arches. The upper tier of the bell tower is cut through by high arches, its cut corners are emphasized by pilasters. The building stood out for its refined order forms, harmony and proportionality.

An integral part of the interior of the temple and its best decoration was the iconostasis, created according to the design of the architect Charlemagne. The first iconostasis of the Alexander Nevsky Church, executed by talented St. Petersburg masters, represented a kind of example of decorative art of the 20s of the 19th century. It was included in the album of iconostases as one of the best works of the classical movement. The general design of the first iconostasis is not complicated. The composition is single-tiered, strictly symmetrical. Despite its intimacy, it looked monumental, thanks to the unique proportional relationships and enlarged forms of details and elements. Also characteristic is the harmonious combination of the rectangular outlines of the large icon row (“local row”) on both sides of the royal doors and the roundness of the semicircular lines of the top of the iconostasis, where the plot of the “Last Supper” was inscribed. Artists V.I. Gryaznov and A.P. Nikitin carried out this order. The main altar was painted by S. Lapin, a great artist who had an icon-painting workshop in Simferopol. The construction committee invited famous painters, professors of the Academy of Arts Shebuev, Egorov and academician Antonelli to participate in the painting of the temple. Antonelli named the amount as 4,650 rubles, and it was accepted as the basis.

In April 1828, finishing work on the interior of the temple began. A contract was drawn up with the talented serf artist N.F. Naryshkina by Fyodor Yakovlev (wasn’t he the one who painted the living room in Vorontsov’s house?). His task included painting in the altar apse (image of the Lord of Hosts), in the dome sails (four evangelists) and wall paintings of the temple. The interior of the temple was decorated with the following images: Arch. Michael and Arch. Gabriel, Last Supper, Shroud, 4 evangelists on the royal doors, Our Lady, Dormition Blessed Virgin Mary and the Annunciation of the Lord, 2 banners depicting images of the Mother of God of Kazan Mother of God, Alexander Nevsky and St. Nicholas the Wonderworker. This iconostasis existed until 1845. In 1845, at the expense of parishioners - collegiate adviser Matvey Ivanovich Kashkadamov and Colonel Dmitry Fedorovich Kasinsky, Alexandra Andreevna Brazhnikova - two new iconostases with a throne were built in the name of the Intercession of the Mother of God and in the name of the Dormition of St. Righteous Anna.

In 1846, the rector reported to Archbishop Gabriel that the old iconostasis had darkened over time, the gilding had come off, which clearly did not correspond to the general splendor of the temple, and asked: “For uniformity and grace, respectively, the two iconostases, build a third new iconostasis, leaving only the icons of St. Petersburg painting." The archbishop’s report contains the following resolution: “The drawing has been examined and, having given permission to build a new iconostasis in the Simferopol Cathedral, the drawing must be returned upon decree so that the builders do not make a mistake regarding those craftsmen to whom the work will be entrusted.” The third iconostasis by master Panteleimon Ivanovich Bocherov was built on August 30, 1847 and consecrated.

This iconostasis was removed in 1864 during the expansion of the altar in the cathedral and transferred to the Simferopol prison castle in the church of St. Peter, and in place of the given one, a new one was ordered from Moscow, corresponding to the size of the new altar. It was carried out by the Moscow iconostasis master of the 2nd guild, merchant Nikifor Safronov. The iconostasis is made of pine wood, and the carvings and boards for the icons are made of dry linden wood. The iconostasis project was developed by the St. Petersburg architect of the IV district of communications and public buildings Kozlovsky. His plan included “to gild the entire iconostasis entirely with red semi-spool gold, with carvings on the polyment and carpentry on mardan.” 25 icons on boards decorated the iconostasis and one large, six arshin square icon of the “Last Supper” on canvas, painted by masters Semyon Borisov. Highly artistic icons received a good assessment - Safronov was awarded a certificate of merit. In August 1864, His Grace Alexy consecrated the iconostasis. The following icons are placed on the iconostasis: Arch. Gabriel the Blessing, the Blessed Virgin, Evangelists John, Mark, Matthew, Puca, Aron, Melchisidek with bread, Transfiguration, Ascension, Introduction, Healing of the Man Born Blind, Presentation, Dormition of the Mother of God, Soaring Dove, Saints Basil, Vladimir, Pope Clement, Stephen of Sourozh, St. . Great Martyr George, Dmitry, John the Baptist, Our Lady of the Present, the Savior on the throne.

Like the exterior façade, the interior was originally painted ocher. The ocher coloring of the interior and exterior of the temple created a soft, shimmering, dull color scheme. The general background of the cathedral's prayer hall - golden in combination with the gilding of vestments, the iconostasis, coffered ceilings, and the parquet floor made of oak squares in a herringbone pattern - left a luxurious impression, stunning in splendor and beauty, which allowed the townspeople to lovingly call the cathedral their “St. Isaac’s Cathedral.”

Over the 100th anniversary of its existence, the cathedral has undergone significant changes; the volumetric-spatial composition has become more complex due to its expansion and the construction of a bell tower.

In 1842, the western facade of the temple was enriched with a clock, located to the right of the entrance on one of the four small domes. This clock - a relic of the city from the time of the founding of the provincial center - was located on the watchtower of the police house. In 1842, due to its dilapidation, which threatened to fall, the clock, along with two bells, was moved to the dome of the cathedral.

In 1844, a major reconstruction of the temple was carried out. On the western façade a refectory and a vestibule with a bell tower were built, on the right side of the vestibule there was a room for a guard, on the left - the entrance to the sacristy and the bell tower. Funds for the major reconstruction of the temple were allocated from the funds of the Synod.

Initially, the cathedral was given the status of a city, and only in 1860, due to an increase in the population, it was renamed to a cathedral.

In 1869, the single-apse, single-altar church was rebuilt - it was expanded by adding three altars. There is a gallery on the western façade. The capacity of the cathedral increased by 500 people.

In 1881, at the request of Tauride Archbishop Guriy Karpov (1867-1882), 37,727 rubles were allocated from the funds of the Synod for lengthening the cathedral and building a bell tower. Construction work took 3 years. In 1884, the cathedral appeared in all its grandeur and beauty, for what seemed like a long time to come. But in the second half of 1890, the four turrets were replaced with new ones, with arched openings, beautiful onion-shaped domes, completed with gilded crosses and mounted on an octagonal drum. Due to lack of funds, the two turrets on the eastern facade were first replaced, and in October 1890, the turrets of the western facade were reconstructed. Engineer Slavinsky developed a project for installing a clock on the dome of the western facade to the right of the main entrance, as was previously envisaged. Newspapers wrote about the restoration of the clock at the beginning of the 20th century, and townspeople demanded its restoration. But the installation did not take place, much to the chagrin of the townspeople, who were accustomed to the clock striking every half hour, due to the lack of entrance to the domes. At the same time, an iron fence was installed, made under a contract at the Ya.M. iron foundry. Tosunov in Simferopol.

Significant changes took place in the interior of the temple. Initially, the cathedral was paved with square stone slabs. In 1842, at the insistence of the priest and church warden Sanyutin, a wooden floor was installed; in 1862, when the altars were expanded, the parquet floor was again resurfaced and repaired throughout the entire interior of the church, except for the vestibule, where the floor remained stone.

After all the reconstruction, the temple had the following internal organization (according to an archival document from 1927): a vestibule, rectangular in plan, refectory, square in plan, a room containing candle counters, a prayer hall, a middle church 26 m 40 cm long, 20 m 40 wide cm, had a left aisle, behind which was a sexton, and a right aisle with a sacristy, the main aisle was located in a semicircular apse with 4 window openings. The height of the cathedral's main dome was 24 m. Electric lighting.

In the sacristy, iconostasis and icon cases there were many sacred and historical relics associated with the history of the peninsula. In the main altar there was a cross from 1782, sent, according to legend, by Catherine II. On the holy throne was kept an icon-copy of the miraculous image of the Mother of God of Kaspirovskaya, donated by Archbishop Innocent in 1857 during his last visit to Crimea. Particularly valuable items made of gold included gifts from Catherine II, sent in 1794 (a chalice, a monstrance, a Gospel, a tabernacle, a water vessel, a ladle, a censer, two saucers and an asterisk).

An important document preserved in the cathedral was a charter signed by Emperor Alexander II after the end of the Crimean War of 1853-1856. - gratitude “for the provision of services to the Fatherland by the Taurida province.” The diploma was on parchment, with the seal and signature of Emperor Alexander II. Contemporaries noted the unusual design of the letter - “the edges of the parchment are decorated with state and provincial coats of arms, a symbolic image in the form of olive tree branches and entwined with an oak garland, among which the names of 16 cities can be seen on a golden background.”

The cathedral kept a bronze gilded plaque, sent in 1842 from St. Petersburg from the horsemaster of the Imperial Court V.V. Dolgorukov, grandson of General-Chief V.M. Dolgorukova. The inscription is carved on the board: “The inscription taken from the artillery pieces granted by the Empress Catherine II General-in-Chief Prince Vasily Mikhailovich Dolgorukov-Krymsky for the famous victory he won in 1771 near the city of Kef in Crimea.”

The cathedral preserved the remains of St. Gury in the crypt (behind the right choir).

The following churches were assigned to the Alexander Nevsky Cathedral: the Church of the Assumption of St. Righteous Anna in the new city cemetery (consecrated on June 14, 1864, built at the expense of the merchant V.B. Maslennikov); chapel in the name of St. Alexander Nevsky (built in 1866 over the graves of soldiers who died during the Crimean War); chapel in the name of St. Blessed Prince Alexander Nevsky on the square near the fountain; chapel in the name of St. Nicholas in the cathedral fence (built in 1892 according to the design of the architect Becker in honor of the engagement of the future Emperor Nicholas II to Alexandra Feodorovna); Greek Church in honor of the Holy Trinity (1865); church in the name of St. Apostles Peter and Paul (1870).

Class composition of parishioners of the Alexander Nevsky Cathedral in 1909-1910. was as follows: clergy - 36 people, military - 586, civilians - 176, merchants, townspeople, ordinary people - 416, state peasants - 6 1, public peasants - 92.

The life of Simferopol was closely connected with the Alexander Nevsky Cathedral. Ceremonial meetings of royalty took place here, soldiers were sent from here to defend the Fatherland, and church holidays were held here.

During the years of anti-religious terror, Alexander Nevsky Cathedral shared the fate of many Christian shrines in Russia and Crimea. On the night of October 4-5, 1917, a blasphemous robbery of the cathedral took place. The thieves, having broken open the bars, entered the temple, killed the watchman, stole money and threw church vessels onto the floor. In December 1922, the Alexander Nevsky Cathedral was closed. Later it was turned into a warehouse for property seized by the authorities from closed Crimean churches. From the beginning of 1929, a real war unfolded against its existence: the bells were removed and transferred to the Simferopol branch of Rudmetallotorg. On May 30, 1930, the Crimean Central Executive Committee decided to demolish the temple and transfer land plot for the construction of the panorama museum “The Capture of Perekop”. Before the demolition, they managed to transfer the ashes of Archbishop Gury (Karpov) and 4 priests from the cathedral to the new cemetery. Their graves are located at the All Saints Church in the city cemetery. In September 1930, dynamite was laid under the temple. On the night of September 26-27, 1930, as a result of a barbaric explosion, the cathedral ceased to exist. Subsequently, the stone of the former cathedral building was used to build the so-called “House of 1905” on Pavlenko Street, intended for housing veterans and activists of the revolutionary movement. Part of the beautiful metal fence of the former cathedral now encloses the Children's Park from Schmidt Street. Cathedral Square was first called Komsomolsky, then Pionersky, and since the second half of the 60s it has been called Victory Square.

In the spring of 1944, in the park, in a mass grave, Soviet soldiers who died during the liberation of Simferopol were buried. At the same time, a T-34 tank was installed on the site of the cathedral church. Later, the remains of the hero-liberators were moved to a military cemetery, and the pedestal under the tank was reconstructed. The inscription on its front side states that: “This tank, part of the 19th Tank Corps, was one of the first to break into the city.” Next come the names of the units and formations that liberated Simferopol.

The fates of the defenders of the Motherland at different stages of the history of Simferopol were so closely intertwined.

Currently, 70 years after the destruction of the Simferopol shrine, the opportunity and desire of the townspeople to revive the temple has arisen. The revival of the Alexander Nevsky Cathedral in Simferopol will be the repentance of generations for what they have done. Its majestic architecture will become an example of a cult building from the era of classicism. And the ringing of the bells of the restored cathedral will call new generations of citizens to spiritual revival.

It is impossible not to notice the golden domes of the main Orthodox Cathedral of Yalta while walking along one of the most picturesque streets of the city - Sadovaya. The Cathedral of the Holy Blessed Prince Alexander Nevsky is not only one of the most beautiful churches in Crimea, it is also a monument of national history, associated with the names of three Russian emperors.

The whole world

The construction of the golden-domed Alexander Nevsky Cathedral in Yalta is associated with the tragic death of the Russian Emperor Alexander the Liberator, who died at the hands of the People's Will. In honor of the tenth anniversary of the death of Alexander II, the Yalta community decided to perpetuate his memory by building a new cathedral. At this time, churches were built throughout Russia in honor of the Holy Prince Alexander Nevsky, who is the heavenly patron of the House of Romanov. This idea was supported by Emperor Alexander III. With his blessing, on March 1, 1890, a construction committee was established, headed by the famous engineer and scientist A.L. Berthier-Delagarde. The composition also included thirty respected Yalta residents: among them Prince V.V. Trubetskoy, Count N.S. Mordvinov, Baron Chamberlain, engineer A.L. Wrangel, Privy Councilor P.I. Gubonin, Dr. V.N. Dmitriev, famous architects P.K. Terebenev and N.A. Stackenschneider. Funds for construction were collected all over the world. Significant sums were donated by noble citizens of B.V. Khvoshchinsky and I.F. Tokmakov, and a plot of land for construction was donated by Baron A.L. Wrangel. The casting of the bells for the temple, which took place in Moscow, was paid for by the Crimean wine manufacturer and philanthropist N.D. Stakheev. As a result, the belfry was decorated with 11 bells, one of which weighed 428 pounds, which is more than 6 tons.

The initial project was developed by the architect K. I. Eshliman. However, this option was not approved. The Emperor noted that there was “little Russian element” in him. On the contrary, the project of the famous Crimean architect P.K. Terebenev was to everyone’s taste. A two-tier, five-domed building, equipped with a three-tiered bell tower, generously decorated with open external galleries and an abundance of colorful Russian patterns in the form of pilasters, porches, hearts and icon cases - this is how the future temple appeared in the latest version. It was decided to build something fabulously beautiful in the ancient Russian style.

The implementation of the plan and the general management of the construction was undertaken free of charge by the military engineer, builder of the Yalta pier A.L. Berthier-Delagarde. Construction supervision was entrusted famous architect N.P. Krasnov.

More than 10 years were spent on construction. During this time, two floors were built, containing two churches: the lower one in the name of St. Great Martyr Artemy, and the upper, main one, in the name of the Grand Duke Alexander Nevsky.

The extraordinary beauty of the external appearance of the temple was not inferior to its interior decoration. The best masters were invited to carry out painting and mosaic work. In 1901 there was All-Russian competition, the winner of which was entrusted with the decoration of the Holy of Holies of the Alexander Nevsky Cathedral. The first place was taken by architect S.P. Kroshechkin. The iconostasis was made according to designs by N.P. Krasnov, the painting of the dome and walls in the Byzantine style was carried out by the Kiev artist I. Murashko. On the outside of the temple, in a granite frame-case, there was a mosaic panel with the image of Saint Prince Alexander Nevsky. This filigree work was carried out by students of the Venetian master Antonio Salviati.

And so, after long and painstaking work, the miracle church was ready. In December 1902, Emperor Nicholas II himself arrived at its lighting along with his retinue. This was a significant event for Crimea, which attracted a huge number of people. The lighting ceremony was conducted by Archbishop Nicholas, who was assisted by the archpriest of the Nazarevsky Cathedral, Archpriest Ternovsky and Yalta priests Serbinov, Shchukin, Krylov and Shcheglov.

“The construction of the temple is excellent, fundamental, durable and stylish: the Russian style is remarkably well maintained,” was the opinion of the selection committee and all those present who saw the new Yalta shrine for the first time. Empress Maria Feodorovna was unable to attend the ceremony, but she sent a telegram that read: “I rejoice with all my heart at the consecration of the cathedral, at the foundation of which I was present in 1891, remembering all those who worked at its founding and thinking with joy about the prayers that are now for everyone in it they will be exalted." Later the newspapers would write: “Nicholas II and Alexandra Fedorovna venerated the holy cross, then the emperor lit the lamp. Then a procession of the cross was made around the cathedral and into the lower church for the holy gifts. After the liturgy, all the clergy went to the middle of the temple and proclaimed many years to the House of Romanov, and then eternal memory to the Emperors Alexander II and Alexander III, Empress Maria Alexandrovna and Grand Duke George Alexandrovich, who died in the Caucasus...”

Later, a two-story clergy house was built next to the temple, reminiscent of a Russian tower. Its author was M.I. Kittens. In 1903-1908, another three-story house was built on the church grounds; there was an assembly hall for the Alexander Nevsky Brotherhood. It also housed a parish school, named after Tsarevich Alexei, and a shelter for people suffering from pulmonary diseases. The first archpriest of the cathedral was Alexander Yakovlevich Ternovsky, who had previously served in the Church of St. John Chrysostom.

The Alexander Nevsky Cathedral has become a favorite place for Crimeans. In one of the letters from A.P. Chekhov described the cathedral this way: “Here, in Yalta, there is a new church, big bells are ringing, it’s nice to listen, because it looks like Russia.” Both on holidays and in moments of sorrow, the doors of the church were open to people. People were baptized here, got married, and held funeral services.

Troubled times

The temple shared the sufferings and sorrows of its parishioners during the turbulent times of the revolution and civil war. Like an island surrounded by a stormy ocean, it became a refuge and consolation for the suffering. The cathedral protected, supported the faith, and protected the lives of people. In 1918, during the shelling of Yalta, city residents took refuge within its walls.

During the revolution, the building survived, but not all of its rich decoration. Amid cries of “religion is the opium of the people!”, the bells were unceremoniously thrown down and sent to be melted down. In 1938, the cathedral was closed, and in its building they organized sports club. It is still unknown where the iconostasis is located. Later, its reconstruction was carried out using photographs from the personal archive of the architect N.P. Krasnova.

Divine services were resumed in 1942. In the post-war years, an outstanding doctor, philosopher and theologian, now known as St. Luke, confessor, Archbishop of Crimea (V.F. Voino-Yasenetsky), served in the cathedral, and the rector, from the beginning of the 50s, was his associate and friend, the mitered archpriest Mikhail Semenyuk.

In 2002, Crimeans celebrated the 100th anniversary of the consecration of Alexander Nevsky Cathedral. On this significant date, with the blessing of Metropolitan Lazar of Simferopol and Crimea, with the participation of the city mayor’s office, as well as the heads of all health resorts and enterprises of Greater Yalta, entrepreneurs and ordinary people, work was carried out to gild the domes of the temple and restoration of the painting of the iconostasis was carried out. In 2005-2006, with the direct participation of parishioners and city authorities, the facade of the cathedral was restored. Currently, services are held in the cathedral, as in the good old days. Since 1995, the temple has been operating secondary school, which educates about 100 children.

The whole world

The extraordinary beauty of the external appearance of the temple was not inferior to its interior decoration. The best masters were invited to carry out painting and mosaic work. In 1901, an all-Russian competition was held, the winner of which was entrusted with the design of the Holy of Holies of the Alexander Nevsky Cathedral. The first place was taken by architect S.P. Kroshechkin. The iconostasis was made according to designs by N.P. Krasnov, the painting of the dome and walls in the Byzantine style was carried out by the Kiev artist I. Murashko. On the outside of the temple, in a granite frame-case, there was a mosaic panel with the image of Saint Prince Alexander Nevsky. This filigree work was carried out by students of the Venetian master Antonio Salviati.

Troubled times

During the revolution, the building survived, but not all of its rich decoration. Amid cries of “religion is the opium of the people!”, the bells were unceremoniously thrown down and sent to be melted down. In 1938, the cathedral was closed, and a sports club was organized in its building. It is still unknown where the iconostasis is located. Later, its reconstruction was carried out using photographs from the personal archive of the architect N.P. Krasnova.

In 2002, Crimeans celebrated the 100th anniversary of the consecration of Alexander Nevsky Cathedral. For this significant date, with the blessing of Metropolitan Lazar of Simferopol and Crimea, with the participation of the city mayor's office, as well as the heads of all health resorts and enterprises of Greater Yalta, entrepreneurs and ordinary people, work was carried out to gild the domes of the temple and restore the painting of the iconostasis. In 2005-2006, with the direct participation of parishioners and city authorities, the facade of the cathedral was restored. Currently, services are held in the cathedral, as in the good old days. Since 1995, a secondary school has been operating at the temple, in which about 100 children study.