Estonia, Resurrection Cathedral
The mention of the construction of the Orthodox Cathedral dates back to the year 1873. Even then, there was a proposal to build a temple near Narva for workers of the Krengolmskaya Manufactory, since of the 10,000 workers in the factory, about half were Orthodox. The construction of the temple was postponed “until the funds were found.”
In September 1889, the new Estonian governor, Prince. Sergei Vladimirovich Shakhovsky sent a letter to the manager of the Krengolmskaya Manufactory Yu.A. André, in which he, in a soft but at the same time persistent form, suggested building a temple for the Orthodox workers of the factory. As a result, on August 5, 1890, the temple was laid, which was timed to visit Narva by Emperor Alexander III, who held an official meeting with the Emperor of Germany Wilhelm II. On this day, Alexander III, after the liturgy in the main temple of Narva – the Savior’s Transfiguration Cathedral, personally laid the first stone of the future cathedral, while striking it three times with a hammer. The place of the bookmark was illuminated, after which the emperor became acquainted with the plan for the construction of the temple. In November 1786, the first liturgy was held in the newly built cathedral after the consecration of the main throne and the whole church, which was held by Archbishop Arseny of Riga and Mitava.
The project of the Resurrection Church was prepared by the Krenholm architect Pavel Vasilievich Alish. This church was radically different from the already built sacral buildings of Narva. Apparently, the cathedral was not accidentally built next to the railway, because at that time the view from the window of the car, from an aesthetic point of view, was as important as the view from the river or the usual road. In addition, during the construction, emphasis was placed on the fact that the temple could be viewed as a whole structure from the foundation to the cross, as opposed to the temple of medieval Narva, in which the religious idea was emphasized only by its upper part or spire.
The Resurrection Cathedral was built in Byzantine style, the purpose of which was to emphasize the spiritual continuity between Constantinople and Moscow. This style came to Russian architecture in the 30s of the 19th century to replace classicism. The heavy squat volume of the Resurrection Cathedral was crowned with the same monumental domes. The building itself is built of light and dark facing bricks, the layers of which alternate with each other. If you look at the plan of the cathedral, you can trace the outline of the cross. Feature of the temple are 4 portal, which housed the mosaic images: St.. Alexander Nevsky, Kosmy and Damian, the Virgin Mary of All Who Sorrow and Nicholas the Wonderworker. According to the original design, these portals played the role of additional entrances to the temple, however, later, for security reasons, they were laid.
There are three big bells and three small bells on the belfry. On the main bell, which weighs just over 2,000 kg, the Savior is depicted, on the middle – the Theotokos, on the small – Nicholas the Wonderworker. The inscriptions on them indicate that they were cast at the Gatchina plant for the Krengolmskaya Manufactory. Under the temple there is a basement, in which are stored cinder, oil, etc. Initially, the basement was not intended for the lower church. However, as a result of the fact that the upper church turned out to be cold, the basement was decided to remake under the winter church. Now in the lower church in the name of St. Seraphim of Sarov, there are also offices, prospore, carpentry and icon painting workshops. The upper and lower temples are connected by a spiral staircase, which is located in the altar part.
The height of the temple is 40.5 meters, the length of the temple is almost 35 meters, and the width is 28.4 meters. The height of the bell tower is almost 30 meters.
The inner core of the Resurrection Cathedral, like many years ago, forms a three-tier iconostasis framed by an arch. In order to emphasize the solidity and volume of the iconostasis, the masters used the so-called rigid carving with clear and smooth faces. Oak was used as a material for the base, the overhead same thread was made of linden. A feature of the iconostasis was the fact that different gilding was used – matte and shiny. The great value of the iconostasis is that it has not been practically renewed for 100 years, so today it is an artistic example of the principles of gilding and carving of the late 19th century. Of the paintings most preserved image in the central dome: “Lord Pantokrator” – the most monumental image of the interior.
The Resurrection Cathedral is the only surviving church in the whole district. Therefore it is not surprising that all the church utensils gathered here. An interesting story is the great Crucifixion, which used to be in the central part of the Transfiguration Cathedral. After the bombing in the period of World War II, it survived by a miracle, while only the ruins remained from the temple. Shortly after the incident, the Crucifix was transferred to the Resurrection Cathedral.