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Summersome ward. A cancer ward. I had an isolation room. I had been staring out of the window for what seemed like hours. I had been a patient here for so many days now that I had lost count. The rain was falling lightly on the windows, that fluffy rain that anyone with long hair dreads as it turns the hair frizzy. Not heavy enough to really warrant an umbrella, just a misery to endure if caught out in it. In short; a pain in the arse.

 

There was a quiet knock on my door and it was gently pushed open and in walked one of the ward doctors. I hadn’t spoken to him before but had seen him doing the rounds on the open wards. From what I understood he was the senior doctor. He lifted my notes from the bottom of the bed and read them, turning over each sheet and studying it. Glancing up at me every now and then and smiling before returning to the reading. He was a kind looking man, tall and thin with combed back jet black hair. His medical coat white and crisp, a single pen in the breast pocket.

 

“Good afternoon Jack, you won’t remember me from seeing you in critical care. I’m Dr Crusic, I’m the senior doctor on these wards. How are you feeling?”

 

I was always cautious of anyone introducing themselves with ‘you won’t remember me but…’. This was normally my subconscious warning me that the following experience was simply a morphine induced fantasy, an hallucination normally so real you could reach out to touch the people. Of course, you were never given the chance so the illusion remained.

 

“I’m okay I think. No real pain, still can’t sleep at night but that’s down to missing my duvet and the noises. How are you?” I asked.

 

He looked up from reading and smiled, replacing the notes on the bar of the bed, he slowly walked over to the chair in my room.

 

“I am very well thank you for asking, do you mind if I sit down?”

 

“I don’t mind at all please do” I gestured towards the chair with my open hand.

 

He sat down, opened his mouth to speak and then paused before leaning towards me, hands clasped in front of him. In my business we call this foreshadowing. Despite his friendly, calm demeanour I was getting an uncomfortable feeling.

 

“Jack, you have responded really well to the chemotherapy so far. The diabetes issues I am working closely with the hospital team to find the best solution for you. We need to determine whether you are type one or type two. It’s still unclear” he explained.

 

His head was cocked slightly to the side, a warming smile as he unclasped his fingers and brought them up to his chest as if praying.

 

I nodded to him that I understood what he was telling me and returning his smile.

 

“I don’t want to be unkind but I want to inform you so you understand what I am going to tell you based on the tests we have done. Do you understand?” he asked.

 

I slowly nodded to him. I felt cold again. Scared again.

 

“The recent scan has shown that the cancer hasn’t spread, or grown bigger. This is good news. However we have been monitoring your heart and we have recorded irregularities. We have grave concerns about this” he said shifting in the seat and leaning forward. Hands now clasped and rested on his knees. “Do you understand me Jack?” he added.

 

I nodded. “From what I can determine, and reading between the lines, my cancer will eventually kill me but my heart will stop way before then?” I replied.

 

Dr Crusic nodded back at me, there was a genuine sadness in his eyes. Or maybe it was merely a reflection of my own. We sat there in silence for minutes.

 

“We have an excellent counsellor here on Summersome, if you feel that you need to talk someone about this Jack, I can heartily recommend her. She will be able to help you. Would you like me to ask her to stop by tomorrow morning?” he asked standing up and making his way to the door.

 

He stopped at the open doorway and looked at me waiting for a reply.

 

“Yes, I would like you to do that please. Can I ask you something before you go?” I asked.

 

“Sure, how can I help?” he said closing the door and sitting back down opposite me.

 

“I’ve had…very vivid hallucinations in the past, mostly induced by the morphine. Are we having this conversation real world or are you, everything right now nothing more than an hallucination?”

 

Again, there was a sadness in his eyes. It was definitely there but of course if this was another illusion of mine then it was nothing more than something I had created.

 

“Jack, I understand why you would ask a question such as this. It is hard to comprehend or accept ones own passing, far easier for you to think that this conversation never happened. Dr Hardy, our counsellor would be able to help you with this and many other emotions and questions that you may have now and in the days ahead. I really think you should speak with her” he replied.

 

I nodded to him, didn’t feel anything else needed to be said.

 

“Is there anything else I can help with or get you before I go Jack?”

 

“No thank you doctor, I’m okay I think” I replied.

 

“I will check back on you in three days time, it was good to meet you Jack. Of course, should you need anything make sure to ring your room bell and one of the nurses will be right with you. Good bye” he said. Then he was gone the door slowly closing behind him.

 

I returned to looking out of the window, the rain was now much heavier and drumming against the windows. Rivulets of silvery beads battering the glass then finally falling away leaving no wake. I resumed my music application on my laptop, Visage Fade to Grey started playing quietly.

 

Another knock at my door and the nurse cheerfully asking to take my vitals. Blood pressure, a device they put over my finger, still not sure what that measures. Then the prick test. She asks me which finger and I hold my ring finger to her. Sharp pain and then she’s saying goodbye and out of the door.

 

Laying back on the bed and pulling the blankets over me, I was lost in my thoughts and closed my eyes. I felt a slight pressure on my shoulder, opening my eyes there was a nurse standing over me. Still very much drowsy I offered my arm to her.

 

“Jack it’s okay I’m Dr Hardy, I’m a counsellor. Dr Crusic asked me to stop in to see you before I left as he was concerned.”

 

She was leaning slightly towards me smiling. She continued to rest her hand on my shoulder, reassuring me. Dish water blonde tied up, down I imagined scrambled yellow hair cascading over her shoulders. She had tattoos down her arms, her ears pierced several times with hoops and studs. She had grey green eyes, not cold though. Petite but not a waif. I would guess she was late twenties, possibly a youthful early thirties. She had an energy to her, one that I could well imagine would be contagious.

 

“I wanted to introduce myself and ask whether I could have a chat with you tomorrow at eleven o’clock?” she asked.

 

This felt like a real experience, that she was really there. However I have been greatly deceived by my mind before as I have mentioned.

 

Another knock at the door and the nurse came in again cheerfully announcing it was time to check the vitals. I asked her that she had only just done that hadn’t she, I mean it felt like only fifteen minutes since I had last seen her.

 

“Oh bless you, two hours ago Jack, you had fallen asleep” the nurse replied as she wrapped the sleeve around my arm.

 

Turning to Dr Hardy, “that’s fine doctor, eleven o’clock tomorrow is perfect for me. As you can see I have busy schedule here each day but I’m sure my eleven slot is clear” I said jokingly.

 

“It’s a date, I will leave you with Claire and I will see you at eleven. Good bye Jack”. Dr Hardy left the room, pausing at the door to glance back at me and smile.

 

Nurse Claire had been talking to me but I hadn’t heard a word of it.

 

“Sorry Claire, I was miles away, what did you say?”

 

“My son listens to this band, he used to play this song all time when he was a teenager. Lovestruck teenager” she said raising her eyebrows and sighing.

 

“It’s Marillion and the song is Cinderella Search” I said.

 

“Yes of course, Marillion. I remember now. He would sit up in his room listening to this song endlessly.” She pauses for a moment. “Vitals are all good Jack, it will be Chloe taking over for the night checks. Have a good evening” and with that she was out of the door.

 

“Welcome to the Circus” I said to myself and went back to staring out of the window. Neither one of us (wants to be the first to say goodbye) drifted lazily around the room. I pulled the blankets up to my chin and closed my eyes. I could hear the rain pelting the windows once more, it was going to be a long night.

 

The room went silent. Shouting from somewhere on the ward startled me. The toilet opposite my room flushed. The noise of a drip trolley gliding over the tiled floor. The heavy footfall of someone in the corridor. Screaming. The incessant beating of the rain against the windows. The thunderous sound of a crash trolley being wheeled outside in the corridor. The screaming came to an abrupt halt. The sound of something metallic hitting the floor. I pulled the blankets tighter around me.

  

If you enjoy this content, please consider buying me a coffee at www.buymeacoffee.com/grifandesqz- Thank you.

 

I am diagnosed with terminal stage 4 colon cancer that has metastasised to my liver. I now have Type 1 or Type 2 diabetes and as a result of the colon cancer, I have an ileostomy called Elvis.

Much of what we know of St. Cuthbert of Lindisfarne appears to be legendary, but every legend must start with a grain of truth. If the stories are any indicator, he must have been a devout man who inspired those around him deeply, despite (and possibly also because) of his love of solitude. Today, a modern statue of St. Cuthbert stands as a green-grey sentinel of the local priory ruins. His lips are pursed beneath his aquiline nose, his hands folded in contemplation, and his unseeing eyes watch over the Holy Island of Lindisfarne, which he once called home. It isn’t difficult to imagine why Cuthbert’s predecessors, Saint Aidan and his fellow monks, were apt to set up a monastery here. Beyond the practicalities of a fresh water source and green pasture, the isolation of the tides that make Lindisfarne an island twice a day and the sound of breaking waves, and spectacular sunsets all speak to the divinity of the Creator. And standing where Cuthbert stood, it isn’t so difficult to imagine him either – no longer just a figment of stone, but a living, breathing being separated from us only by time.

 

Shepherd, Soldier, Prior, Saint

 

Saint Cuthbert, the shepherd

Cuthbert, like many saints, is a man of legend, and the details of his birth are no exception. While historical record, or lack thereof, accounts for the discrepancy in dates (634 or 635), it is most likely legend which gives us the story of a royal heritage (Cuthbert is often rumoured to be the son of an Irish king). Just like the biblical King David, Cuthbert helped keep sheep when he was a boy. This task no doubt suited young Cuthbert well, for he was a compassionate soul, showing kindness to humans and animals alike. A foreshadowing of things to come, whenever Cuthbert would tear his gaze away from his sheep, the Melrose monastery was there on the horizon. Like King David, Cuthbert was set apart to accomplish great things. The sign came, not through an anointing of oil, but supposedly, through a dazzling vision in the night. The vision took place in August of 651. The significance of the date may be lost on us now, but it was a bustling time for the Scottish Borders and Northern England – pagan hostilities, the storming of a castle, the murder of a king, and the death of a beloved missionary monk. The monk’s name was Aidan. He was also the founder of the monastery in Lindisfarne and credited with restoring Christianity to Northumbria. His death was a reflection of his life: he passed away in the night leaning on the wall of the local church. It was news of this monk, even more than rumours of war, that would shake Cuthbert to his core. Back in Melrose, Cuthbert was keeping watch over his flock by night – the same night of Aidan’s death. Then suddenly, as recorded by the venerable Bede, a long stream of light illuminated the night, interrupting Cuthbert’s diligent prayers and startling the sheep. Cuthbert watched intently as a heavenly host appeared, descending to the earth to gather up another spirit into their midst. This spirit – whoever it was – was remarkably bright, and the angels escorted them to their heavenly home, leaving behind only the light of the winking stars. Needless to say, Cuthbert was flabbergasted. However, the matter became clear to him the next morning when he learned of Aidan’s death; he believed he had watched Aidan’s soul being taken to heaven. It was at that moment he knew the monastery was no longer to be a shadow on the horizon but his home.

 

Saint Cuthbert, the soldier

 

Unfortunately, the rumours of war became reality, sweeping Cuthbert away from his calling for a time as he served in the military. His precise actions in the Northumbrian army are unknown, but it is believed he took part in its battles against Mercia, Northumbria’s pagan enemy and bitter rival. Surviving even a single battle of the era was a feat in and of itself. The warfare was constant and fraught with bloodshed, frantic with swinging swords and frightening in its utter brutality. For the shepherd boy who preferred offering prayers up to God, it must have been a grim prospect to offer up pagan souls upon a sword’s edge instead. Perhaps even more disturbing to Cuthbert would have been the numerous reports of slaughtered monks, the people he so desperately wished to join. It is little wonder the Bede said of him that “he preferred the monastery to the world.”

 

Saint Cuthbert the monk

 

After the war, Cuthbert was finally able to join the monastic life he felt called to, and he journeyed several days to reach Melrose. It was winter, and one can imagine flakes of snow sticking to his cloak, snuggly wrapped about his shoulders. He was riding down a long stretch of road with no inhabitants; he and his horse were the only living things wandering the cold land that day. He had no more food with him, and there was no house where he could beg for shelter. Cuthbert looked to the distance and saw a dilapidated shepherd’s hut. As Cuthbert sheltered there for the night, one must wonder if he thought back to his own shepherding days, which must have seemed a lifetime ago, an impossible peace, after the experience of war. As Cuthbert settled in for some much-needed rest, he said his prayers, then took a handful of straw from the thatched roof to feed his horse, his own belly empty and grumbling. Legend states that out of the straw a cloth bundle fell to his feet containing freshly baked bread and meat. Cuthbert gave thanks to the Lord for His miraculous provision, then he is said to have split the loaf of bread with his horse, rather than feeding it stale straw. Bellies full and hearts warmed, Cuthbert and his horse braved the wintery weather once more and reached their destination: Melrose monastery. As Cuthbert rode up to the monastery, it is said a monk at the door cried, “Behold! A servant of the Lord!” He spoke truly, for Cuthbert went above and beyond the duties that were laid out before him – in prayer, study, and labour. You can almost hear Bede chuckle when he says of Cuthbert, “he fairly outdid them all!” For Cuthbert there was no contest though; he was not trying to outdo anyone, he was just being himself. He has been described as affable, pleasant, and incredibly meek when prompted into divulging his miraculous experiences.

 

Saint Cuthbert, the prior

 

In 662 Cuthbert was made prior at Melrose after a bout of plague had killed the previous prior. It must have been a bittersweet experience for Cuthbert; he would have been hurting with grief from the death of a friend, yet taking a flock under his wing and getting to call them his very own. During this time of hardship, Cuthbert, too, became sick. Just like surviving a battle, surviving plague could very well be counted a miracle, as 80 percent who contracted it would die within eight days. As soon as Cuthbert recovered, he went out into the countryside, helping other plague victims. The elevation in rank from monk to prior had increased not his pride but his servant’s spirit. Cuthbert continuously followed Christ’s command to go and preach to the world. For years he travelled from village to village, serving the people and preaching God’s Word; he even travelled into the destitute, mountain villages which could easily have been neglected. Not only did Cuthbert travel to such places, but he would live among the people for weeks, even a month at a time, demonstrating the love of Christ through his actions, just as much as he did through his words. That Cuthbert did not discriminate between rich or poor when giving aid or guidance further endeared him to those who knew him. While Cuthbert was at Melrose, however, there was strife in the larger church community. For as long as anyone could remember, Northumbria had followed the practices of the Celtic Church, but then the king married a woman of the Roman Church. The two churches appeared to be compatible, but ended up having some key differences. The Celtic Church favoured autonomy, had a different dating of Easter, and different liturgies; these things were seen as especially problematic by the Roman Church. A council was formed to sort the matter out, and ultimately the Roman Church won out. Cuthbert, previously a Celtic, must have agreed with the change, because he was asked to introduce the new practices at Lindisfarne. He was seen as a good fit for the task because of his strong leadership, lovingly showing the way by word and example. Cuthbert accepted the task, and became the prior at Lindisfarne monastery in 670. Interestingly, the soul Cuthbert had seen ascend into heaven was intertwined with this next step in his journey as well, because Aidan had been the first bishop of Lindisfarne, perhaps starting his tenure there around the very time Cuthbert was born. This fact could not have been lost on Cuthbert, and might have eased him in his decision to leave his beloved Melrose. Perhaps he felt it was a renewal of that dazzling sign he had received years previously when he was a mere shepherd boy. At Lindisfarne, Cuthbert was pitted against his most difficult challenge yet. He sought to teach the monks there the Roman customs, but was taunted in return. The ancient customs were not to given up that easily. However, Cuthbert was a patient man, and according to Bede, never lost his temper with his querulous monks. Through perseverance, he managed to convert them to the newly popular doctrines and practices. Like at Melrose, Cuthbert did not confine himself to the walls of Lindisfarne monastery, but went on evangelizing, continuing his sacred mission work. It was reported that Cuthbert also performed miracles like the Apostles of old, including healings, exorcisms, and averting disasters through prayer. He became known as the “Wonder Worker of Britain.” Cuthbert kept himself so busy he rarely slept, rest only coming in the form of irregular naps. Even this he loathed to do, and he encouraged his monks to wake him so he could then “do or think of something useful!”

 

Saint Cuthbert, the hermit

 

However, six years of nonstop work took their toll on Cuthbert (as they would on any man), and he began to desire a life of solitude and peaceful contemplation. Perhaps he found himself longing for those halcyon days where he prayed surrounded not by walls but by nature, with silent sheep rather than student-monks for company. He accomplished this dream by moving to Inner Farne, a remote and deserted island not too far from Lindisfarne. Although he planned on a life of solitude, the hospitable Cuthbert could not help but build both a home for himself, as well as a second, larger home for any guests that may venture out to his island. (And venture they did). The stones Cuthbert used for his structures were too large for any one man to lift, so it has been recorded as another miracle – he must have been helped by angels in the construction. Though some traversed the sea to commune with Cuthbert, and were never turned away by him, the waves kept many at bay. Thus, his main company, once again, was of the animal variety but also of miraculous nature. Bede records the repentance of a crow who stole straw from the thatched roof of Cuthbert’s guesthouse. Once Cuthbert had rebuked the black bird in the name of the Lord, the crow bowed its head, flew off, and returned with a piece of pig’s lard which Cuthbert and his guests could use to shine their shoes. One particularly sweet legend asserts that sea otters would come sit upon Cuthbert’s feet, keeping the man of God warm in freezing weather. Cuthbert not only received help from wildlife, but also offered protection to wildlife himself. He gathered a flock, not of sheep or of monks, but of eider ducks, giving them sanctuary on his little island and making him the first wildlife conservationist! It is a pleasant picture, to imagine Cuthbert surrounded by his animal friends during his prayers and praises to their Creator. Today the eider duck, with its yellow beak, black and white plumage, and expressive eyes is affectionately called “Cuddy’s duck” in recognition of its protector. (The population today is vast and far from the “endangered” spectrum!) Cuthbert must have felt at home and at peace on his island, engaged in prayer and in stewardship of God’s creation. However, after a decade of this retirement, he was called upon to be the bishop of Lindisfarne. Cuthbert was reluctant but after much persuasion agreed – though it is said he made the agreement whilst shedding tears. As he had done all of his life, Cuthbert undertook the new calling with fervour, preaching and travelling extensively. Though he was a bishop, he continued to live as a monk in dress and diet. Like his elevation from monk to prior, his elevation to bishop did nothing to damage his humble heart. He gave food to the hungry and poor, and cared for those who were oppressed, always preaching repentance and forgiveness. He remained bishop for only two years before being granted permission to return to his retirement, where he was likely the happiest he had ever been with nature and God. Sadly, within months of his return to Inner Farne, Cuthbert became ill and knew he was dying. A priest friend stayed with Cuthbert, and said he spent his last day “in the expectation of future happiness,” and later that evening went home to be with his Lord and Saviour.Saint Cuthbert's Body Discovered

 

Sainthood

 

After his death on 20 March 687, Cuthbert was buried at Lindisfarne monastery. His monks, who had before been so problematic, were now overjoyed to have his bones there, for it comforted them to think that, in a way, Cuthbert was still with them. His legacy of piety and miracles lived on, and he was eventually venerated as a saint. Today he is often considered to be the favourite saint of England. Inspired by Cuthbert, the famous Lindisfarne Gospels were copied. They are beautifully and intricately illuminated copies of the Four Gospels made by the bishop of Lindisfarne “for God and St. Cuthbert.” Cuthbert’s body, exhumed eleven years after his death, was discovered to be undecayed, encouraging many pilgrimages to be made to see the body, in the hope of receiving healing and forgiveness. During Viking raids, the body of Cuthbert was taken to Durham Cathedral for safekeeping, which is the place where his remains lie peacefully interred today, beneath a humble gravestone that would have been to Cuthbert’s liking. It reads only: Cuthbertus.

 

Lindisfarne, also called Holy Island, is a tidal island off the northeast coast of England, which constitutes the civil parish of Holy Island in Northumberland. Holy Island has a recorded history from the 6th century AD; it was an important centre of Celtic Christianity under Saints Aidan of Lindisfarne, Cuthbert, Eadfrith of Lindisfarne and Eadberht of Lindisfarne. After the Viking invasions and the Norman conquest of England, a priory was re-established. A small castle was built on the island in 1550.

 

The north-east of England was largely not settled by Roman civilians apart from the Tyne valley and Hadrian's Wall. The area had been little affected during the centuries of nominal Roman occupation. The countryside had been subject to raids from both Scots and Picts and was "not one to attract early Germanic settlement". The Anglian King Ida (reigned from 547) started the sea-borne settlement of the coast, establishing an urbis regia (meaning "royal settlement") at Bamburgh across the bay from Lindisfarne. The conquest was not straightforward, however. The Historia Brittonum recounts how, in the 6th century, Urien, prince of Rheged, with a coalition of North Brittonic kingdoms, besieged Angles led by Theodric of Bernicia on the island for three days and nights, until internal power struggles led to the Britons' defeat.

 

The monastery of Lindisfarne was founded around 634 by Irish monk Saint Aidan, who had been sent from Iona off the west coast of Scotland to Northumbria at the request of King Oswald. The priory was founded before the end of 634 and Aidan remained there until his death in 651. The priory remained the only seat of a bishopric in Northumbria for nearly thirty years. Finan (bishop 651–661) built a timber church "suitable for a bishop's seat". St Bede, however, was critical of the fact that the church was not built of stone but only of hewn oak thatched with reeds. A later bishop, Eadbert, removed the thatch and covered both walls and roof in lead. An abbot, who could be the bishop, was elected by the brethren and led the community. Bede comments on this:

 

And let no one be surprised that, though we have said above that in this island of Lindisfarne, small as it is, there is found the seat of a bishop, now we say also that it is the home of an abbot and monks; for it actually is so. For one and the same dwelling-place of the servants of God holds both; and indeed all are monks. Aidan, who was the first bishop of this place, was a monk and always lived according to monastic rule together with all his followers. Hence all the bishops of that place up to the present time exercise their episcopal functions in such a way that the abbot, who they themselves have chosen by the advice of the brethren, rules the monastery; and all the priests, deacons, singers and readers and other ecclesiastical grades, together with the bishop himself, keep the monastic rule in all things.

 

Lindisfarne became the base for Christian evangelism in the North of England, and also sent a successful mission to Mercia. Monks from the Irish community of Iona settled on the island. Northumbria's patron saint, Saint Cuthbert, was a monk and later abbot of the monastery, and his miracles and life are recorded by the Venerable Bede. Cuthbert later became Bishop of Lindisfarne. An anonymous life of Cuthbert written at Lindisfarne is the oldest extant piece of English historical writing. From its reference to "Aldfrith, who now reigns peacefully", it is considered to date to between 685 and 704. Cuthbert was buried here, his remains later translated to Durham Cathedral (along with the relics of Saint Eadfrith of Lindisfarne). Eadberht of Lindisfarne, the next bishop (and later saint), was buried in the place from which Cuthbert's body was exhumed earlier the same year.

 

Cuthbert's body was carried with the monks, eventually settling in Chester-le-Street before a final move to Durham. The saint's shrine was the major pilgrimage centre for much of the region until its despoliation by Henry VIII's commissioners in 1539 or 1540. The grave was preserved, however, and when opened in 1827 yielded a number of artefacts dating back to Lindisfarne. The innermost of three coffins was of incised wood, the only decorated wood to survive from the period. It shows Jesus surrounded by the Four Evangelists. Within the coffin was a pectoral cross measuring 6.4 centimetres (2.5 in) across, made of gold and mounted with garnets and intricate designs; a comb, made of elephant ivory, was also found, an item that would have been exceedingly rare and expensive in Northern England, as well as an embossed, silver-covered travelling altar, all of which were contemporary with the original burial on the island. The most impressive find within the coffins was a gospel (known as the St Cuthbert Gospel or Stonyhurst Gospel from its association with Stonyhurst College): the manuscript, a relatively early and likely original one, was bound with embossed leather. When the body was placed in the shrine in 1104, other items were removed: a paten, scissors and a chalice of gold and onyx.

 

Following Finian's death, Colman became Bishop of Lindisfarne. Up to this point the Northumbrian (and latterly Mercian) churches had looked to Lindisfarne as the mother church. There were significant liturgical and theological differences with the fledgling Roman party based at Canterbury. According to Stenton: "There is no trace of any intercourse between these bishops [the Mercians] and the see of Canterbury". The Synod of Whitby in 663 changed this, as allegiance switched southwards to Canterbury and then to Rome. Colman departed his see for Iona, and Lindisfarne no longer held its previous importance.

 

In 735, the northern ecclesiastical province of England was established, with the archbishopric at York. There were only three bishops under York: Hexham, Lindisfarne and Whithorn, whereas Canterbury had the 12 envisaged by St Augustine. The Diocese of York roughly encompassed the counties of Yorkshire and Lancashire. Hexham covered County Durham and the southern part of Northumberland up to the River Coquet, and eastwards into the Pennines. Whithorn covered most of Dumfries and Galloway region west of Dumfries itself. The remainder, Cumbria, northern Northumbria, Lothian and much of the Kingdom of Strathclyde formed the diocese of Lindisfarne.

 

In 737, Saint Ceolwulf of Northumbria abdicated as King of Northumbria and entered the priory at Lindisfarne. He died in 764 and was buried alongside Cuthbert. In 830, his body was moved to Norham-upon-Tweed, and later his head was translated to Durham Cathedral.

 

Lindisfarne Gospels

Main article: Lindisfarne Gospels

At some point in the early 8th century the illuminated manuscript known as the Lindisfarne Gospels, an illustrated Latin copy of the Gospels of Matthew, Mark, Luke and John, was made, probably at Lindisfarne. The artist was possibly Eadfrith, who later became Bishop of Lindisfarne. It is also speculated that a team of illuminators and calligraphers (monks of Lindisfarne Priory) worked on the text, but if so, their identities are unknown. Some time in the second half of the 10th century, a monk named Aldred added an Anglo-Saxon (Old English) gloss to the Latin text, producing the earliest surviving Old English copies of the Gospels. Aldred attributed the original to Eadfrith (bishop 698–721). The Gospels were written with a good hand, but it is the illustrations, done in an insular style containing a fusion of Celtic, Germanic and Roman elements, that are considered to be of the most value. According to Aldred, Eadfrith's successor Æthelwald was responsible for pressing and binding the book, before it was covered with a fine metal case made by a hermit known as Billfrith. The Lindisfarne Gospels now reside in the British Library in London, a location which has caused some controversy amongst some Northumbrians. In 1971, professor Suzanne Kaufman of Rockford, Illinois presented a facsimile copy of the Gospels to the clergy of the island.

 

In 793, a Viking raid on Lindisfarne caused much consternation throughout the Christian west, and is now often taken as the beginning of the Viking Age. There had been some other Viking raids, but according to English Heritage this one was particularly significant, because "it attacked the sacred heart of the Northumbrian kingdom, desecrating 'the very place where the Christian religion began in our nation'". The D and E versions of the Anglo-Saxon Chronicle record:

 

Her wæron reðe forebecna cumene ofer Norðhymbra land, ⁊ þæt folc earmlic bregdon, þæt wæron ormete þodenas ⁊ ligrescas, ⁊ fyrenne dracan wæron gesewene on þam lifte fleogende. Þam tacnum sona fyligde mycel hunger, ⁊ litel æfter þam, þæs ilcan geares on .vi. Idus Ianuarii, earmlice hæþenra manna hergunc adilegode Godes cyrican in Lindisfarnaee þurh hreaflac ⁊ mansliht.

 

("In this year fierce, foreboding omens came over the land of the Northumbrians, and the wretched people shook; there were excessive whirlwinds, lightning, and fiery dragons were seen flying in the sky. These signs were followed by great famine, and a little after those, that same year on 6th ides of January, the ravaging of wretched heathen men destroyed God's church at Lindisfarne.")

 

The generally accepted date for the Viking raid on Lindisfarne is 8 June; Michael Swanton writes: "vi id Ianr, presumably [is] an error for vi id Iun (8 June) which is the date given by the Annals of Lindisfarne (p. 505), when better sailing weather would favour coastal raids."

 

Alcuin, a Northumbrian scholar in Charlemagne's court at the time, wrote: "Never before has such terror appeared in Britain as we have now suffered from a pagan race ... The heathens poured out the blood of saints around the altar, and trampled on the bodies of saints in the temple of God, like dung in the streets."

 

During the attack many of the monks were killed, or captured and enslaved. As the English population became more settled, they seemed to have turned their back on the sea. Many monasteries were established on islands, peninsulas, river mouths and cliffs, as isolated communities were less susceptible to interference and the politics of the heartland. These preliminary raids, despite their brutal nature, were not followed up. The main body of the raiders passed north around Scotland. The 9th century invasions came not from Norway, but from the Danes from around the entrance to the Baltic. The first Danish raids into England were in the Isle of Sheppey, Kent during 835 and from there their influence spread north. During this period religious art continued to flourish on Lindisfarne, and the Liber Vitae of Durham began in the priory. By 866, the Danes were in York, and in 873 the army was moving into Northumberland. With the collapse of the Northumbrian kingdom, the monks of Lindisfarne fled the island in 875 taking with them St Cuthbert's bones (which are now buried at the cathedral in Durham), who during his life had been prior and bishop of Lindisfarne; his body was buried on the island in the year 698.

 

Prior to the 9th century, Lindisfarne Priory had, in common with other such establishments, held large tracts of land which were managed directly or leased to farmers with a life interest only. Following the Danish occupation, land was increasingly owned by individuals, and could be bought, sold and inherited. Following the Battle of Corbridge in 914 Ragnald seized the land giving some to his followers Scula and Onlafbal.

 

William of St Calais, the first Norman Bishop of Durham, endowed his new Benedictine monastery at Durham with land and property in Northumberland, including Holy Island and much of the surrounding mainland. Durham Priory re-established a monastic house on the island in 1093, as a cell of Durham, administered from Norham. The standing remains date from this time (whereas the site of the original priory is now occupied by the parish church).

 

Monastic records from the 14th to the 16th century provide evidence of an already well-established fishing economy on the island. Both line fishing and net fishing were practised, inshore in shallow waters and in the deep water offshore, using a variety of vessels: contemporary accounts differentiate between small 'cobles' and larger 'boats', as well as singling out certain specialised vessels (such as a 'herynger', sold for £2 in 1404). As well as supplying food for the monastic community, the island's fisheries (together with those of nearby Farne) provided the mother house at Durham with fish, on a regular (sometimes weekly) basis. Fish caught included cod, haddock, herring, salmon, porpoise and mullet, among others. Shellfish of various types were also fished for, with lobster nets and oyster dredges being mentioned in the accounts. Fish surplus to the needs of the monastery was traded, but subject to a tithe. There is also evidence that the monks operated a lime kiln on the island.

 

In 1462, during the Wars of the Roses, Margaret of Anjou made an abortive attempt to seize the Northumbrian castles. Following a storm at sea 400 troops had to seek shelter on Holy Island, where they surrendered to the Yorkists.

 

The Benedictine monastery continued until its suppression in 1536 under Henry VIII, after which the buildings surrounding the church were used as a naval storehouse. In 1613 ownership of the island (and other land in the area formerly pertaining to Durham Priory) was transferred to the Crown.

 

An early scholarly description of the priory was compiled by Dr Henry George Charles Clarke (presumed son of Admiral Sir Erasmus Gower) in 1838 during his term as president of the Berwickshire Naturalists' Club. Dr Clarke surmised that this Norman priory was unique in that the centre aisle had a vault of stone. Of the six arches, Dr Clarke stated "as if the architect had not previously calculated the space to be occupied by his arcade. The effect here has been to produce a horse-shoe instead of a semicircular arch, from its being of the same height, but lesser span, than the others. This arch is very rare, even in Norman buildings". The Lindisfarne Priory (ruin) is a grade I listed building, List Entry Number 1042304. Other parts of the priory are a Scheduled ancient monument, List Entry Number 1011650. The latter are described as "the site of the pre-Conquest monastery of Lindisfarne and the Benedictine cell of Durham Cathedral that succeeded it in the 11th century".

 

Recent work by archeologists was continuing in 2019, for the fourth year. Artifacts recovered included a rare board game piece, copper-alloy rings and Anglo-Saxon coins from both Northumbria and Wessex. The discovery of a cemetery led to finding commemorative markers "unique to the 8th and 9th centuries". The group also found evidence of an early medieval building, "which seems to have been constructed on top of an even earlier industrial oven" which was used to make copper or glass.

 

Northumberland is a ceremonial county in North East England, bordering Scotland. It is bordered by the Scottish Borders to the north, the North Sea to the east, Tyne and Wear and County Durham to the south, and Cumbria to the west. The town of Blyth is the largest settlement.

 

The county has an area of 5,013 km2 (1,936 sq mi) and a population of 320,274, making it the least-densely populated county in England. The south-east contains the largest towns: Blyth (37,339), Cramlington (27,683), Ashington (27,670), and Morpeth (14,304), which is the administrative centre. The remainder of the county is rural, and the largest towns are Berwick-upon-Tweed (12,043) in the far north and Hexham (13,097) in the west. For local government purposes the county is a unitary authority area. The county historically included the parts of Tyne and Wear north of the River Tyne.

 

The west of Northumberland contains part of the Cheviot Hills and North Pennines, while to the east the land becomes flatter before reaching the coast. The Cheviot (815 m (2,674 ft)), after which the range of hills is named, is the county's highest point. The county contains the source of the River North Tyne and much of the South Tyne; near Hexham they combine to form the Tyne, which exits into Tyne and Wear shortly downstream. The other major rivers in Northumberland are, from south to north, the Blyth, Coquet, Aln, Wansbeck and Tweed, the last of which forms part of the Scottish border. The county contains Northumberland National Park and two national landscapes: the Northumberland Coast and part of the North Pennines.

 

Much of the county's history has been defined by its position on a border. In the Roman era most of the county lay north of Hadrian's Wall, and the region was contested between England and Scotland into the Early Modern era, leading to the construction of many castles, peel towers and bastle houses, and the early modern fortifications at Berwick-upon-Tweed. Northumberland is also associated with Celtic Christianity, particularly the tidal island of Lindisfarne. During the Industrial Revolution the area had significant coal mining, shipbuilding, and armaments industries.

 

Northumberland, England's northernmost county, is a land where Roman occupiers once guarded a walled frontier, Anglian invaders fought with Celtic natives, and Norman lords built castles to suppress rebellion and defend a contested border with Scotland. The present-day county is a vestige of an independent kingdom that once stretched from Edinburgh to the Humber, hence its name, meaning literally 'north of the Humber'. Reflecting its tumultuous past, Northumberland has more castles than any other county in England, and the greatest number of recognised battle sites. Once an economically important region that supplied much of the coal that powered the industrial revolution, Northumberland is now a primarily rural county with a small and gradually shrinking population.

 

As attested by many instances of rock art, the Northumberland region has a rich prehistory. Archeologists have studied a Mesolithic structure at Howick, which dates to 7500 BC and was identified as Britain's oldest house until it lost this title in 2010 when the discovery of the even older Star Carr house in North Yorkshire was announced, which dates to 8770 BC. They have also found tools, ornaments, building structures and cairns dating to the bronze and iron ages, when the area was occupied by Brythonic Celtic peoples who had migrated from continental Europe, most likely the Votadini whose territory stretched from Edinburgh and the Firth of Forth to Northumberland. It is not clear where the boundary between the Votadini and the other large tribe, the Brigantes, was, although it probably frequently shifted as a result of wars and as smaller tribes and communities changed allegiances. Unlike neighbouring tribes, Votadini farms were surrounded by large walls, banks and ditches and the people made offerings of fine metal objects, but never wore massive armlets. There are also at least three very large hillforts in their territory (Yeavering Bell, Eildon Hill and Traprain Law, the latter two now in Scotland), each was located on the top of a prominent hill or mountain. The hillforts may have been used for over a thousand years by this time as places of refuge and as places for meetings for political and religious ceremonies. Duddo Five Stones in North Northumberland and the Goatstones near Hadrian's Wall are stone circles dating from the Bronze Age.

 

When Gnaeus Julius Agricola was appointed Roman governor of Britain in 78 AD, most of northern Britain was still controlled by native British tribes. During his governorship Agricola extended Roman control north of Eboracum (York) and into what is now Scotland. Roman settlements, garrisons and roads were established throughout the Northumberland region.

 

The northern frontier of the Roman occupation fluctuated between Pons Aelius (now Newcastle) and the Forth. Hadrian's Wall was completed by about 130 AD, to define and defend the northern boundary of Roman Britain. By 142, the Romans had completed the Antonine Wall, a more northerly defensive border lying between the Forth and Clyde. However, by 164 they abandoned the Antonine Wall to consolidate defences at Hadrian's Wall.

 

Two important Roman roads in the region were the Stanegate and Dere Street, the latter extending through the Cheviot Hills to locations well north of the Tweed. Located at the intersection of these two roads, Coria (Corbridge), a Roman supply-base, was the most northerly large town in the Roman Empire. The Roman forts of Vercovicium (Housesteads) on Hadrian's Wall, and Vindolanda (Chesterholm) built to guard the Stanegate, had extensive civil settlements surrounding them.

 

The Celtic peoples living in the region between the Tyne and the Forth were known to the Romans as the Votadini. When not under direct Roman rule, they functioned as a friendly client kingdom, a somewhat porous buffer against the more warlike Picts to the north.

 

The gradual Roman withdrawal from Britain in the 5th century led to a poorly documented age of conflict and chaos as different peoples contested territories in northern Britain.

 

Nearly 2000-year-old Roman boxing gloves were uncovered at Vindolanda in 2017 by the Vidolanda Trust experts led by Dr Andrew Birley. According to the Guardian, being similar in style and function to the full-hand modern boxing gloves, these two gloves found at Vindolanda look like leather bands date back to 120 AD. It is suggested that based on their difference from gladiator gloves warriors using this type of gloves had no purpose to kill each other. These gloves were probably used in a sport for promoting fighting skills. The gloves are currently displayed at Vindolanda's museum.

 

Conquests by Anglian invaders led to the establishment of the kingdoms of Deira and Bernicia. The first Anglian settlement was effected in 547 by Ida, who, accompanied by his six sons, pushed through the narrow strip of territory between the Cheviots and the sea, and set up a fortress at Bamburgh, which became the royal seat of the Bernician kings. About the end of the 6th century Bernicia was first united with the rival kingdom of Deira under the rule of Æthelfrith of Northumbria, and the district between the Humber and the Forth became known as the kingdom of Northumbria.

 

After Æthelfrith was killed in battle around 616, Edwin of Deira became king of Northumbria. Æthelfrith's son Oswald fled northwest to the Gaelic kingdom of Dál Riata where he was converted to Christianity by the monks of Iona. Meanwhile, Paulinus, the first bishop of York, converted King Edwin to Roman Christianity and began an extensive program of conversion and baptism. By his time the kingdom must have reached the west coast, as Edwin is said to have conquered the islands of Anglesey and Man. Under Edwin the Northumbrian kingdom became the chief power in Britain. However, when Cadwallon ap Cadfan defeated Edwin at Hatfield Chase in 633, Northumbria was divided into the former kingdoms of Bernicia and Deira and Christianity suffered a temporary decline.

 

In 634, Oswald defeated Cadwallon ap Cadfan at the Battle of Heavenfield, resulting in the re-unification of Northumbria. Oswald re-established Christianity in the kingdom and assigned a bishopric at Hexham, where Wilfrid erected a famous early English church. Reunification was followed by a period of Northumbrian expansion into Pictish territory and growing dominance over the Celtic kingdoms of Dál Riata and Strathclyde to the west. Northumbrian encroachments were abruptly curtailed in 685, when Ecgfrith suffered complete defeat by a Pictish force at the Battle of Nechtansmere.

 

When Saint Aidan came at the request of Oswald to preach to the Northumbrians he chose the island of Lindisfarne as the site of his church and monastery, and made it the head of the diocese which he founded in 635. For some years the see continued in peace, numbering among its bishops Saint Cuthbert, but in 793 Vikings landed on the island and burnt the settlement, killing many of the monks. The survivors, however, rebuilt the church and continued to live there until 883, when, through fear of a second invasion of the Danes, they fled inland, taking with them the body of Cuthbert and other holy relics.

 

Against this background, the monasteries of Northumbria developed some remarkably influential cultural products. Cædmon, a monk at Whitby Abbey, authored one of the earliest surviving examples of Old English poetry some time before 680. The Lindisfarne Gospels, an early example of insular art, is attributed to Eadfrith, the bishop of Lindisfarne from 698 to 721. Stenton (1971, p. 191) describes the book as follows.

 

In mere script it is no more than an admirable example of a noble style, and the figure drawing of its illustrations, though probably based on classical models, has more than a touch of naïveté. Its unique importance is due to the beauty and astonishing intricacy of its decoration. The nature of its ornament connects it very closely with a group of Irish manuscripts of which the Book of Kells is the most famous.

 

Bede's writing, at the Northumbrian monasteries at Wearmouth and Jarrow, gained him a reputation as the most learned scholar of his age. His work is notable for both its breadth (encompassing history, theology, science and literature) and quality, exemplified by the rigorous use of citation. Bede's most famous work is Ecclesiastical History of the English People, which is regarded as a highly influential early model of historical scholarship.

 

The kingdom of Northumbria ceased to exist in 927, when it was incorporated into England as an earldom by Athelstan, the first king of a united England[citation needed].. In 937, Athelstan's victory over a combined Norse-Celtic force in the battle of Brunanburh secured England's control of its northern territory.

 

The Scottish king Indulf captured Edinburgh in 954, which thenceforth remained in possession of the Scots. His successors made repeated attempts to extend their territory southwards. Malcolm II was finally successful, when, in 1018, he annihilated the Northumbrian army at Carham on the Tweed, and Eadulf the earl of Northumbria ceded all his territory to the north of that river as the price of peace. Henceforth Lothian, consisting of the former region of Northumbria between the Forth and the Tweed, remained in possession of the Scottish kings.

 

The term Northumberland was first recorded in its contracted modern sense in 1065 in an entry in the Anglo-Saxon Chronicle relating to a rebellion against Tostig Godwinson.

 

The vigorous resistance of Northumbria to William the Conqueror was punished by ruthless harrying, mostly south of the River Tees. As recounted by the Anglo-Saxon Chronicle:

 

A.D. 1068. This year King William gave Earl Robert the earldom over Northumberland; but the landsmen attacked him in the town of Durham, and slew him, and nine hundred men with him. Soon afterwards Edgar Etheling came with all the Northumbrians to York; and the townsmen made a treaty with him: but King William came from the South unawares on them with a large army, and put them to flight, and slew on the spot those who could not escape; which were many hundred men; and plundered the town. St. Peter's minster he made a profanation, and all other places also he despoiled and trampled upon; and the ethelling went back again to Scotland.

 

The Normans rebuilt the Anglian monasteries of Lindisfarne, Hexham and Tynemouth, and founded Norman abbeys at Newminster (1139), Alnwick (1147), Brinkburn (1180), Hulne, and Blanchland. Castles were built at Newcastle (1080), Alnwick (1096), Bamburgh (1131), Harbottle (1157), Prudhoe (1172), Warkworth (1205), Chillingham, Ford (1287), Dunstanburgh (1313), Morpeth, Langley (1350), Wark on Tweed and Norham (1121), the latter an enclave of the palatine bishops of Durham.

 

Northumberland county is not mentioned in the Domesday Survey, but the account of the issues of the county, as rendered by Odard the sheriff, is entered in the Great Roll of the Exchequer for 1131.

 

In 1237, Scotland renounced claims to Northumberland county in the Treaty of York.

 

During the reign of Edward I (1272–1307), the county of Northumberland was the district between the Tees and the Tweed, and had within it several scattered liberties subject to other powers: Durham, Sadberge, Bedlingtonshire, and Norhamshire belonging to the bishop of Durham; Hexhamshire to the archbishop of York; Tynedale to the king of Scotland; Emildon to the earl of Lancaster; and Redesdale to Gilbert de Umfraville, Earl of Angus. These franchises were exempt from the ordinary jurisdiction of the shire. Over time, some were incorporated within the county: Tynedale in 1495; Hexhamshire in 1572; and Norhamshire, Islandshire and Bedlingtonshire by the Counties (Detached Parts) Act 1844.

 

The county court for Northumberland was held at different times at Newcastle, Alnwick and Morpeth, until by statute of 1549 it was ordered that the court should thenceforth be held in the town and castle of Alnwick. Under the same statute the sheriffs of Northumberland, who had been in the habit of appropriating the issues of the county to their private use, were required thereafter to deliver in their accounts to the Exchequer in the same manner as the sheriffs of other counties.

 

From the Norman Conquest until the union of England and Scotland under James I and VI, Northumberland was the scene of perpetual inroads and devastations by the Scots. Norham, Alnwick and Wark were captured by David I of Scotland in the wars of Stephen's reign. In 1174, during his invasion of Northumbria, William I of Scotland, also known as William the Lion, was captured by a party of about four hundred mounted knights, led by Ranulf de Glanvill. This incident became known as the Battle of Alnwick. In 1295, Robert de Ros and the earls of Athol and Menteith ravaged Redesdale, Coquetdale and Tynedale. In 1314 the county was ravaged by king Robert Bruce. And so dire was the Scottish threat in 1382, that by special enactment the earl of Northumberland was ordered to remain on his estates to protect the border. In 1388, Henry Percy was taken prisoner and 1500 of his men slain at the battle of Otterburn, immortalised in the ballad of Chevy Chase.

 

Alnwick, Bamburgh and Dunstanburgh were garrisoned for the Lancastrian cause in 1462, but after the Yorkist victories of Hexham and Hedgley Moor in 1464, Alnwick and Dunstanburgh surrendered, and Bamburgh was taken by storm.

 

In September 1513, King James IV of Scotland was killed at the Battle of Flodden on Branxton Moor.

 

Roman Catholic support in Northumberland for Mary, Queen of Scots, led to the Rising of the North in 1569.

 

After uniting the English and Scottish thrones, James VI and I sharply curbed the lawlessness of the border reivers and brought relative peace to the region. There were Church of Scotland congregations in Northumberland in the 17th and 18th centuries.

 

During the Civil War of the 17th century, Newcastle was garrisoned for the king by the earl of Newcastle, but in 1644 it was captured by the Scots under the earl of Leven, and in 1646 Charles I was led there a captive under the charge of David Leslie.

 

Many of the chief Northumberland families were ruined in the Jacobite rebellion of 1715.

 

The mineral resources of the area appear to have been exploited to some extent from remote times. It is certain that coal was used by the Romans in Northumberland, and some coal ornaments found at Angerton have been attributed to the 7th century. In a 13th-century grant to Newminster Abbey a road for the conveyance of sea coal from the shore about Blyth is mentioned, and the Blyth coal field was worked throughout the 14th and 15th centuries. The coal trade on the Tyne did not exist to any extent before the 13th century, but from that period it developed rapidly, and Newcastle acquired the monopoly of the river shipping and coal trade. Lead was exported from Newcastle in the 12th century, probably from Hexhamshire, the lead mines of which were very prosperous throughout the 16th and 17th centuries. In a charter from Richard I to Hugh de Puiset creating him earl of Northumberland, mines of silver and iron are mentioned. A salt pan is mentioned at Warkworth in the 12th century; in the 13th century the salt industry flourished at the mouth of the river Blyth, and in the 15th century formed the principal occupation of the inhabitants of North and South Shields. In the reign of Elizabeth I, glass factories were set up at Newcastle by foreign refugees, and the industry spread rapidly along the Tyne. Tanning, both of leather and of nets, was largely practised in the 13th century, and the salmon fisheries in the Tyne were famous in the reign of Henry I.

 

John Smeaton designed the Coldstream Bridge and a bridge at Hexham.

Stephenson's Rocket

Invention of the steam turbine by Charles Algernon Parsons

 

Northumberland is a ceremonial county in North East England, bordering Scotland. It is bordered by the Scottish Borders to the north, the North Sea to the east, Tyne and Wear and County Durham to the south, and Cumbria to the west. The town of Blyth is the largest settlement.

 

The county has an area of 5,013 km2 (1,936 sq mi) and a population of 320,274, making it the least-densely populated county in England. The south-east contains the largest towns: Blyth (37,339), Cramlington (27,683), Ashington (27,670), and Morpeth (14,304), which is the administrative centre. The remainder of the county is rural, and the largest towns are Berwick-upon-Tweed (12,043) in the far north and Hexham (13,097) in the west. For local government purposes the county is a unitary authority area. The county historically included the parts of Tyne and Wear north of the River Tyne.

 

The west of Northumberland contains part of the Cheviot Hills and North Pennines, while to the east the land becomes flatter before reaching the coast. The Cheviot (815 m (2,674 ft)), after which the range of hills is named, is the county's highest point. The county contains the source of the River North Tyne and much of the South Tyne; near Hexham they combine to form the Tyne, which exits into Tyne and Wear shortly downstream. The other major rivers in Northumberland are, from south to north, the Blyth, Coquet, Aln, Wansbeck and Tweed, the last of which forms part of the Scottish border. The county contains Northumberland National Park and two national landscapes: the Northumberland Coast and part of the North Pennines.

 

Much of the county's history has been defined by its position on a border. In the Roman era most of the county lay north of Hadrian's Wall, and the region was contested between England and Scotland into the Early Modern era, leading to the construction of many castles, peel towers and bastle houses, and the early modern fortifications at Berwick-upon-Tweed. Northumberland is also associated with Celtic Christianity, particularly the tidal island of Lindisfarne. During the Industrial Revolution the area had significant coal mining, shipbuilding, and armaments industries.

 

Northumberland, England's northernmost county, is a land where Roman occupiers once guarded a walled frontier, Anglian invaders fought with Celtic natives, and Norman lords built castles to suppress rebellion and defend a contested border with Scotland. The present-day county is a vestige of an independent kingdom that once stretched from Edinburgh to the Humber, hence its name, meaning literally 'north of the Humber'. Reflecting its tumultuous past, Northumberland has more castles than any other county in England, and the greatest number of recognised battle sites. Once an economically important region that supplied much of the coal that powered the industrial revolution, Northumberland is now a primarily rural county with a small and gradually shrinking population.

 

As attested by many instances of rock art, the Northumberland region has a rich prehistory. Archeologists have studied a Mesolithic structure at Howick, which dates to 7500 BC and was identified as Britain's oldest house until it lost this title in 2010 when the discovery of the even older Star Carr house in North Yorkshire was announced, which dates to 8770 BC. They have also found tools, ornaments, building structures and cairns dating to the bronze and iron ages, when the area was occupied by Brythonic Celtic peoples who had migrated from continental Europe, most likely the Votadini whose territory stretched from Edinburgh and the Firth of Forth to Northumberland. It is not clear where the boundary between the Votadini and the other large tribe, the Brigantes, was, although it probably frequently shifted as a result of wars and as smaller tribes and communities changed allegiances. Unlike neighbouring tribes, Votadini farms were surrounded by large walls, banks and ditches and the people made offerings of fine metal objects, but never wore massive armlets. There are also at least three very large hillforts in their territory (Yeavering Bell, Eildon Hill and Traprain Law, the latter two now in Scotland), each was located on the top of a prominent hill or mountain. The hillforts may have been used for over a thousand years by this time as places of refuge and as places for meetings for political and religious ceremonies. Duddo Five Stones in North Northumberland and the Goatstones near Hadrian's Wall are stone circles dating from the Bronze Age.

 

When Gnaeus Julius Agricola was appointed Roman governor of Britain in 78 AD, most of northern Britain was still controlled by native British tribes. During his governorship Agricola extended Roman control north of Eboracum (York) and into what is now Scotland. Roman settlements, garrisons and roads were established throughout the Northumberland region.

 

The northern frontier of the Roman occupation fluctuated between Pons Aelius (now Newcastle) and the Forth. Hadrian's Wall was completed by about 130 AD, to define and defend the northern boundary of Roman Britain. By 142, the Romans had completed the Antonine Wall, a more northerly defensive border lying between the Forth and Clyde. However, by 164 they abandoned the Antonine Wall to consolidate defences at Hadrian's Wall.

 

Two important Roman roads in the region were the Stanegate and Dere Street, the latter extending through the Cheviot Hills to locations well north of the Tweed. Located at the intersection of these two roads, Coria (Corbridge), a Roman supply-base, was the most northerly large town in the Roman Empire. The Roman forts of Vercovicium (Housesteads) on Hadrian's Wall, and Vindolanda (Chesterholm) built to guard the Stanegate, had extensive civil settlements surrounding them.

 

The Celtic peoples living in the region between the Tyne and the Forth were known to the Romans as the Votadini. When not under direct Roman rule, they functioned as a friendly client kingdom, a somewhat porous buffer against the more warlike Picts to the north.

 

The gradual Roman withdrawal from Britain in the 5th century led to a poorly documented age of conflict and chaos as different peoples contested territories in northern Britain.

 

Nearly 2000-year-old Roman boxing gloves were uncovered at Vindolanda in 2017 by the Vidolanda Trust experts led by Dr Andrew Birley. According to the Guardian, being similar in style and function to the full-hand modern boxing gloves, these two gloves found at Vindolanda look like leather bands date back to 120 AD. It is suggested that based on their difference from gladiator gloves warriors using this type of gloves had no purpose to kill each other. These gloves were probably used in a sport for promoting fighting skills. The gloves are currently displayed at Vindolanda's museum.

 

Conquests by Anglian invaders led to the establishment of the kingdoms of Deira and Bernicia. The first Anglian settlement was effected in 547 by Ida, who, accompanied by his six sons, pushed through the narrow strip of territory between the Cheviots and the sea, and set up a fortress at Bamburgh, which became the royal seat of the Bernician kings. About the end of the 6th century Bernicia was first united with the rival kingdom of Deira under the rule of Æthelfrith of Northumbria, and the district between the Humber and the Forth became known as the kingdom of Northumbria.

 

After Æthelfrith was killed in battle around 616, Edwin of Deira became king of Northumbria. Æthelfrith's son Oswald fled northwest to the Gaelic kingdom of Dál Riata where he was converted to Christianity by the monks of Iona. Meanwhile, Paulinus, the first bishop of York, converted King Edwin to Roman Christianity and began an extensive program of conversion and baptism. By his time the kingdom must have reached the west coast, as Edwin is said to have conquered the islands of Anglesey and Man. Under Edwin the Northumbrian kingdom became the chief power in Britain. However, when Cadwallon ap Cadfan defeated Edwin at Hatfield Chase in 633, Northumbria was divided into the former kingdoms of Bernicia and Deira and Christianity suffered a temporary decline.

 

In 634, Oswald defeated Cadwallon ap Cadfan at the Battle of Heavenfield, resulting in the re-unification of Northumbria. Oswald re-established Christianity in the kingdom and assigned a bishopric at Hexham, where Wilfrid erected a famous early English church. Reunification was followed by a period of Northumbrian expansion into Pictish territory and growing dominance over the Celtic kingdoms of Dál Riata and Strathclyde to the west. Northumbrian encroachments were abruptly curtailed in 685, when Ecgfrith suffered complete defeat by a Pictish force at the Battle of Nechtansmere.

 

When Saint Aidan came at the request of Oswald to preach to the Northumbrians he chose the island of Lindisfarne as the site of his church and monastery, and made it the head of the diocese which he founded in 635. For some years the see continued in peace, numbering among its bishops Saint Cuthbert, but in 793 Vikings landed on the island and burnt the settlement, killing many of the monks. The survivors, however, rebuilt the church and continued to live there until 883, when, through fear of a second invasion of the Danes, they fled inland, taking with them the body of Cuthbert and other holy relics.

 

Against this background, the monasteries of Northumbria developed some remarkably influential cultural products. Cædmon, a monk at Whitby Abbey, authored one of the earliest surviving examples of Old English poetry some time before 680. The Lindisfarne Gospels, an early example of insular art, is attributed to Eadfrith, the bishop of Lindisfarne from 698 to 721. Stenton (1971, p. 191) describes the book as follows.

 

In mere script it is no more than an admirable example of a noble style, and the figure drawing of its illustrations, though probably based on classical models, has more than a touch of naïveté. Its unique importance is due to the beauty and astonishing intricacy of its decoration. The nature of its ornament connects it very closely with a group of Irish manuscripts of which the Book of Kells is the most famous.

 

Bede's writing, at the Northumbrian monasteries at Wearmouth and Jarrow, gained him a reputation as the most learned scholar of his age. His work is notable for both its breadth (encompassing history, theology, science and literature) and quality, exemplified by the rigorous use of citation. Bede's most famous work is Ecclesiastical History of the English People, which is regarded as a highly influential early model of historical scholarship.

 

The kingdom of Northumbria ceased to exist in 927, when it was incorporated into England as an earldom by Athelstan, the first king of a united England[citation needed].. In 937, Athelstan's victory over a combined Norse-Celtic force in the battle of Brunanburh secured England's control of its northern territory.

 

The Scottish king Indulf captured Edinburgh in 954, which thenceforth remained in possession of the Scots. His successors made repeated attempts to extend their territory southwards. Malcolm II was finally successful, when, in 1018, he annihilated the Northumbrian army at Carham on the Tweed, and Eadulf the earl of Northumbria ceded all his territory to the north of that river as the price of peace. Henceforth Lothian, consisting of the former region of Northumbria between the Forth and the Tweed, remained in possession of the Scottish kings.

 

The term Northumberland was first recorded in its contracted modern sense in 1065 in an entry in the Anglo-Saxon Chronicle relating to a rebellion against Tostig Godwinson.

 

The vigorous resistance of Northumbria to William the Conqueror was punished by ruthless harrying, mostly south of the River Tees. As recounted by the Anglo-Saxon Chronicle:

 

A.D. 1068. This year King William gave Earl Robert the earldom over Northumberland; but the landsmen attacked him in the town of Durham, and slew him, and nine hundred men with him. Soon afterwards Edgar Etheling came with all the Northumbrians to York; and the townsmen made a treaty with him: but King William came from the South unawares on them with a large army, and put them to flight, and slew on the spot those who could not escape; which were many hundred men; and plundered the town. St. Peter's minster he made a profanation, and all other places also he despoiled and trampled upon; and the ethelling went back again to Scotland.

 

The Normans rebuilt the Anglian monasteries of Lindisfarne, Hexham and Tynemouth, and founded Norman abbeys at Newminster (1139), Alnwick (1147), Brinkburn (1180), Hulne, and Blanchland. Castles were built at Newcastle (1080), Alnwick (1096), Bamburgh (1131), Harbottle (1157), Prudhoe (1172), Warkworth (1205), Chillingham, Ford (1287), Dunstanburgh (1313), Morpeth, Langley (1350), Wark on Tweed and Norham (1121), the latter an enclave of the palatine bishops of Durham.

 

Northumberland county is not mentioned in the Domesday Survey, but the account of the issues of the county, as rendered by Odard the sheriff, is entered in the Great Roll of the Exchequer for 1131.

 

In 1237, Scotland renounced claims to Northumberland county in the Treaty of York.

 

During the reign of Edward I (1272–1307), the county of Northumberland was the district between the Tees and the Tweed, and had within it several scattered liberties subject to other powers: Durham, Sadberge, Bedlingtonshire, and Norhamshire belonging to the bishop of Durham; Hexhamshire to the archbishop of York; Tynedale to the king of Scotland; Emildon to the earl of Lancaster; and Redesdale to Gilbert de Umfraville, Earl of Angus. These franchises were exempt from the ordinary jurisdiction of the shire. Over time, some were incorporated within the county: Tynedale in 1495; Hexhamshire in 1572; and Norhamshire, Islandshire and Bedlingtonshire by the Counties (Detached Parts) Act 1844.

 

The county court for Northumberland was held at different times at Newcastle, Alnwick and Morpeth, until by statute of 1549 it was ordered that the court should thenceforth be held in the town and castle of Alnwick. Under the same statute the sheriffs of Northumberland, who had been in the habit of appropriating the issues of the county to their private use, were required thereafter to deliver in their accounts to the Exchequer in the same manner as the sheriffs of other counties.

 

From the Norman Conquest until the union of England and Scotland under James I and VI, Northumberland was the scene of perpetual inroads and devastations by the Scots. Norham, Alnwick and Wark were captured by David I of Scotland in the wars of Stephen's reign. In 1174, during his invasion of Northumbria, William I of Scotland, also known as William the Lion, was captured by a party of about four hundred mounted knights, led by Ranulf de Glanvill. This incident became known as the Battle of Alnwick. In 1295, Robert de Ros and the earls of Athol and Menteith ravaged Redesdale, Coquetdale and Tynedale. In 1314 the county was ravaged by king Robert Bruce. And so dire was the Scottish threat in 1382, that by special enactment the earl of Northumberland was ordered to remain on his estates to protect the border. In 1388, Henry Percy was taken prisoner and 1500 of his men slain at the battle of Otterburn, immortalised in the ballad of Chevy Chase.

 

Alnwick, Bamburgh and Dunstanburgh were garrisoned for the Lancastrian cause in 1462, but after the Yorkist victories of Hexham and Hedgley Moor in 1464, Alnwick and Dunstanburgh surrendered, and Bamburgh was taken by storm.

 

In September 1513, King James IV of Scotland was killed at the Battle of Flodden on Branxton Moor.

 

Roman Catholic support in Northumberland for Mary, Queen of Scots, led to the Rising of the North in 1569.

 

After uniting the English and Scottish thrones, James VI and I sharply curbed the lawlessness of the border reivers and brought relative peace to the region. There were Church of Scotland congregations in Northumberland in the 17th and 18th centuries.

 

During the Civil War of the 17th century, Newcastle was garrisoned for the king by the earl of Newcastle, but in 1644 it was captured by the Scots under the earl of Leven, and in 1646 Charles I was led there a captive under the charge of David Leslie.

 

Many of the chief Northumberland families were ruined in the Jacobite rebellion of 1715.

 

The mineral resources of the area appear to have been exploited to some extent from remote times. It is certain that coal was used by the Romans in Northumberland, and some coal ornaments found at Angerton have been attributed to the 7th century. In a 13th-century grant to Newminster Abbey a road for the conveyance of sea coal from the shore about Blyth is mentioned, and the Blyth coal field was worked throughout the 14th and 15th centuries. The coal trade on the Tyne did not exist to any extent before the 13th century, but from that period it developed rapidly, and Newcastle acquired the monopoly of the river shipping and coal trade. Lead was exported from Newcastle in the 12th century, probably from Hexhamshire, the lead mines of which were very prosperous throughout the 16th and 17th centuries. In a charter from Richard I to Hugh de Puiset creating him earl of Northumberland, mines of silver and iron are mentioned. A salt pan is mentioned at Warkworth in the 12th century; in the 13th century the salt industry flourished at the mouth of the river Blyth, and in the 15th century formed the principal occupation of the inhabitants of North and South Shields. In the reign of Elizabeth I, glass factories were set up at Newcastle by foreign refugees, and the industry

CO (Lake County)

 

Before 'hitting the trail' I usually figure it is a good idea to acclimate for a couple of days. The Leadville area is a perfect spot to do just that. Leadville itself is located at over 10,000 feet, and there are no shortage of camping possibilities, even at higher elevations. Dayhiking opportunities are plentiful as well.

 

Dayhike from Wurtz Ditch Rd to Holy Cross Wilderness Area, Segment 9

 

After camping at Clear Creek Reservoir Campground, I got up early and drove to Leadville (about 20 miles). It was 38f in the morning but I slept well.

 

Wurtz Ditch Rd is accessed via a dirt road. A very small parking area is here. The hike was about 8 miles roundtrip and fairly easy. Went over 2 bridges and finally made it to the edge of meadow, which I followed for 1/2 mile or more before seeing sign for Wilderness Area. This was all below treeline but it looked like trail may go above for a little while.

 

I took a short break and then headed back. Saw several other hikers. Also couldn't help but notice that some of the higher peaks had 'fresh' snow on them. I hoped it wasn't a foreshadowing of things to come.

 

My thought was to hike back to Wilderness Area sign from other trailhead tomorrow. I scouted it out and discovered that the road was very steep and narrow but also well maintained. My car did very well up steep grade but I don't think I want to do it again tomorrow.

 

Overall a good day. Maybe low 60s and breezy. Mostly cloudy but no rain yet. I camped at MayQueen Campground around Torquoise Lake. My site was near a stream. A nice sunset to end the day.

APPROXIMATE RELEASE DATE: 2011-2014

HEAD MOLD: "Marie-Grace"

 

PERSONAL FUN FACT: Sometimes what we want and what fate hands us can conveniently overlap. Such circumstances may not be the most common, but yet their rare occurrence is most appreciated. For the most part, my American Girl collection has been the sum of planned purchases or dolls that just so happened to fall into my lap. Many times, those opportunistic dolls are the ones I never really thought about purchasing, but fell in love with on the spot (such as Maya, Nellie, and Lindsey). My dear friend Marie-Grace was a combination--she was not just a lucky, random flea market find, but she was also a doll that I had pined for, for quite some time. I would say that it was the merging of both circumstances that has truly cemented Marie-Grace's place in my heart and collection.

 

2014 was perhaps the most significant year in terms of my doll collection, even more so than 2011 (the year I rekindled my doll hobby). It was the year I explored outside my comfort zone and dabbled in most everything. Perhaps more importantly, 2014 was the year I truly opened my mind and embraced the ever present change in the dolly universe (and the world for that matter). It was the summer I stumbled upon Miss Nellie O'Malley at my local flea market, which reawakened my long buried passion for American Girls. While I had purchased the rogue American Girl item/doll since my resurgence back into collecting, it was Nellie that truly reconnected me to the brand. That July, I also purchased Ivy, who was my very first brand new American Girl doll since Christmas 2005. As you can imagine, that was a significant milestone in my collection. And of course, let's not forget Isabelle Palmer, who I also purchased brand new that year, and whose stories quite literally changed my outlook on myself and life. American Girl was rebranding the historical line as "Beforever," which meant that the "best friend era" was over. With its conclusion, all the best friend dolls, including the co-collection of Cécile and Marie-Grace, were retiring. It was a bittersweet time for me. I was excited to see what was in store for the historical dolls I had always favored, but I was sad that I never got the chance to truly enjoy the spoils of the "best friend era." Nellie came out in 2004, and within a year's time, I would become a teenager who was "too cool" for dolls. So the debut of characters like Emily and Elizabeth, who otherwise would have been guaranteed a place in my sister and my collection, never was celebrated or enjoyed.

 

I have a very vague memory of receiving the debut catalogue for Cécile and Marie-Grace back in 2011. It was an odd thing really, considering that for nearly six years, we had not ordered anything from American Girl. It was even more strange that this happened to be the same year that I got back into dolls...you could say that it somehow foreshadowed the future. I still recall pandering through the catalogue hastily and scoffing at the "obnoxious" co-collection of Cécile and Marie-Grace's. Ironically, three years later, I felt some regret deep down that the duo was being retired. By the time I had delved deep enough back into AG dolls and learned of the news, Cécile had already sold out. It seemed that I had quite literally missed out on an entire generation of American Girls, one that my sister and I most certainly would have relished as little girls.

 

It was always my nature, since I was four or five years old, to gravitate towards African American dolls, over their seemingly "bland" Caucasian counterparts. In most any circumstance, I was guaranteed to choose an African American or other ethnic doll over any "lackluster" blonde/brunette doll. So one would assume that this being the case, I would have been head over heels in love with Cécile, not Marie-Grace, who was yet another typical Caucasian doll. But since Cécile had sold out before the notion of her existence truly resounded with me, I never had the chance to feel as much for her as I did later, for Marie-Grace. What was the point in pining for a doll that was already sold out, who was super expensive on sites like eBay? Truthfully, at the time I wasn't surprised that Marie-Grace was the doll from the pair who was still lurking around, unwanted on the American Girl website. I couldn't even begin to fathom what she had going for her. She had an "ugly chipmunk" head mold, a predictable pink "meet" dress, a handful of books, and a pathetically small collection compared to a regular historical character. It was no wonder to me why American Girl couldn't even give Marie-Grace away, especially when she was so heavily overshadowed by the brilliant, unique Cécile. I found through watching videos and looking at pictures online, that my rather dismissive attitude towards Marie-Grace was the common consensus in the doll collecting community. While I should have felt validated to hear my own opinion echo back at me, I instead was overcome with deep pity. Not only was Marie-Grace thought of as the "throw away" character, but her worthiness quite literally rested upon her use for custom dolls. The vast majority of Marie-Grace dolls were purchased purely for their one of a kind head molds and beautiful grey eyes. Even those who were purchased to be displayed as Marie-Grace often had their quirky pin curls hacked off. It seemed unfair to me that Marie-Grace's special features made her the perfect candidate to ransack and harvest for custom parts, but that she had little to no value or desirability just for being herself.

 

This deep rooted pity soon manifested itself into a raging obsession. Everyday, I checked the American Girl website to see if Marie-Grace had sold out yet. I held my breath with anticipation, hoping she'd go on some kind of sale. I was desperate even back then to get my hands on a Marie-Grace doll, and to shower her with all the gratitude and acceptance that most Marie-Grace dolls were denied. But it was truthfully hard to take my interest in Marie-Grace seriously. After all, I was notorious, since the age of seven, for impulsively pining for EVERY historical character. I was always the ideal target market for doll companies, because with a lot of promotion, I was hooked on the idea of getting any doll. And so, I dismissed the idea of Marie-Grace and forbade myself from buying her. For the next few years, I kept lying to myself, reiterating the idea that I did not want or "need" a Marie-Grace doll. For someone who supposedly had no interest in Marie-Grace, stalking her on eBay became a frequent pastime of mine. And my stomach still couldn't help but flip each time I saw Marie-Grace parts on eBay, being sold as if they were replacements for a car. Once Caroline Abbott joined my doll family in August of 2016, Marie-Grace took her place as my most wanted, coveted American Girl doll.

 

My connection to Marie-Grace never truly waivered. Deep down inside, I knew that I was trying to convince myself that I was over the idea of owing her someday, when truth be told, I still fantasized routinely about her. After Colleen found "Meet Marie-Grace" at Saver's one afternoon, my passion for this doll only solidified. Like myself, Marie-Grace grew up with a widowed father. Even though I was older than Marie-Grace when I lost my mother, at the age of eleven, I could definitely relate to how she grew up--living with just your dad is a unique experience. She lived a large chunk of her young life in Massachusetts too, which is where I always lived. As Colleen regurgitated Marie-Grace's well written story back to me, I couldn't help but feel this inexplicable bond deepen. She, like Josefina, connected with my life in a way that most children's books did not. 2017 was supposed to be my "rest year" for my American Girl collection. This basically meant that I was going to restrain myself from buying any dolls intentionally, so I could focus all my attention on purchasing clothes for the characters I already had (let's just say that 2015 to 2017 were really prosperous years for my AG collection). But of course I excluded opportunistic finds at the flea market and secondhand places from this ban. It's not everyday that an amazing American Girl doll pops up at a used venue for a good deal, so even I couldn't limit myself. In all my fantasies, it was always Marie-Grace that I happened upon and rescued. And strangely, I always imagined her being an unwanted gift of sorts, who was barely played with and in almost pristine condition. It didn't seem that farfetched to me, being that Marie-Grace had sold so poorly. Little did I know that fantasy would manifest itself into reality.

 

July 2017 rolled around, and as per usual, the flea market treasures were drying up, as the hot weather deterred sellers from setting up. One Sunday morning, I woke with this strange sensation that I was going to come home with an American Girl doll. I just had a gut feeling that it was going to be an unusually prosperous day for Colleen and me. Of course, Marie-Grace came to the front of my mind. Literally nights before, Colleen and I had been greedily pricing Marie-Grace dolls out on eBay, as perhaps an early birthday present for me. But even though we had seen several good deals, for whatever reason, I felt inclined to wait. At the flea market, we first stumbled upon a grubby Bitty Baby and a set of Bitty Twins. Ordinarily, I would have been most interested in these baby dolls, but since the twins were more money than I wanted to pay (and since I already had the Bitty Baby doll), I passed them over. I felt my heart sink into my stomach--this couldn't be the American Girl doll I had sensed I would find? Seconds later, as we walked away from the seller with the twins, I spotted a red historical doll box, perched on the hood of a seller's car. In my heart, I simply knew it was Marie-Grace, despite the fact that I couldn't see what the box was labeled, as it was laying down. Too afraid of being disappointed, I hung back as Colleen rushed over to inspect the mystery doll. My greatest fear was that it would be a Marie-Grace doll, but that she was placed on the car's hood because she was already spoken for. Colleen hastily reached the doll box and turned around with perhaps the widest grin I had ever seen stretched across her face. She exclaimed with words that couldn't hold her excitement, "You won't believe who this is, Shelly!" A trip to the ATM and $40 later, Marie-Grace was all mine. It was perhaps one of the most euphoric moments I've ever experienced in all the years that I've been treasure hunting for dolls at the flea market. Marie-Grace was perfectly preserved inside her box. She was indeed the unwanted Christmas gift that had sat on a shelf in a little girls' room collecting dust, just as the seller described her to be. I had fantasized about this moment a thousand times, but even I couldn't have dreamed up a more magical fairytale ending.

 

It's almost as if it were written in the stars that I was to acquire a Marie-Grace doll, from the very beginning. For some unfathomable reason, I always knew deep down in my soul that she was the missing member to my doll family. She was the metaphorical itch that no other doll could scratch. No matter how many times I tried to forget her, Marie-Grace always found a way to creep back into my mind. The hesitation to purchase a Marie-Grace doll truly paid off in the end. She meant that much more to me after a three year wait. There was no doubt in my mind by that time that I wanted a Marie-Grace doll with every fiber of my doll obsessed self. And of course there was the fact that I had gotten a fabulous deal for the doll, which meant I could easily afford to buy her outfits from eBay, guilt free. But most of all, it was the thrill of finding her by chance at the local flea market that is truly irreplaceable. I adore and cherish every feature on my Marie-Grace doll. I wouldn't change a hair on her head or a single step of the journey that brought us together. My Marie-Grace wasn't a dream come true...no, she was even better!

The Cathedral of Vasily the Blessed (Russian: Собо́р Васи́лия Блаже́нного, tr. Sobór Vasíliya Blazhénnogo), commonly known as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colors, was made in 1683. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.

 

The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, because it was perceived as the earthly symbol of the Heavenly City, like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.

 

The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century.

 

As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.

 

Construction under Ivan IV

The site of the church had been, historically, a busy marketplace between the St. Frol's (later Saviour's) Gate of the Moscow Kremlin and the outlying posad. The centre of the marketplace was marked by the Trinity Church, built of the same white stone as the Kremlin of Dmitry Donskoy (1366–68) and its cathedrals. Tsar Ivan IV marked every victory of the Russo-Kazan War by erecting a wooden memorial church next to the walls of Trinity Church; by the end of his Astrakhan campaign, it was shrouded within a cluster of seven wooden churches. According to the report in Nikon's Chronicle, in the autumn of 1554 Ivan ordered the construction of the wooden Church of Intercession on the same site, "on the moat". One year later, Ivan ordered the construction of a new stone cathedral on the site of Trinity Church to commemorate his campaigns. Dedication of a church to a military victory was "a major innovation" for Muscovy. The placement of the church outside the Kremlin walls was a political statement in favour of posad commoners and against hereditary boyars.

 

Contemporary commentators clearly identified the new building as Trinity Church, after its easternmost sanctuary; the status of "katholikon" (собор, sobor, large assembly church) had not been bestowed on it yet:

 

On the Trinity on the Moat in Moscow.

In the same year, through the will of czar and lord and grand prince Ivan began making the pledged church, as he promised for the capture of Kazan: Trinity and Intercession and seven sanctuaries, also called "on the moat". And the builder was Barma with company.

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

The identity of the architect is unknown. Tradition held that the church was built by two architects, Barma and Postnik, the official Russian cultural heritage register lists "Barma and Postnik Yakovlev". Researchers proposed that both names refer to the same person, Postnik Yakovlev or, alternatively, Ivan Yakovlevich Barma (Varfolomey). Legend held that Ivan blinded the architect so that he could not re-create the masterpiece elsewhere. Many historians are convinced that it is a myth, as the architect later participated in the construction of the Cathedral of the Annunciation in Moscow as well as in building the walls and towers of the Kazan Kremlin. Postnik Yakovlev remained active at least throughout the 1560s. This myth likely originated with Jerome Horsey's account of Ivan III of Moscow having blinded the architect of the fortress of Ivangorod.

 

There is evidence that construction involved stonemasons from Pskov and German lands.

 

Architectural style

Because the church has no analog—in the preceding, contemporary, or later architecture of Muscovy and Byzantine cultural tradition, in general,—the sources that inspired Barma and Postnik are disputed. Eugène Viollet-le-Duc rejected European roots for the cathedral, opining that its corbel arches were Byzantine and ultimately Asian. A modern "Asian" hypothesis considers the cathedral a recreation of Qolşärif Mosque, which was destroyed by Russian troops after the Siege of Kazan.

 

Nineteenth-century Russian writers, starting with Ivan Zabelin,[5] emphasized the influence of the vernacular wooden churches of the Russian North; their motifs made their ways into masonry, particularly the votive churches that did not need to house substantial congregations. David Watkin also wrote of a blend of Russian and Byzantine roots, calling the cathedral "the climax" of Russian vernacular wooden architecture.

 

The church combines the staggered layered design of the earliest (1505–1508) part of the Ivan the Great Bell Tower, the central tent of the Church of Ascension in Kolomenskoye (1530s), and the cylindric shape of the Church of Beheading of John the Baptist in Dyakovo (1547); but the origin of these unique buildings is equally debated. The Church in Kolomenskoye, according to Sergei Podyapolsky, was built by Italian Petrok Maly, although mainstream history has not yet accepted his opinion. Andrey Batalov revised the year of completion of Dyakovo church from 1547 to the 1560s–70s, and noted that Trinity Church could have had no tangible predecessors at all.

 

Dmitry Shvidkovsky suggested that the "improbable" shapes of the Intercession Church and the Church of Ascension in Kolomenskoye manifested an emerging national renaissance, blending earlier Muscovite elements with the influence of Italian Renaissance. A large group of Italian architects and craftsmen continuously worked in Moscow in 1474–1539, as well as Greek refugees who arrived in the city after the fall of Constantinople. These two groups, according to Shvidkovsky, helped Moscow rulers in forging the doctrine of Third Rome, which in turn promoted assimilation of contemporary Greek and Italian culture. Shvidkovsky noted the resemblance of the cathedral's floorplan to Italian concepts by Antonio da Sangallo the Younger and Donato Bramante, but most likely Filarete's Trattato di architettura. Other Russian researchers noted a resemblance to sketches by Leonardo da Vinci, although he could not have been known in Ivan's Moscow. Nikolay Brunov recognized the influence of these prototypes but not their significance; he suggested that mid-16th century Moscow already had local architects trained in Italian tradition, architectural drawing and perspective, and that this culture was lost during the Time of Troubles.

 

Andrey Batalov wrote that judging by the number of novel elements introduced with Trinity Church, it was most likely built by German craftsmen. Batalov and Shvidkovsky noted that during Ivan's reign, Germans and Englishmen replaced Italians, although German influence peaked later during the reign of Mikhail Romanov. German influence is indirectly supported by the rusticated pilasters of the central church, a feature more common in contemporary Northern Europe than in Italy.

 

The 1983 academic edition of Monuments of Architecture in Moscow takes the middle ground: the church is, most likely, a product of the complex interaction of distinct Russian traditions of wooden and stone architecture, with some elements borrowed from the works of Italians in Moscow. Specifically, the style of brickwork in the vaults is Italian.

 

Layout

Instead of following the original ad hoc layout (seven churches around the central core), Ivan's architects opted for a more symmetrical floor plan with eight side churches around the core, producing "a thoroughly coherent, logical plan" despite the erroneous latter "notion of a structure devoid of restraint or reason" influenced by the memory of Ivan's irrational atrocities. The central core and the four larger churches placed on the four major compass points are octagonal; the four diagonally placed smaller churches are cuboid, although their shape is hardly visible through later additions. The larger churches stand on massive foundations, while the smaller ones were each placed on a raised platform as if hovering above ground.

 

Although the side churches are arranged in perfect symmetry, the cathedral as a whole is not. The larger central church was deliberately offset to the west from the geometric centre of the side churches, to accommodate its larger apse on the eastern side. As a result of this subtle calculated asymmetry, viewing from the north and the south presents a complex multi-axial shape, while the western façade, facing the Kremlin, appears properly symmetrical and monolithic. The latter perception is reinforced by the fortress-style machicolation and corbeled cornice of the western Church of Entry into Jerusalem, mirroring the real fortifications of the Kremlin.

 

Inside the composite church is a labyrinth of narrow vaulted corridors and vertical cylinders of the churches. Today the cathedral consists of nine individual chapels. The largest, central one, the Church of the Intercession, is 46 metres (151 ft) tall internally but has a floor area of only 64 square metres (690 sq ft). Nevertheless, it is wider and airier than the church in Kolomenskoye with its exceptionally thick walls. The corridors functioned as internal parvises; the western corridor, adorned with a unique flat caissoned ceiling, doubled as the narthex.

 

The detached belfry of the original Trinity Church stood southwest or south of the main structure. Late 16th- and early 17th-century plans depict a simple structure with three roof tents, most likely covered with sheet metal. No buildings of this type survive to date, although it was then common and used in all of the pass-through towers of Skorodom. August von Meyenberg's panorama (1661) presents a different building, with a cluster of small onion domes.

 

Structure

The foundations, as was traditional in medieval Moscow, were built of white stone, while the churches themselves were built of red brick (28 by 14 by 8 cm (11.0 by 5.5 by 3.1 in)), then a relatively new material (the first attested brick building in Moscow, the new Kremlin Wall, was started in 1485). Surveys of the structure show that the basement level is perfectly aligned, indicating use of professional drawing and measurement, but each subsequent level becomes less and less regular. Restorers who replaced parts of the brickwork in 1954–1955 discovered that the massive brick walls conceal an internal wooden frame running the entire height of the church. This frame, made of elaborately tied thin studs, was erected as a life-size spatial model of the future cathedral and was then gradually enclosed in solid masonry.

 

The builders, fascinated by the flexibility of the new technology, used red bricks as a decorative medium both inside and out, leaving as much brickwork open as possible; when location required the use of stone walls, it was decorated with a brickwork pattern painted over stucco. A major novelty introduced by the church was the use of strictly "architectural" means of exterior decoration. Sculpture and sacred symbols employed by earlier Russian architecture are completely missing; floral ornaments are a later addition. Instead, the church boasts a diversity of three-dimensional architectural elements executed in brick.

 

Colour

The church acquired its present-day vivid colours in several stages from the 1680s to 1848. Russian attitude towards colour in the 17th century changed in favour of bright colours; iconographic and mural art experienced an explosive growth in the number of available paints, dyes and their combinations. The original colour scheme, missing these innovations, was far less challenging. It followed the depiction of the Heavenly City in the Book of Revelation:

 

And he that sat was to look upon like a jasper and a sardine stone: and there was a rainbow round about the throne, in sight like unto an emerald.

And round about the throne were four and twenty seats: and upon the seats, I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold.

 

— Revelation, 4:3–4 (KJV)

The 25 seats from the biblical reference are alluded to in the building's structure, with the addition of eight small onion domes around the central tent, four around the western side church and four elsewhere. This arrangement survived through most of the 17th century. The walls of the church mixed bare red brickwork or painted imitation of bricks with white ornaments, in roughly equal proportion. The domes, covered with tin, were uniformly gilded, creating an overall bright but fairly traditional combination of white, red and golden colours. Moderate use of green and blue ceramic inserts provided a touch of rainbow as prescribed by the Bible.

 

While historians agree on the colour of the 16th-century domes, their shape is disputed. Boris Eding wrote that they most likely were of the same onion shape as the present-day domes. However, both Kolomenskoye and Dyakovo churches have flattened hemispherical domes, and the same type could have been used by Barma and Postnik.

 

Development

1583–1596

The original Trinity Church burnt down in 1583 and was refitted by 1593. The ninth sanctuary, dedicated to Basil Fool for Christ (the 1460s–1552), was added in 1588 next to the north-eastern sanctuary of the Three Patriarchs. Another local fool, Ivan the Blessed, was buried on the church grounds in 1589; a sanctuary in his memory was established in 1672 inside the south-eastern arcade.

 

The vault of the Saint Basil Sanctuary serves as a reference point in evaluating the quality of Muscovite stonemasonry and engineering. As one of the first vaults of its type, it represents the average of engineering craft that peaked a decade later in the church of the Trinity in Khoroshovo (completed 1596). The craft was lost in the Time of Troubles; buildings from the first half of the 17th century lack the refinement of the late 16th century, compensating for poor construction skill with thicker walls and heavier vaults.

 

1680–1683

The second, and most significant, round of refitting and expansion took place in 1680–1683. The nine churches themselves retained their appearance, but additions to the ground-floor arcade and the first-floor platform were so profound that Nikolay Brunov rebuilt a composite church from an "old" building and an independent work that incorporated the "new" Trinity Church. What once was a group of nine independent churches on a common platform became a monolithic temple.

 

The formerly open ground-floor arcades were filled with brick walls; the new space housed altars from thirteen former wooden churches erected on the site of Ivan's executions in Red Square. Wooden shelters above the first-floor platform and stairs (the cause of frequent fires) were rebuilt in brick, creating the present-day wrap-around galleries with tented roofs above the porches and vestibules.

 

The old detached belfry was demolished; its square basement was reused for a new belltower. The tall single tented roof of this belltower, built in the vernacular style of the reign of Alexis I, significantly changed the appearance of the cathedral, adding a strong asymmetrical counterweight to the church itself. The effect is most pronounced on the southern and eastern facades (as viewed from Zaryadye), although the belltower is large enough to be seen from the west.

 

The first ornamental murals in the cathedral appeared in the same period, starting with floral ornaments inside the new galleries; the towers retained their original brickwork pattern. Finally, in 1683, the church was adorned with a tiled cornice in yellow and blue, featuring a written history of the church in Old Slavic typeface.

 

1737–1784

In 1737 the church was damaged by a massive fire and later restored by Ivan Michurin. The inscriptions made in 1683 were removed during the repairs of 1761–1784. The church received its first figurative murals inside the churches; all exterior and interior walls of the first two floors were covered with floral ornamentation. The belltower was connected with the church through a ground-floor annex; the last remaining open arches of the former ground-floor arcade were filled during the same period, erasing the last hint of what was once an open platform carrying the nine churches of Ivan's Jerusalem.

 

1800–1848

Paintings of Red Square by Fyodor Alekseyev, made in 1800–1802, show that by this time the church was enclosed in an apparently chaotic cluster of commercial buildings; rows of shops "transformed Red Square into an oblong and closed yard." In 1800 the space between the Kremlin wall and the church was still occupied by a moat that predated the church itself. The moat was filled in preparation for the coronation of Alexander I in 1801. The French troops who occupied Moscow in 1812 used the church for stables and looted anything worth taking. The church was spared by the Fire of Moscow (1812) that razed Kitai-gorod, and by the troops' failure to blow it up according to Napoleon's order. The interiors were repaired in 1813 and the exterior in 1816. Instead of replacing missing ceramic tiles of the main tent, the Church preferred to simply cover it with a tin roof.

 

The fate of the immediate environment of the church has been a subject of dispute between city planners since 1813. Scotsman William Hastie proposed clearing the space around all sides of the church and all the way down to the Moskva River; the official commission led by Fyodor Rostopchin and Mikhail Tsitsianov agreed to clear only the space between the church and Lobnoye Mesto. Hastie's plan could have radically transformed the city, but he lost to the opposition, whose plans were finally endorsed by Alexander I in December 1817 (the specific decision on clearing the rubble around the church was issued in 1816).

 

Nevertheless, actual redevelopment by Joseph Bove resulted in clearing the rubble and creating Vasilyevskaya (St. Basil's) Square between the church and Kremlin wall by shaving off the crest of the Kremlin Hill between the church and the Moskva River. Red Square was opened to the river, and "St. Basil thus crowned the decapitated hillock." Bove built the stone terrace wall separating the church from the pavement of Moskvoretskaya Street; the southern side of the terrace was completed in 1834. Minor repairs continued until 1848, when the domes acquired their present-day colours.

 

1890–1914

Preservationist societies monitored the state of the church and called for a proper restoration throughout the 1880s and 1890s, but it was regularly delayed for lack of funds. The church did not have a congregation of its own and could only rely on donations raised through public campaigning; national authorities in Saint Petersburg and local in Moscow prevented financing from state and municipal budgets. In 1899 Nicholas II reluctantly admitted that this expense was necessary, but again all the involved state and municipal offices, including the Holy Synod, denied financing. Restoration, headed by Andrey Pavlinov (died 1898) and Sergey Solovyov, dragged on from 1896 to 1909; in total, preservationists managed to raise around 100,000 roubles.

 

Restoration began with replacing the roofing of the domes. Solovyov removed the tin roofing of the main tent installed in the 1810s and found many original tiles missing and others discoloured; after a protracted debate the whole set of tiles on the tented roof was replaced with new ones. Another dubious decision allowed the use of standard bricks that were smaller than the original 16th-century ones. Restorers agreed that the paintwork of the 19th century must be replaced with a "truthful recreation" of historic patterns, but these had to be reconstructed and deduced based on medieval miniatures. In the end, Solovyov and his advisers chose a combination of deep red with deep green that is retained to the present.

 

In 1908 the church received its first warm air heating system, which did not work well because of heat losses in long air ducts, heating only the eastern and northern sanctuaries. In 1913 it was complemented with a pumped water heating system serving the rest of the church.

 

1918–1941

During World War I, the church was headed by protoiereus Ioann Vostorgov, a nationalist preacher and a leader of the Black-Hundredist Union of the Russian People. Vostorgov was arrested by Bolsheviks in 1918 on a pretext of embezzling nationalized church properties and was executed in 1919.[citation needed] The church briefly enjoyed Vladimir Lenin's "personal interest"; in 1923 it became a public museum, though religious services continued until 1929.

 

Bolshevik planners entertained ideas of demolishing the church after Lenin's funeral (January 1924). In the first half of the 1930s, the church became an obstacle for Joseph Stalin's urbanist plans, carried out by Moscow party boss Lazar Kaganovich, "the moving spirit behind the reconstruction of the capital". The conflict between preservationists, notably Pyotr Baranovsky, and the administration continued at least until 1936 and spawned urban legends. In particular, a frequently-told story is that Kaganovich picked up a model of the church in the process of envisioning Red Square without it, and Stalin sharply responded "Lazar, put it back!" Similarly, Stalin's master planner, architect Vladimir Semyonov, reputedly dared to "grab Stalin's elbow when the leader picked up a model of the church to see how Red Square would look without it" and was replaced by pure functionary Sergey Chernyshov.

 

In the autumn of 1933, the church was struck from the heritage register. Baranovsky was summoned to perform a last-minute survey of the church slated for demolition, and was then arrested for his objections. While he served his term in the Gulag, attitudes changed and by 1937 even hard-line Bolshevik planners admitted that the church should be spared. In the spring of 1939, the church was locked, probably because demolition was again on the agenda; however, the 1941 publication of Dmitry Sukhov's detailed book on the survey of the church in 1939–1940 speaks against this assumption.

 

1947 to present

In the first years after World War II renovators restored the historical ground-floor arcades and pillars that supported the first-floor platform, cleared up vaulted and caissoned ceilings in the galleries, and removed "unhistoric" 19th-century oil paint murals inside the churches. Another round of repairs, led by Nikolay Sobolev in 1954–1955, restored original paint imitating brickwork, and allowed restorers to dig inside old masonry, revealing the wooden frame inside it. In the 1960s, the tin roofing of the domes was replaced with copper.

 

The last round of renovation was completed in September 2008 with the opening of the restored sanctuary of St. Alexander Svirsky. The building is still partly in use today as a museum and, since 1991, is occasionally used for services by the Russian Orthodox Church. Since 1997 Orthodox Christian services have been held regularly. Nowadays every Sunday at Saint Basil's church there is a divine liturgy at 10 a.m. with an Akathist to Saint Basil.

 

Naming

The building, originally known as "Trinity Church",[8] was consecrated on 12 July 1561, and was subsequently elevated to the status of a sobor (similar to an ecclesiastical basilica in the Catholic Church, but usually and incorrectly translated as "cathedral"). "Trinity", according to tradition, refers to the easternmost sanctuary of the Holy Trinity, while the central sanctuary of the church is dedicated to the Intercession of Mary. Together with the westernmost sanctuary of the Entry into Jerusalem, these sanctuaries form the main east–west axis (Christ, Mary, Holy Trinity), while other sanctuaries are dedicated to individual saints.

 

Sanctuaries of the cathedral

Compass point Type Dedicated to Commemorates

Central coreTented churchIntercession of Most Holy TheotokosBeginning of the final assault of Kazan, 1 October 1552

WestColumnEntry of Christ into JerusalemTriumph of the Muscovite troops

North-westGroin vaultSaint Gregory the Illuminator of ArmeniaCapture of Ars Tower of Kazan Kremlin, 30 September 1552

NorthColumnSaint Martyrs Cyprian and Justinia (since 1786 Saint Adrian and Natalia of Nicomedia)Complete capture of Kazan Kremlin, 2 October 1552

North-eastGroin vaultThree Patriarchs of Alexandria (since 1680 Saint John the Merciful)Defeat of Yepancha's cavalry on 30 August 1552

EastColumnLife-giving Holy TrinityHistorical Trinity Church on the same site

South-eastGroin vaultSaint Alexander SvirskyDefeat of Yepancha's cavalry on 30 August 1552

SouthColumnThe icon of Saint Nicholas from the Velikaya River (Nikola Velikoretsky)The icon was brought to Moscow in 1555.

South-westGroin vaultSaint Barlaam of KhutynMay have been built to commemorate Vasili III of Russia

North-eastern annex (1588)Groin vaultBasil the BlessedGrave of venerated local saint

South-eastern annex (1672)Groin vaultLaying the Veil (since 1680: Nativity of Theotokos, since 1916: Saint John the Blessed of Moscow)Grave of venerated local saint

The name "Intercession Church" came into use later, coexisting with Trinity Church. From the end of the 16th century[66] to the end of the 17th century the cathedral was also popularly called Jerusalem, with reference to its church of Entry into Jerusalem as well as to its sacral role in religious rituals. Finally, the name of Vasily (Basil) the Blessed, who died during construction and was buried on-site, was attached to the church at the beginning of the 17th century.

 

Current Russian tradition accepts two coexisting names of the church: the official "Church of Intercession on the Moat" (in full, the "Church of Intercession of Most Holy Theotokos on the Moat"), and the "Temple of Basil the Blessed". When these names are listed together the latter name, being informal, is always mentioned second.

 

The common Western translations "Cathedral of Basil the Blessed" and "Saint Basil's Cathedral" incorrectly bestow the status of cathedral on the church of Basil, but are nevertheless widely used even in academic literature. Especially during the 19. century, in English and other languages the Saint Basil's Cathedral was also called (Cathedral or Church of) Vassili Blagennoi.

 

Sacral and social role

On the day of its consecration the church itself became part of Orthodox thaumaturgy. According to the legend, its "missing" ninth church (more precisely a sanctuary) was "miraculously found" during a ceremony attended by Tsar Ivan IV, Metropolitan Makarius with the divine intervention of Saint Tikhon. Piskaryov's Chronist wrote in the second quarter of the 17th century:

 

And the Tsar came to the dedication of the said church with Tsaritsa Nastasia and with Metropolitan Makarius and brought the icon of St Nicholas the Wonderworker that came from Vyatka. And they began to offer a prayer service with sanctified water. And the Tsar touched the base with his own hands. And the builders saw that another sanctuary appeared, and told the Tsar. And the Tsar, and Metropolitan, and all the clergy were surprised by the finding of another sanctuary. And the Tsar ordered it to be dedicated to Nicholas ...

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

 

Allegory of Jerusalem

Construction of wrap-around ground-floor arcades in the 1680s visually united the nine churches of the original cathedral into a single building. Earlier, the clergy and the public perceived it as nine distinct churches on a common base, a generalized allegory of the Orthodox Heavenly City similar to fantastic cities of medieval miniatures. At a distance, separate churches towering over their base resembled the towers and churches of a distant citadel rising above the defensive wall. The abstract allegory was reinforced by real-life religious rituals where the church played the role of the biblical Temple in Jerusalem:

 

The capital city, Moscow, is split into three parts; the first of them, called Kitai-gorod, is encircled with a solid thick wall. It contains an extraordinary beautiful church, all clad in shiny bright gems, called Jerusalem. It is the destination of an annual Palm Sunday walk, when the Grand Prince must lead a donkey carrying the Patriarch, from the Church of Virgin Mary to the church of Jerusalem which stands next to the citadel walls. Here is where the most illustrious princely, noble and merchant families live. Here is, also, the main muscovite marketplace: the trading square is built as a brick rectangle, with twenty lanes on each side where the merchants have their shops and cellars ...

 

— Peter Petreius, History of the Great Duchy of Moscow, 1620

Templum S. Trinitatis, etiam Hierusalem dicitur; ad quo Palmarum fest Patriarcha asino insidens a Caesare introducitur.

Temple of Holy Trinity, also called Jerusalem, to where the tsar leads the Patriarch, sitting on a donkey, on the Palm Holiday.

 

— Legend of Peter's map of Moscow, 1597, as reproduced in the Bleau Atlas

The last donkey walk (хождение на осляти) took place in 1693. Mikhail Petrovich Kudryavtsev noted that all cross processions of the period began, as described by Petreius, from the Dormition Church, passed through St. Frol's (Saviour's) Gate and ended at Trinity Cathedral. For these processions the Kremlin itself became an open-air temple, properly oriented from its "narthex" (Cathedral Square) in the west, through the "royal doors" (Saviour's Gate), to the "sanctuary" (Trinity Cathedral) in the east.

 

Urban hub

Tradition calls the Kremlin the centre of Moscow, but the geometric centre of the Garden Ring, first established as the Skorodom defensive wall in the 1590s, lies outside the Kremlin wall, coincident with the cathedral. Pyotr Goldenberg (1902–71), who popularized this notion in 1947, still regarded the Kremlin as the starting seed of Moscow's radial-concentric system, despite Alexander Chayanov's earlier suggestion that the system was not strictly concentric at all.

 

In the 1960s Gennady Mokeev (born 1932) formulated a different concept of the historical growth of Moscow. According to Mokeev, medieval Moscow, constrained by the natural boundaries of the Moskva and Neglinnaya Rivers, grew primarily in a north-easterly direction into the posad of Kitai-gorod and beyond. The main road connecting the Kremlin to Kitai-gorod passed through St. Frol's (Saviour's) Gate and immediately afterwards fanned out into at least two radial streets (present-day Ilyinka and Varvarka), forming the central market square. In the 14th century the city was largely contained within two balancing halves, Kremlin and Kitai-gorod, separated by a marketplace, but by the end of the century it extended further along the north-eastern axis. Two secondary hubs in the west and south spawned their own street networks, but their development lagged behind until the Time of Troubles.

 

Tsar Ivan's decision to build the church next to St. Frol's Gate established the dominance of the eastern hub with a major vertical accent, and inserted a pivot point between the nearly equal Kremlin and Kitai-gorod into the once amorphous marketplace. The cathedral was the main church of the posad, and at the same time it was perceived as a part of the Kremlin thrust into the posad, a personal messenger of the Tsar reaching the masses without the mediation of the boyars and clergy. It was complemented by the nearby Lobnoye mesto, a rostrum for the Tsar's public announcements first mentioned in chronicles in 1547 and rebuilt in stone in 1597–1598. Conrad Bussow, describing the triumph of False Dmitriy I, wrote that on 3 June 1606 "a few thousand men hastily assembled and followed the boyarin with [the impostor's] letter through the whole Moscow to the main church they call Jerusalem that stands right next to the Kremlin gates, raised him on Lobnoye Mesto, called out for the Muscovites, read the letter and listened to the boyarin's oral explanation."

 

Replicas

A scale model of Saint Basil's Cathedral has been built in Jalainur in Inner Mongolia, near China's border with Russia. The building houses a science museum.

I heard the news as soon as I woke up...Sparklehorse, a band i've listened to for a decade is no more because Mark Linkous died. I only saw him four times live but each time was really special for me. Linkous was funny...he always brought a fan to blow his hair all around when he played. I found myself imagining him with the wind fan all the time...eating breakfast with a fan, reading novels with a fan, going deap sea diving with a fan. I'm not laughing at Mark-far from it. It just makes me sadder to think about all of that now.

 

I never met Linkous officially...but he seemed like the sort of understated rock star that would be impossible to forget for anyone who did know him even for a moment.

 

It's funny with aging. I remember when I was a teenager and Kurt Cobain passed away and how shook up I was about it. I got into Jeff Buckley right before he drowned. I had been listening to Elliot Smith for awhile but I had never seen him live and didn't have any pictures.

 

It's a strange way to experience a life now gone through potographs. I don't have too much experience with it but this year both Linkous and Jay Reatard have left me feeling so odd inside. I wouldn't want to not have the photos, as in the case of Elliot Smith or Jeff Buckley, but at the same time they also make me really sad, particularly for Linkous. And yet, the first thing I did when I found out was look through old photos to try to gain sense of it. I didn't see any glimpses of foreshadowing in my photos of any of the three shows I took photos at. He seemed full of modesty with a head of rock star hair.

 

I wasn't sure if I should edit a photo of Linkous while I sat here this morning feeling sad and listening to Sparklehorse songs. Part of me fears it's in really bad taste so soon after death. At the same time, I know a few of you in real life. I remember when we went to these concerts together. I know you're feeling what I'm feeling what I am. Is it a wonderful life, Linkous, now that you're gone? I'm really not so sure.

 

The Cathedral of Vasily the Blessed (Russian: Собо́р Васи́лия Блаже́нного, tr. Sobór Vasíliya Blazhénnogo), commonly known as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colors, was made in 1683. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.

 

The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, because it was perceived as the earthly symbol of the Heavenly City, like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.

 

The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century.

 

As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.

 

Construction under Ivan IV

The site of the church had been, historically, a busy marketplace between the St. Frol's (later Saviour's) Gate of the Moscow Kremlin and the outlying posad. The centre of the marketplace was marked by the Trinity Church, built of the same white stone as the Kremlin of Dmitry Donskoy (1366–68) and its cathedrals. Tsar Ivan IV marked every victory of the Russo-Kazan War by erecting a wooden memorial church next to the walls of Trinity Church; by the end of his Astrakhan campaign, it was shrouded within a cluster of seven wooden churches. According to the report in Nikon's Chronicle, in the autumn of 1554 Ivan ordered the construction of the wooden Church of Intercession on the same site, "on the moat". One year later, Ivan ordered the construction of a new stone cathedral on the site of Trinity Church to commemorate his campaigns. Dedication of a church to a military victory was "a major innovation" for Muscovy. The placement of the church outside the Kremlin walls was a political statement in favour of posad commoners and against hereditary boyars.

 

Contemporary commentators clearly identified the new building as Trinity Church, after its easternmost sanctuary; the status of "katholikon" (собор, sobor, large assembly church) had not been bestowed on it yet:

 

On the Trinity on the Moat in Moscow.

In the same year, through the will of czar and lord and grand prince Ivan began making the pledged church, as he promised for the capture of Kazan: Trinity and Intercession and seven sanctuaries, also called "on the moat". And the builder was Barma with company.

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

The identity of the architect is unknown. Tradition held that the church was built by two architects, Barma and Postnik, the official Russian cultural heritage register lists "Barma and Postnik Yakovlev". Researchers proposed that both names refer to the same person, Postnik Yakovlev or, alternatively, Ivan Yakovlevich Barma (Varfolomey). Legend held that Ivan blinded the architect so that he could not re-create the masterpiece elsewhere. Many historians are convinced that it is a myth, as the architect later participated in the construction of the Cathedral of the Annunciation in Moscow as well as in building the walls and towers of the Kazan Kremlin. Postnik Yakovlev remained active at least throughout the 1560s. This myth likely originated with Jerome Horsey's account of Ivan III of Moscow having blinded the architect of the fortress of Ivangorod.

 

There is evidence that construction involved stonemasons from Pskov and German lands.

 

Architectural style

Because the church has no analog—in the preceding, contemporary, or later architecture of Muscovy and Byzantine cultural tradition, in general,—the sources that inspired Barma and Postnik are disputed. Eugène Viollet-le-Duc rejected European roots for the cathedral, opining that its corbel arches were Byzantine and ultimately Asian. A modern "Asian" hypothesis considers the cathedral a recreation of Qolşärif Mosque, which was destroyed by Russian troops after the Siege of Kazan.

 

Nineteenth-century Russian writers, starting with Ivan Zabelin,[5] emphasized the influence of the vernacular wooden churches of the Russian North; their motifs made their ways into masonry, particularly the votive churches that did not need to house substantial congregations. David Watkin also wrote of a blend of Russian and Byzantine roots, calling the cathedral "the climax" of Russian vernacular wooden architecture.

 

The church combines the staggered layered design of the earliest (1505–1508) part of the Ivan the Great Bell Tower, the central tent of the Church of Ascension in Kolomenskoye (1530s), and the cylindric shape of the Church of Beheading of John the Baptist in Dyakovo (1547); but the origin of these unique buildings is equally debated. The Church in Kolomenskoye, according to Sergei Podyapolsky, was built by Italian Petrok Maly, although mainstream history has not yet accepted his opinion. Andrey Batalov revised the year of completion of Dyakovo church from 1547 to the 1560s–70s, and noted that Trinity Church could have had no tangible predecessors at all.

 

Dmitry Shvidkovsky suggested that the "improbable" shapes of the Intercession Church and the Church of Ascension in Kolomenskoye manifested an emerging national renaissance, blending earlier Muscovite elements with the influence of Italian Renaissance. A large group of Italian architects and craftsmen continuously worked in Moscow in 1474–1539, as well as Greek refugees who arrived in the city after the fall of Constantinople. These two groups, according to Shvidkovsky, helped Moscow rulers in forging the doctrine of Third Rome, which in turn promoted assimilation of contemporary Greek and Italian culture. Shvidkovsky noted the resemblance of the cathedral's floorplan to Italian concepts by Antonio da Sangallo the Younger and Donato Bramante, but most likely Filarete's Trattato di architettura. Other Russian researchers noted a resemblance to sketches by Leonardo da Vinci, although he could not have been known in Ivan's Moscow. Nikolay Brunov recognized the influence of these prototypes but not their significance; he suggested that mid-16th century Moscow already had local architects trained in Italian tradition, architectural drawing and perspective, and that this culture was lost during the Time of Troubles.

 

Andrey Batalov wrote that judging by the number of novel elements introduced with Trinity Church, it was most likely built by German craftsmen. Batalov and Shvidkovsky noted that during Ivan's reign, Germans and Englishmen replaced Italians, although German influence peaked later during the reign of Mikhail Romanov. German influence is indirectly supported by the rusticated pilasters of the central church, a feature more common in contemporary Northern Europe than in Italy.

 

The 1983 academic edition of Monuments of Architecture in Moscow takes the middle ground: the church is, most likely, a product of the complex interaction of distinct Russian traditions of wooden and stone architecture, with some elements borrowed from the works of Italians in Moscow. Specifically, the style of brickwork in the vaults is Italian.

 

Layout

Instead of following the original ad hoc layout (seven churches around the central core), Ivan's architects opted for a more symmetrical floor plan with eight side churches around the core, producing "a thoroughly coherent, logical plan" despite the erroneous latter "notion of a structure devoid of restraint or reason" influenced by the memory of Ivan's irrational atrocities. The central core and the four larger churches placed on the four major compass points are octagonal; the four diagonally placed smaller churches are cuboid, although their shape is hardly visible through later additions. The larger churches stand on massive foundations, while the smaller ones were each placed on a raised platform as if hovering above ground.

 

Although the side churches are arranged in perfect symmetry, the cathedral as a whole is not. The larger central church was deliberately offset to the west from the geometric centre of the side churches, to accommodate its larger apse on the eastern side. As a result of this subtle calculated asymmetry, viewing from the north and the south presents a complex multi-axial shape, while the western façade, facing the Kremlin, appears properly symmetrical and monolithic. The latter perception is reinforced by the fortress-style machicolation and corbeled cornice of the western Church of Entry into Jerusalem, mirroring the real fortifications of the Kremlin.

 

Inside the composite church is a labyrinth of narrow vaulted corridors and vertical cylinders of the churches. Today the cathedral consists of nine individual chapels. The largest, central one, the Church of the Intercession, is 46 metres (151 ft) tall internally but has a floor area of only 64 square metres (690 sq ft). Nevertheless, it is wider and airier than the church in Kolomenskoye with its exceptionally thick walls. The corridors functioned as internal parvises; the western corridor, adorned with a unique flat caissoned ceiling, doubled as the narthex.

 

The detached belfry of the original Trinity Church stood southwest or south of the main structure. Late 16th- and early 17th-century plans depict a simple structure with three roof tents, most likely covered with sheet metal. No buildings of this type survive to date, although it was then common and used in all of the pass-through towers of Skorodom. August von Meyenberg's panorama (1661) presents a different building, with a cluster of small onion domes.

 

Structure

The foundations, as was traditional in medieval Moscow, were built of white stone, while the churches themselves were built of red brick (28 by 14 by 8 cm (11.0 by 5.5 by 3.1 in)), then a relatively new material (the first attested brick building in Moscow, the new Kremlin Wall, was started in 1485). Surveys of the structure show that the basement level is perfectly aligned, indicating use of professional drawing and measurement, but each subsequent level becomes less and less regular. Restorers who replaced parts of the brickwork in 1954–1955 discovered that the massive brick walls conceal an internal wooden frame running the entire height of the church. This frame, made of elaborately tied thin studs, was erected as a life-size spatial model of the future cathedral and was then gradually enclosed in solid masonry.

 

The builders, fascinated by the flexibility of the new technology, used red bricks as a decorative medium both inside and out, leaving as much brickwork open as possible; when location required the use of stone walls, it was decorated with a brickwork pattern painted over stucco. A major novelty introduced by the church was the use of strictly "architectural" means of exterior decoration. Sculpture and sacred symbols employed by earlier Russian architecture are completely missing; floral ornaments are a later addition. Instead, the church boasts a diversity of three-dimensional architectural elements executed in brick.

 

Colour

The church acquired its present-day vivid colours in several stages from the 1680s to 1848. Russian attitude towards colour in the 17th century changed in favour of bright colours; iconographic and mural art experienced an explosive growth in the number of available paints, dyes and their combinations. The original colour scheme, missing these innovations, was far less challenging. It followed the depiction of the Heavenly City in the Book of Revelation:

 

And he that sat was to look upon like a jasper and a sardine stone: and there was a rainbow round about the throne, in sight like unto an emerald.

And round about the throne were four and twenty seats: and upon the seats, I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold.

 

— Revelation, 4:3–4 (KJV)

The 25 seats from the biblical reference are alluded to in the building's structure, with the addition of eight small onion domes around the central tent, four around the western side church and four elsewhere. This arrangement survived through most of the 17th century. The walls of the church mixed bare red brickwork or painted imitation of bricks with white ornaments, in roughly equal proportion. The domes, covered with tin, were uniformly gilded, creating an overall bright but fairly traditional combination of white, red and golden colours. Moderate use of green and blue ceramic inserts provided a touch of rainbow as prescribed by the Bible.

 

While historians agree on the colour of the 16th-century domes, their shape is disputed. Boris Eding wrote that they most likely were of the same onion shape as the present-day domes. However, both Kolomenskoye and Dyakovo churches have flattened hemispherical domes, and the same type could have been used by Barma and Postnik.

 

Development

1583–1596

The original Trinity Church burnt down in 1583 and was refitted by 1593. The ninth sanctuary, dedicated to Basil Fool for Christ (the 1460s–1552), was added in 1588 next to the north-eastern sanctuary of the Three Patriarchs. Another local fool, Ivan the Blessed, was buried on the church grounds in 1589; a sanctuary in his memory was established in 1672 inside the south-eastern arcade.

 

The vault of the Saint Basil Sanctuary serves as a reference point in evaluating the quality of Muscovite stonemasonry and engineering. As one of the first vaults of its type, it represents the average of engineering craft that peaked a decade later in the church of the Trinity in Khoroshovo (completed 1596). The craft was lost in the Time of Troubles; buildings from the first half of the 17th century lack the refinement of the late 16th century, compensating for poor construction skill with thicker walls and heavier vaults.

 

1680–1683

The second, and most significant, round of refitting and expansion took place in 1680–1683. The nine churches themselves retained their appearance, but additions to the ground-floor arcade and the first-floor platform were so profound that Nikolay Brunov rebuilt a composite church from an "old" building and an independent work that incorporated the "new" Trinity Church. What once was a group of nine independent churches on a common platform became a monolithic temple.

 

The formerly open ground-floor arcades were filled with brick walls; the new space housed altars from thirteen former wooden churches erected on the site of Ivan's executions in Red Square. Wooden shelters above the first-floor platform and stairs (the cause of frequent fires) were rebuilt in brick, creating the present-day wrap-around galleries with tented roofs above the porches and vestibules.

 

The old detached belfry was demolished; its square basement was reused for a new belltower. The tall single tented roof of this belltower, built in the vernacular style of the reign of Alexis I, significantly changed the appearance of the cathedral, adding a strong asymmetrical counterweight to the church itself. The effect is most pronounced on the southern and eastern facades (as viewed from Zaryadye), although the belltower is large enough to be seen from the west.

 

The first ornamental murals in the cathedral appeared in the same period, starting with floral ornaments inside the new galleries; the towers retained their original brickwork pattern. Finally, in 1683, the church was adorned with a tiled cornice in yellow and blue, featuring a written history of the church in Old Slavic typeface.

 

1737–1784

In 1737 the church was damaged by a massive fire and later restored by Ivan Michurin. The inscriptions made in 1683 were removed during the repairs of 1761–1784. The church received its first figurative murals inside the churches; all exterior and interior walls of the first two floors were covered with floral ornamentation. The belltower was connected with the church through a ground-floor annex; the last remaining open arches of the former ground-floor arcade were filled during the same period, erasing the last hint of what was once an open platform carrying the nine churches of Ivan's Jerusalem.

 

1800–1848

Paintings of Red Square by Fyodor Alekseyev, made in 1800–1802, show that by this time the church was enclosed in an apparently chaotic cluster of commercial buildings; rows of shops "transformed Red Square into an oblong and closed yard." In 1800 the space between the Kremlin wall and the church was still occupied by a moat that predated the church itself. The moat was filled in preparation for the coronation of Alexander I in 1801. The French troops who occupied Moscow in 1812 used the church for stables and looted anything worth taking. The church was spared by the Fire of Moscow (1812) that razed Kitai-gorod, and by the troops' failure to blow it up according to Napoleon's order. The interiors were repaired in 1813 and the exterior in 1816. Instead of replacing missing ceramic tiles of the main tent, the Church preferred to simply cover it with a tin roof.

 

The fate of the immediate environment of the church has been a subject of dispute between city planners since 1813. Scotsman William Hastie proposed clearing the space around all sides of the church and all the way down to the Moskva River; the official commission led by Fyodor Rostopchin and Mikhail Tsitsianov agreed to clear only the space between the church and Lobnoye Mesto. Hastie's plan could have radically transformed the city, but he lost to the opposition, whose plans were finally endorsed by Alexander I in December 1817 (the specific decision on clearing the rubble around the church was issued in 1816).

 

Nevertheless, actual redevelopment by Joseph Bove resulted in clearing the rubble and creating Vasilyevskaya (St. Basil's) Square between the church and Kremlin wall by shaving off the crest of the Kremlin Hill between the church and the Moskva River. Red Square was opened to the river, and "St. Basil thus crowned the decapitated hillock." Bove built the stone terrace wall separating the church from the pavement of Moskvoretskaya Street; the southern side of the terrace was completed in 1834. Minor repairs continued until 1848, when the domes acquired their present-day colours.

 

1890–1914

Preservationist societies monitored the state of the church and called for a proper restoration throughout the 1880s and 1890s, but it was regularly delayed for lack of funds. The church did not have a congregation of its own and could only rely on donations raised through public campaigning; national authorities in Saint Petersburg and local in Moscow prevented financing from state and municipal budgets. In 1899 Nicholas II reluctantly admitted that this expense was necessary, but again all the involved state and municipal offices, including the Holy Synod, denied financing. Restoration, headed by Andrey Pavlinov (died 1898) and Sergey Solovyov, dragged on from 1896 to 1909; in total, preservationists managed to raise around 100,000 roubles.

 

Restoration began with replacing the roofing of the domes. Solovyov removed the tin roofing of the main tent installed in the 1810s and found many original tiles missing and others discoloured; after a protracted debate the whole set of tiles on the tented roof was replaced with new ones. Another dubious decision allowed the use of standard bricks that were smaller than the original 16th-century ones. Restorers agreed that the paintwork of the 19th century must be replaced with a "truthful recreation" of historic patterns, but these had to be reconstructed and deduced based on medieval miniatures. In the end, Solovyov and his advisers chose a combination of deep red with deep green that is retained to the present.

 

In 1908 the church received its first warm air heating system, which did not work well because of heat losses in long air ducts, heating only the eastern and northern sanctuaries. In 1913 it was complemented with a pumped water heating system serving the rest of the church.

 

1918–1941

During World War I, the church was headed by protoiereus Ioann Vostorgov, a nationalist preacher and a leader of the Black-Hundredist Union of the Russian People. Vostorgov was arrested by Bolsheviks in 1918 on a pretext of embezzling nationalized church properties and was executed in 1919.[citation needed] The church briefly enjoyed Vladimir Lenin's "personal interest"; in 1923 it became a public museum, though religious services continued until 1929.

 

Bolshevik planners entertained ideas of demolishing the church after Lenin's funeral (January 1924). In the first half of the 1930s, the church became an obstacle for Joseph Stalin's urbanist plans, carried out by Moscow party boss Lazar Kaganovich, "the moving spirit behind the reconstruction of the capital". The conflict between preservationists, notably Pyotr Baranovsky, and the administration continued at least until 1936 and spawned urban legends. In particular, a frequently-told story is that Kaganovich picked up a model of the church in the process of envisioning Red Square without it, and Stalin sharply responded "Lazar, put it back!" Similarly, Stalin's master planner, architect Vladimir Semyonov, reputedly dared to "grab Stalin's elbow when the leader picked up a model of the church to see how Red Square would look without it" and was replaced by pure functionary Sergey Chernyshov.

 

In the autumn of 1933, the church was struck from the heritage register. Baranovsky was summoned to perform a last-minute survey of the church slated for demolition, and was then arrested for his objections. While he served his term in the Gulag, attitudes changed and by 1937 even hard-line Bolshevik planners admitted that the church should be spared. In the spring of 1939, the church was locked, probably because demolition was again on the agenda; however, the 1941 publication of Dmitry Sukhov's detailed book on the survey of the church in 1939–1940 speaks against this assumption.

 

1947 to present

In the first years after World War II renovators restored the historical ground-floor arcades and pillars that supported the first-floor platform, cleared up vaulted and caissoned ceilings in the galleries, and removed "unhistoric" 19th-century oil paint murals inside the churches. Another round of repairs, led by Nikolay Sobolev in 1954–1955, restored original paint imitating brickwork, and allowed restorers to dig inside old masonry, revealing the wooden frame inside it. In the 1960s, the tin roofing of the domes was replaced with copper.

 

The last round of renovation was completed in September 2008 with the opening of the restored sanctuary of St. Alexander Svirsky. The building is still partly in use today as a museum and, since 1991, is occasionally used for services by the Russian Orthodox Church. Since 1997 Orthodox Christian services have been held regularly. Nowadays every Sunday at Saint Basil's church there is a divine liturgy at 10 a.m. with an Akathist to Saint Basil.

 

Naming

The building, originally known as "Trinity Church",[8] was consecrated on 12 July 1561, and was subsequently elevated to the status of a sobor (similar to an ecclesiastical basilica in the Catholic Church, but usually and incorrectly translated as "cathedral"). "Trinity", according to tradition, refers to the easternmost sanctuary of the Holy Trinity, while the central sanctuary of the church is dedicated to the Intercession of Mary. Together with the westernmost sanctuary of the Entry into Jerusalem, these sanctuaries form the main east–west axis (Christ, Mary, Holy Trinity), while other sanctuaries are dedicated to individual saints.

 

Sanctuaries of the cathedral

Compass point Type Dedicated to Commemorates

Central coreTented churchIntercession of Most Holy TheotokosBeginning of the final assault of Kazan, 1 October 1552

WestColumnEntry of Christ into JerusalemTriumph of the Muscovite troops

North-westGroin vaultSaint Gregory the Illuminator of ArmeniaCapture of Ars Tower of Kazan Kremlin, 30 September 1552

NorthColumnSaint Martyrs Cyprian and Justinia (since 1786 Saint Adrian and Natalia of Nicomedia)Complete capture of Kazan Kremlin, 2 October 1552

North-eastGroin vaultThree Patriarchs of Alexandria (since 1680 Saint John the Merciful)Defeat of Yepancha's cavalry on 30 August 1552

EastColumnLife-giving Holy TrinityHistorical Trinity Church on the same site

South-eastGroin vaultSaint Alexander SvirskyDefeat of Yepancha's cavalry on 30 August 1552

SouthColumnThe icon of Saint Nicholas from the Velikaya River (Nikola Velikoretsky)The icon was brought to Moscow in 1555.

South-westGroin vaultSaint Barlaam of KhutynMay have been built to commemorate Vasili III of Russia

North-eastern annex (1588)Groin vaultBasil the BlessedGrave of venerated local saint

South-eastern annex (1672)Groin vaultLaying the Veil (since 1680: Nativity of Theotokos, since 1916: Saint John the Blessed of Moscow)Grave of venerated local saint

The name "Intercession Church" came into use later, coexisting with Trinity Church. From the end of the 16th century[66] to the end of the 17th century the cathedral was also popularly called Jerusalem, with reference to its church of Entry into Jerusalem as well as to its sacral role in religious rituals. Finally, the name of Vasily (Basil) the Blessed, who died during construction and was buried on-site, was attached to the church at the beginning of the 17th century.

 

Current Russian tradition accepts two coexisting names of the church: the official "Church of Intercession on the Moat" (in full, the "Church of Intercession of Most Holy Theotokos on the Moat"), and the "Temple of Basil the Blessed". When these names are listed together the latter name, being informal, is always mentioned second.

 

The common Western translations "Cathedral of Basil the Blessed" and "Saint Basil's Cathedral" incorrectly bestow the status of cathedral on the church of Basil, but are nevertheless widely used even in academic literature. Especially during the 19. century, in English and other languages the Saint Basil's Cathedral was also called (Cathedral or Church of) Vassili Blagennoi.

 

Sacral and social role

On the day of its consecration the church itself became part of Orthodox thaumaturgy. According to the legend, its "missing" ninth church (more precisely a sanctuary) was "miraculously found" during a ceremony attended by Tsar Ivan IV, Metropolitan Makarius with the divine intervention of Saint Tikhon. Piskaryov's Chronist wrote in the second quarter of the 17th century:

 

And the Tsar came to the dedication of the said church with Tsaritsa Nastasia and with Metropolitan Makarius and brought the icon of St Nicholas the Wonderworker that came from Vyatka. And they began to offer a prayer service with sanctified water. And the Tsar touched the base with his own hands. And the builders saw that another sanctuary appeared, and told the Tsar. And the Tsar, and Metropolitan, and all the clergy were surprised by the finding of another sanctuary. And the Tsar ordered it to be dedicated to Nicholas ...

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

 

Allegory of Jerusalem

Construction of wrap-around ground-floor arcades in the 1680s visually united the nine churches of the original cathedral into a single building. Earlier, the clergy and the public perceived it as nine distinct churches on a common base, a generalized allegory of the Orthodox Heavenly City similar to fantastic cities of medieval miniatures. At a distance, separate churches towering over their base resembled the towers and churches of a distant citadel rising above the defensive wall. The abstract allegory was reinforced by real-life religious rituals where the church played the role of the biblical Temple in Jerusalem:

 

The capital city, Moscow, is split into three parts; the first of them, called Kitai-gorod, is encircled with a solid thick wall. It contains an extraordinary beautiful church, all clad in shiny bright gems, called Jerusalem. It is the destination of an annual Palm Sunday walk, when the Grand Prince must lead a donkey carrying the Patriarch, from the Church of Virgin Mary to the church of Jerusalem which stands next to the citadel walls. Here is where the most illustrious princely, noble and merchant families live. Here is, also, the main muscovite marketplace: the trading square is built as a brick rectangle, with twenty lanes on each side where the merchants have their shops and cellars ...

 

— Peter Petreius, History of the Great Duchy of Moscow, 1620

Templum S. Trinitatis, etiam Hierusalem dicitur; ad quo Palmarum fest Patriarcha asino insidens a Caesare introducitur.

Temple of Holy Trinity, also called Jerusalem, to where the tsar leads the Patriarch, sitting on a donkey, on the Palm Holiday.

 

— Legend of Peter's map of Moscow, 1597, as reproduced in the Bleau Atlas

The last donkey walk (хождение на осляти) took place in 1693. Mikhail Petrovich Kudryavtsev noted that all cross processions of the period began, as described by Petreius, from the Dormition Church, passed through St. Frol's (Saviour's) Gate and ended at Trinity Cathedral. For these processions the Kremlin itself became an open-air temple, properly oriented from its "narthex" (Cathedral Square) in the west, through the "royal doors" (Saviour's Gate), to the "sanctuary" (Trinity Cathedral) in the east.

 

Urban hub

Tradition calls the Kremlin the centre of Moscow, but the geometric centre of the Garden Ring, first established as the Skorodom defensive wall in the 1590s, lies outside the Kremlin wall, coincident with the cathedral. Pyotr Goldenberg (1902–71), who popularized this notion in 1947, still regarded the Kremlin as the starting seed of Moscow's radial-concentric system, despite Alexander Chayanov's earlier suggestion that the system was not strictly concentric at all.

 

In the 1960s Gennady Mokeev (born 1932) formulated a different concept of the historical growth of Moscow. According to Mokeev, medieval Moscow, constrained by the natural boundaries of the Moskva and Neglinnaya Rivers, grew primarily in a north-easterly direction into the posad of Kitai-gorod and beyond. The main road connecting the Kremlin to Kitai-gorod passed through St. Frol's (Saviour's) Gate and immediately afterwards fanned out into at least two radial streets (present-day Ilyinka and Varvarka), forming the central market square. In the 14th century the city was largely contained within two balancing halves, Kremlin and Kitai-gorod, separated by a marketplace, but by the end of the century it extended further along the north-eastern axis. Two secondary hubs in the west and south spawned their own street networks, but their development lagged behind until the Time of Troubles.

 

Tsar Ivan's decision to build the church next to St. Frol's Gate established the dominance of the eastern hub with a major vertical accent, and inserted a pivot point between the nearly equal Kremlin and Kitai-gorod into the once amorphous marketplace. The cathedral was the main church of the posad, and at the same time it was perceived as a part of the Kremlin thrust into the posad, a personal messenger of the Tsar reaching the masses without the mediation of the boyars and clergy. It was complemented by the nearby Lobnoye mesto, a rostrum for the Tsar's public announcements first mentioned in chronicles in 1547 and rebuilt in stone in 1597–1598. Conrad Bussow, describing the triumph of False Dmitriy I, wrote that on 3 June 1606 "a few thousand men hastily assembled and followed the boyarin with [the impostor's] letter through the whole Moscow to the main church they call Jerusalem that stands right next to the Kremlin gates, raised him on Lobnoye Mesto, called out for the Muscovites, read the letter and listened to the boyarin's oral explanation."

 

Replicas

A scale model of Saint Basil's Cathedral has been built in Jalainur in Inner Mongolia, near China's border with Russia. The building houses a science museum.

A road winds towards some of the best patches of color in the Temblor Range in the Carrizo Plain National Monument area. Brilliant yellow daisies along the road foreshadow the larger patches of color further up.

West Street | Albany Street 27/04/2015 11h10

One of the landmark buildings built in 1907 near the World Trade Center that have withstood the 09-11 attacks. But not without a lot of damage. Hard to believe this building used to stand along the riverside of the Hudson before Battery Park City was built.

 

90 West Street

90 West Street (alternatively West Street Building) is a building in Lower Manhattan, New York City designed by architect Cass Gilbert and structural engineer Gunvald Aus for the West Street Improvement Corporation. When completed in 1907, the building's Gothic styling and ornamentation served to emphasize its 23-story height, and foreshadowed Gilbert's later work on the Woolworth Building. Originally built as an office building, the main tenant was the Delaware, Lackawanna and Western Railroad and the top floor was occupied by Garret's Restaurant, which advertised itself as the "world's highest restaurant".

Located on West Street, between Cedar and Albany Streets, just south of the World Trade Center site, the building had a view to the Hudson River before Battery Park City was built on fill across West Street.

The building was severely damaged in the September 11 attacks when the south tower of the World Trade Center collapsed directly across the street. Scaffolding which had been erected on the facade for renovation work did nothing to stop the fiery debris from raining into the building and tearing a gash deep down its northern face. Two office workers were killed when they were trapped in an elevator. The firestorm raged out of control for several days; the building, which had housed businesses including Hanover Capital, Frost & Sullivan, and IKON Office Solutions, was completely gutted. It is believed that 90 West's heavy building materials and extensive use of terra cotta inside and out helped serve as fireproofing and protected it from further damage and collapse, as opposed to the more modern skyscraper at 7 World Trade Center, which suffered similar damage and collapsed later that day.

[ Source and more Info: Wikipedia - 90 West Street ]

In my mind I conjure up images from post holocaust documentary films of the death camps taken by the allied forces. Bodies piled up one on top of the other, as the bulldozers would shovel them into the massive graves. Trees symbolize life. Cut down gives me an ominous feeling that foreshadows an end of humanity.

   

These photographs were taken in Canada where the lumber industry is well regulated to maintain the forests. As the grown trees are cut down there are young ones planted to keep replenishing the tree population. Nevertheless the feeling of sadness and doom is ever present.

www.fox44news.com/news/local-news/demolition-to-bellmeads...

 

www.archpaper.com/2019/09/iconic-round-american-bank-bell...

 

Among the Czech Stop kolaches, Robertson’s roast beef stands, and Buc-ee’s along Interstate 35 through Central Texas, the American Bank in Bellmead represents the most recognizable of icons. The characteristic round shape, with its namesake perched above like an Ed Ruscha painting, is the boldest of statements among a sea of pole signs and fast food joints.

 

The Waco Tribune-Herald has reported that the iconic bank would be demolished in 2020, after recent attempts to determine a remodel for the structure was deemed “not economically feasible to get it up to serviceable condition for banking,” stated CEO Dana Hassell in the report. The renderings rekeased show a smaller replacement that evokes the round shape, framed by vertical wing walls clad in aluminum. Upon hearing of the impending demolition, preservation groups across the state have responded swiftly to save what Evan Thompson of the nonprofit Preservation Texas calls “a landmark.”

 

Designed by then Dallas-based architect Durwood Pickle, the American Bank was conceived as a landmark from the outset, intended to create a lasting visual statement. In a 1978 interview for ENR, Pickle explained that the owners “wanted the image of at least a five-story building but they did not need that much space.” The 71-foot diameter, two-story structure was instead built atop a raised landscape plinth. A lightweight fiber-reinforced concrete (FRC) shell, one of the few early examples in the State of Texas, attaches at the second level and rises upward to become a five-foot high parapet. The entire composition places the building above the interchange level to frame the bank clearly within view. An invitation to conduct drive-up banking radiates outward from the round shell, setting up a very clear and bold statement at ground level and from above. It is a statement that the current replacement proposal fails to attain.

 

Pickle’s intent clearly foreshadowed the bank’s impending concerns, however, its intentions were toward something greater, an experience rarely seen and that is quickly disappearing from our roadside theater. “People love this building because it’s different,” explained Thompson. “It was designed with the intention of being a roadside landmark—and for forty years, it has been. The Round Bank is obviously one of the architectural highlights along the otherwise monotonous and repetitive stretches of interstate between Dallas/Fort Worth and Austin. Because the Round Bank provides a visual anchor for all those who sail along (sometimes fast, sometimes slow) I-35, its loss would be disorienting and damaging and a total waste.” The state-run Texas Historical Commission is also looking into the structure’s potential for historical tax credits.

 

The loss of the American Bank would be an unfortunate one, visually of course, but also as an essential identifier for Bellmead and the Waco region. In capturing these images for the article, Dallas-based architectural photographer Parrish Ruiz de Velasco, shared his thoughts on the bank that is located near his family home. “It is one of those landmarks that you can’t miss and I think it is important to the community,” explained Velasco. “Upon sharing images I received several messages from friends and people I’ve never met, all saying the same thing—Gotta love the Circle Bank!”

"Foreshadowed in the likeness of a hound, a new and heaven-sent herald in these latter times, Dominic, a poor man, shone afar"

 

- Matins antiphon for St Dominic's day which is today (8 August).

 

This stained glass window of our holy father Dominic is in the Dominican priory church named after him in Newcastle.

The Cathedral of Vasily the Blessed (Russian: Собо́р Васи́лия Блаже́нного, tr. Sobór Vasíliya Blazhénnogo), commonly known as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colors, was made in 1683. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.

 

The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, because it was perceived as the earthly symbol of the Heavenly City, like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.

 

The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century.

 

As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.

 

Construction under Ivan IV

The site of the church had been, historically, a busy marketplace between the St. Frol's (later Saviour's) Gate of the Moscow Kremlin and the outlying posad. The centre of the marketplace was marked by the Trinity Church, built of the same white stone as the Kremlin of Dmitry Donskoy (1366–68) and its cathedrals. Tsar Ivan IV marked every victory of the Russo-Kazan War by erecting a wooden memorial church next to the walls of Trinity Church; by the end of his Astrakhan campaign, it was shrouded within a cluster of seven wooden churches. According to the report in Nikon's Chronicle, in the autumn of 1554 Ivan ordered the construction of the wooden Church of Intercession on the same site, "on the moat". One year later, Ivan ordered the construction of a new stone cathedral on the site of Trinity Church to commemorate his campaigns. Dedication of a church to a military victory was "a major innovation" for Muscovy. The placement of the church outside the Kremlin walls was a political statement in favour of posad commoners and against hereditary boyars.

 

Contemporary commentators clearly identified the new building as Trinity Church, after its easternmost sanctuary; the status of "katholikon" (собор, sobor, large assembly church) had not been bestowed on it yet:

 

On the Trinity on the Moat in Moscow.

In the same year, through the will of czar and lord and grand prince Ivan began making the pledged church, as he promised for the capture of Kazan: Trinity and Intercession and seven sanctuaries, also called "on the moat". And the builder was Barma with company.

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

The identity of the architect is unknown. Tradition held that the church was built by two architects, Barma and Postnik, the official Russian cultural heritage register lists "Barma and Postnik Yakovlev". Researchers proposed that both names refer to the same person, Postnik Yakovlev or, alternatively, Ivan Yakovlevich Barma (Varfolomey). Legend held that Ivan blinded the architect so that he could not re-create the masterpiece elsewhere. Many historians are convinced that it is a myth, as the architect later participated in the construction of the Cathedral of the Annunciation in Moscow as well as in building the walls and towers of the Kazan Kremlin. Postnik Yakovlev remained active at least throughout the 1560s. This myth likely originated with Jerome Horsey's account of Ivan III of Moscow having blinded the architect of the fortress of Ivangorod.

 

There is evidence that construction involved stonemasons from Pskov and German lands.

 

Architectural style

Because the church has no analog—in the preceding, contemporary, or later architecture of Muscovy and Byzantine cultural tradition, in general,—the sources that inspired Barma and Postnik are disputed. Eugène Viollet-le-Duc rejected European roots for the cathedral, opining that its corbel arches were Byzantine and ultimately Asian. A modern "Asian" hypothesis considers the cathedral a recreation of Qolşärif Mosque, which was destroyed by Russian troops after the Siege of Kazan.

 

Nineteenth-century Russian writers, starting with Ivan Zabelin,[5] emphasized the influence of the vernacular wooden churches of the Russian North; their motifs made their ways into masonry, particularly the votive churches that did not need to house substantial congregations. David Watkin also wrote of a blend of Russian and Byzantine roots, calling the cathedral "the climax" of Russian vernacular wooden architecture.

 

The church combines the staggered layered design of the earliest (1505–1508) part of the Ivan the Great Bell Tower, the central tent of the Church of Ascension in Kolomenskoye (1530s), and the cylindric shape of the Church of Beheading of John the Baptist in Dyakovo (1547); but the origin of these unique buildings is equally debated. The Church in Kolomenskoye, according to Sergei Podyapolsky, was built by Italian Petrok Maly, although mainstream history has not yet accepted his opinion. Andrey Batalov revised the year of completion of Dyakovo church from 1547 to the 1560s–70s, and noted that Trinity Church could have had no tangible predecessors at all.

 

Dmitry Shvidkovsky suggested that the "improbable" shapes of the Intercession Church and the Church of Ascension in Kolomenskoye manifested an emerging national renaissance, blending earlier Muscovite elements with the influence of Italian Renaissance. A large group of Italian architects and craftsmen continuously worked in Moscow in 1474–1539, as well as Greek refugees who arrived in the city after the fall of Constantinople. These two groups, according to Shvidkovsky, helped Moscow rulers in forging the doctrine of Third Rome, which in turn promoted assimilation of contemporary Greek and Italian culture. Shvidkovsky noted the resemblance of the cathedral's floorplan to Italian concepts by Antonio da Sangallo the Younger and Donato Bramante, but most likely Filarete's Trattato di architettura. Other Russian researchers noted a resemblance to sketches by Leonardo da Vinci, although he could not have been known in Ivan's Moscow. Nikolay Brunov recognized the influence of these prototypes but not their significance; he suggested that mid-16th century Moscow already had local architects trained in Italian tradition, architectural drawing and perspective, and that this culture was lost during the Time of Troubles.

 

Andrey Batalov wrote that judging by the number of novel elements introduced with Trinity Church, it was most likely built by German craftsmen. Batalov and Shvidkovsky noted that during Ivan's reign, Germans and Englishmen replaced Italians, although German influence peaked later during the reign of Mikhail Romanov. German influence is indirectly supported by the rusticated pilasters of the central church, a feature more common in contemporary Northern Europe than in Italy.

 

The 1983 academic edition of Monuments of Architecture in Moscow takes the middle ground: the church is, most likely, a product of the complex interaction of distinct Russian traditions of wooden and stone architecture, with some elements borrowed from the works of Italians in Moscow. Specifically, the style of brickwork in the vaults is Italian.

 

Layout

Instead of following the original ad hoc layout (seven churches around the central core), Ivan's architects opted for a more symmetrical floor plan with eight side churches around the core, producing "a thoroughly coherent, logical plan" despite the erroneous latter "notion of a structure devoid of restraint or reason" influenced by the memory of Ivan's irrational atrocities. The central core and the four larger churches placed on the four major compass points are octagonal; the four diagonally placed smaller churches are cuboid, although their shape is hardly visible through later additions. The larger churches stand on massive foundations, while the smaller ones were each placed on a raised platform as if hovering above ground.

 

Although the side churches are arranged in perfect symmetry, the cathedral as a whole is not. The larger central church was deliberately offset to the west from the geometric centre of the side churches, to accommodate its larger apse on the eastern side. As a result of this subtle calculated asymmetry, viewing from the north and the south presents a complex multi-axial shape, while the western façade, facing the Kremlin, appears properly symmetrical and monolithic. The latter perception is reinforced by the fortress-style machicolation and corbeled cornice of the western Church of Entry into Jerusalem, mirroring the real fortifications of the Kremlin.

 

Inside the composite church is a labyrinth of narrow vaulted corridors and vertical cylinders of the churches. Today the cathedral consists of nine individual chapels. The largest, central one, the Church of the Intercession, is 46 metres (151 ft) tall internally but has a floor area of only 64 square metres (690 sq ft). Nevertheless, it is wider and airier than the church in Kolomenskoye with its exceptionally thick walls. The corridors functioned as internal parvises; the western corridor, adorned with a unique flat caissoned ceiling, doubled as the narthex.

 

The detached belfry of the original Trinity Church stood southwest or south of the main structure. Late 16th- and early 17th-century plans depict a simple structure with three roof tents, most likely covered with sheet metal. No buildings of this type survive to date, although it was then common and used in all of the pass-through towers of Skorodom. August von Meyenberg's panorama (1661) presents a different building, with a cluster of small onion domes.

 

Structure

The foundations, as was traditional in medieval Moscow, were built of white stone, while the churches themselves were built of red brick (28 by 14 by 8 cm (11.0 by 5.5 by 3.1 in)), then a relatively new material (the first attested brick building in Moscow, the new Kremlin Wall, was started in 1485). Surveys of the structure show that the basement level is perfectly aligned, indicating use of professional drawing and measurement, but each subsequent level becomes less and less regular. Restorers who replaced parts of the brickwork in 1954–1955 discovered that the massive brick walls conceal an internal wooden frame running the entire height of the church. This frame, made of elaborately tied thin studs, was erected as a life-size spatial model of the future cathedral and was then gradually enclosed in solid masonry.

 

The builders, fascinated by the flexibility of the new technology, used red bricks as a decorative medium both inside and out, leaving as much brickwork open as possible; when location required the use of stone walls, it was decorated with a brickwork pattern painted over stucco. A major novelty introduced by the church was the use of strictly "architectural" means of exterior decoration. Sculpture and sacred symbols employed by earlier Russian architecture are completely missing; floral ornaments are a later addition. Instead, the church boasts a diversity of three-dimensional architectural elements executed in brick.

 

Colour

The church acquired its present-day vivid colours in several stages from the 1680s to 1848. Russian attitude towards colour in the 17th century changed in favour of bright colours; iconographic and mural art experienced an explosive growth in the number of available paints, dyes and their combinations. The original colour scheme, missing these innovations, was far less challenging. It followed the depiction of the Heavenly City in the Book of Revelation:

 

And he that sat was to look upon like a jasper and a sardine stone: and there was a rainbow round about the throne, in sight like unto an emerald.

And round about the throne were four and twenty seats: and upon the seats, I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold.

 

— Revelation, 4:3–4 (KJV)

The 25 seats from the biblical reference are alluded to in the building's structure, with the addition of eight small onion domes around the central tent, four around the western side church and four elsewhere. This arrangement survived through most of the 17th century. The walls of the church mixed bare red brickwork or painted imitation of bricks with white ornaments, in roughly equal proportion. The domes, covered with tin, were uniformly gilded, creating an overall bright but fairly traditional combination of white, red and golden colours. Moderate use of green and blue ceramic inserts provided a touch of rainbow as prescribed by the Bible.

 

While historians agree on the colour of the 16th-century domes, their shape is disputed. Boris Eding wrote that they most likely were of the same onion shape as the present-day domes. However, both Kolomenskoye and Dyakovo churches have flattened hemispherical domes, and the same type could have been used by Barma and Postnik.

 

Development

1583–1596

The original Trinity Church burnt down in 1583 and was refitted by 1593. The ninth sanctuary, dedicated to Basil Fool for Christ (the 1460s–1552), was added in 1588 next to the north-eastern sanctuary of the Three Patriarchs. Another local fool, Ivan the Blessed, was buried on the church grounds in 1589; a sanctuary in his memory was established in 1672 inside the south-eastern arcade.

 

The vault of the Saint Basil Sanctuary serves as a reference point in evaluating the quality of Muscovite stonemasonry and engineering. As one of the first vaults of its type, it represents the average of engineering craft that peaked a decade later in the church of the Trinity in Khoroshovo (completed 1596). The craft was lost in the Time of Troubles; buildings from the first half of the 17th century lack the refinement of the late 16th century, compensating for poor construction skill with thicker walls and heavier vaults.

 

1680–1683

The second, and most significant, round of refitting and expansion took place in 1680–1683. The nine churches themselves retained their appearance, but additions to the ground-floor arcade and the first-floor platform were so profound that Nikolay Brunov rebuilt a composite church from an "old" building and an independent work that incorporated the "new" Trinity Church. What once was a group of nine independent churches on a common platform became a monolithic temple.

 

The formerly open ground-floor arcades were filled with brick walls; the new space housed altars from thirteen former wooden churches erected on the site of Ivan's executions in Red Square. Wooden shelters above the first-floor platform and stairs (the cause of frequent fires) were rebuilt in brick, creating the present-day wrap-around galleries with tented roofs above the porches and vestibules.

 

The old detached belfry was demolished; its square basement was reused for a new belltower. The tall single tented roof of this belltower, built in the vernacular style of the reign of Alexis I, significantly changed the appearance of the cathedral, adding a strong asymmetrical counterweight to the church itself. The effect is most pronounced on the southern and eastern facades (as viewed from Zaryadye), although the belltower is large enough to be seen from the west.

 

The first ornamental murals in the cathedral appeared in the same period, starting with floral ornaments inside the new galleries; the towers retained their original brickwork pattern. Finally, in 1683, the church was adorned with a tiled cornice in yellow and blue, featuring a written history of the church in Old Slavic typeface.

 

1737–1784

In 1737 the church was damaged by a massive fire and later restored by Ivan Michurin. The inscriptions made in 1683 were removed during the repairs of 1761–1784. The church received its first figurative murals inside the churches; all exterior and interior walls of the first two floors were covered with floral ornamentation. The belltower was connected with the church through a ground-floor annex; the last remaining open arches of the former ground-floor arcade were filled during the same period, erasing the last hint of what was once an open platform carrying the nine churches of Ivan's Jerusalem.

 

1800–1848

Paintings of Red Square by Fyodor Alekseyev, made in 1800–1802, show that by this time the church was enclosed in an apparently chaotic cluster of commercial buildings; rows of shops "transformed Red Square into an oblong and closed yard." In 1800 the space between the Kremlin wall and the church was still occupied by a moat that predated the church itself. The moat was filled in preparation for the coronation of Alexander I in 1801. The French troops who occupied Moscow in 1812 used the church for stables and looted anything worth taking. The church was spared by the Fire of Moscow (1812) that razed Kitai-gorod, and by the troops' failure to blow it up according to Napoleon's order. The interiors were repaired in 1813 and the exterior in 1816. Instead of replacing missing ceramic tiles of the main tent, the Church preferred to simply cover it with a tin roof.

 

The fate of the immediate environment of the church has been a subject of dispute between city planners since 1813. Scotsman William Hastie proposed clearing the space around all sides of the church and all the way down to the Moskva River; the official commission led by Fyodor Rostopchin and Mikhail Tsitsianov agreed to clear only the space between the church and Lobnoye Mesto. Hastie's plan could have radically transformed the city, but he lost to the opposition, whose plans were finally endorsed by Alexander I in December 1817 (the specific decision on clearing the rubble around the church was issued in 1816).

 

Nevertheless, actual redevelopment by Joseph Bove resulted in clearing the rubble and creating Vasilyevskaya (St. Basil's) Square between the church and Kremlin wall by shaving off the crest of the Kremlin Hill between the church and the Moskva River. Red Square was opened to the river, and "St. Basil thus crowned the decapitated hillock." Bove built the stone terrace wall separating the church from the pavement of Moskvoretskaya Street; the southern side of the terrace was completed in 1834. Minor repairs continued until 1848, when the domes acquired their present-day colours.

 

1890–1914

Preservationist societies monitored the state of the church and called for a proper restoration throughout the 1880s and 1890s, but it was regularly delayed for lack of funds. The church did not have a congregation of its own and could only rely on donations raised through public campaigning; national authorities in Saint Petersburg and local in Moscow prevented financing from state and municipal budgets. In 1899 Nicholas II reluctantly admitted that this expense was necessary, but again all the involved state and municipal offices, including the Holy Synod, denied financing. Restoration, headed by Andrey Pavlinov (died 1898) and Sergey Solovyov, dragged on from 1896 to 1909; in total, preservationists managed to raise around 100,000 roubles.

 

Restoration began with replacing the roofing of the domes. Solovyov removed the tin roofing of the main tent installed in the 1810s and found many original tiles missing and others discoloured; after a protracted debate the whole set of tiles on the tented roof was replaced with new ones. Another dubious decision allowed the use of standard bricks that were smaller than the original 16th-century ones. Restorers agreed that the paintwork of the 19th century must be replaced with a "truthful recreation" of historic patterns, but these had to be reconstructed and deduced based on medieval miniatures. In the end, Solovyov and his advisers chose a combination of deep red with deep green that is retained to the present.

 

In 1908 the church received its first warm air heating system, which did not work well because of heat losses in long air ducts, heating only the eastern and northern sanctuaries. In 1913 it was complemented with a pumped water heating system serving the rest of the church.

 

1918–1941

During World War I, the church was headed by protoiereus Ioann Vostorgov, a nationalist preacher and a leader of the Black-Hundredist Union of the Russian People. Vostorgov was arrested by Bolsheviks in 1918 on a pretext of embezzling nationalized church properties and was executed in 1919.[citation needed] The church briefly enjoyed Vladimir Lenin's "personal interest"; in 1923 it became a public museum, though religious services continued until 1929.

 

Bolshevik planners entertained ideas of demolishing the church after Lenin's funeral (January 1924). In the first half of the 1930s, the church became an obstacle for Joseph Stalin's urbanist plans, carried out by Moscow party boss Lazar Kaganovich, "the moving spirit behind the reconstruction of the capital". The conflict between preservationists, notably Pyotr Baranovsky, and the administration continued at least until 1936 and spawned urban legends. In particular, a frequently-told story is that Kaganovich picked up a model of the church in the process of envisioning Red Square without it, and Stalin sharply responded "Lazar, put it back!" Similarly, Stalin's master planner, architect Vladimir Semyonov, reputedly dared to "grab Stalin's elbow when the leader picked up a model of the church to see how Red Square would look without it" and was replaced by pure functionary Sergey Chernyshov.

 

In the autumn of 1933, the church was struck from the heritage register. Baranovsky was summoned to perform a last-minute survey of the church slated for demolition, and was then arrested for his objections. While he served his term in the Gulag, attitudes changed and by 1937 even hard-line Bolshevik planners admitted that the church should be spared. In the spring of 1939, the church was locked, probably because demolition was again on the agenda; however, the 1941 publication of Dmitry Sukhov's detailed book on the survey of the church in 1939–1940 speaks against this assumption.

 

1947 to present

In the first years after World War II renovators restored the historical ground-floor arcades and pillars that supported the first-floor platform, cleared up vaulted and caissoned ceilings in the galleries, and removed "unhistoric" 19th-century oil paint murals inside the churches. Another round of repairs, led by Nikolay Sobolev in 1954–1955, restored original paint imitating brickwork, and allowed restorers to dig inside old masonry, revealing the wooden frame inside it. In the 1960s, the tin roofing of the domes was replaced with copper.

 

The last round of renovation was completed in September 2008 with the opening of the restored sanctuary of St. Alexander Svirsky. The building is still partly in use today as a museum and, since 1991, is occasionally used for services by the Russian Orthodox Church. Since 1997 Orthodox Christian services have been held regularly. Nowadays every Sunday at Saint Basil's church there is a divine liturgy at 10 a.m. with an Akathist to Saint Basil.

 

Naming

The building, originally known as "Trinity Church",[8] was consecrated on 12 July 1561, and was subsequently elevated to the status of a sobor (similar to an ecclesiastical basilica in the Catholic Church, but usually and incorrectly translated as "cathedral"). "Trinity", according to tradition, refers to the easternmost sanctuary of the Holy Trinity, while the central sanctuary of the church is dedicated to the Intercession of Mary. Together with the westernmost sanctuary of the Entry into Jerusalem, these sanctuaries form the main east–west axis (Christ, Mary, Holy Trinity), while other sanctuaries are dedicated to individual saints.

 

Sanctuaries of the cathedral

Compass point Type Dedicated to Commemorates

Central coreTented churchIntercession of Most Holy TheotokosBeginning of the final assault of Kazan, 1 October 1552

WestColumnEntry of Christ into JerusalemTriumph of the Muscovite troops

North-westGroin vaultSaint Gregory the Illuminator of ArmeniaCapture of Ars Tower of Kazan Kremlin, 30 September 1552

NorthColumnSaint Martyrs Cyprian and Justinia (since 1786 Saint Adrian and Natalia of Nicomedia)Complete capture of Kazan Kremlin, 2 October 1552

North-eastGroin vaultThree Patriarchs of Alexandria (since 1680 Saint John the Merciful)Defeat of Yepancha's cavalry on 30 August 1552

EastColumnLife-giving Holy TrinityHistorical Trinity Church on the same site

South-eastGroin vaultSaint Alexander SvirskyDefeat of Yepancha's cavalry on 30 August 1552

SouthColumnThe icon of Saint Nicholas from the Velikaya River (Nikola Velikoretsky)The icon was brought to Moscow in 1555.

South-westGroin vaultSaint Barlaam of KhutynMay have been built to commemorate Vasili III of Russia

North-eastern annex (1588)Groin vaultBasil the BlessedGrave of venerated local saint

South-eastern annex (1672)Groin vaultLaying the Veil (since 1680: Nativity of Theotokos, since 1916: Saint John the Blessed of Moscow)Grave of venerated local saint

The name "Intercession Church" came into use later, coexisting with Trinity Church. From the end of the 16th century[66] to the end of the 17th century the cathedral was also popularly called Jerusalem, with reference to its church of Entry into Jerusalem as well as to its sacral role in religious rituals. Finally, the name of Vasily (Basil) the Blessed, who died during construction and was buried on-site, was attached to the church at the beginning of the 17th century.

 

Current Russian tradition accepts two coexisting names of the church: the official "Church of Intercession on the Moat" (in full, the "Church of Intercession of Most Holy Theotokos on the Moat"), and the "Temple of Basil the Blessed". When these names are listed together the latter name, being informal, is always mentioned second.

 

The common Western translations "Cathedral of Basil the Blessed" and "Saint Basil's Cathedral" incorrectly bestow the status of cathedral on the church of Basil, but are nevertheless widely used even in academic literature. Especially during the 19. century, in English and other languages the Saint Basil's Cathedral was also called (Cathedral or Church of) Vassili Blagennoi.

 

Sacral and social role

On the day of its consecration the church itself became part of Orthodox thaumaturgy. According to the legend, its "missing" ninth church (more precisely a sanctuary) was "miraculously found" during a ceremony attended by Tsar Ivan IV, Metropolitan Makarius with the divine intervention of Saint Tikhon. Piskaryov's Chronist wrote in the second quarter of the 17th century:

 

And the Tsar came to the dedication of the said church with Tsaritsa Nastasia and with Metropolitan Makarius and brought the icon of St Nicholas the Wonderworker that came from Vyatka. And they began to offer a prayer service with sanctified water. And the Tsar touched the base with his own hands. And the builders saw that another sanctuary appeared, and told the Tsar. And the Tsar, and Metropolitan, and all the clergy were surprised by the finding of another sanctuary. And the Tsar ordered it to be dedicated to Nicholas ...

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

 

Allegory of Jerusalem

Construction of wrap-around ground-floor arcades in the 1680s visually united the nine churches of the original cathedral into a single building. Earlier, the clergy and the public perceived it as nine distinct churches on a common base, a generalized allegory of the Orthodox Heavenly City similar to fantastic cities of medieval miniatures. At a distance, separate churches towering over their base resembled the towers and churches of a distant citadel rising above the defensive wall. The abstract allegory was reinforced by real-life religious rituals where the church played the role of the biblical Temple in Jerusalem:

 

The capital city, Moscow, is split into three parts; the first of them, called Kitai-gorod, is encircled with a solid thick wall. It contains an extraordinary beautiful church, all clad in shiny bright gems, called Jerusalem. It is the destination of an annual Palm Sunday walk, when the Grand Prince must lead a donkey carrying the Patriarch, from the Church of Virgin Mary to the church of Jerusalem which stands next to the citadel walls. Here is where the most illustrious princely, noble and merchant families live. Here is, also, the main muscovite marketplace: the trading square is built as a brick rectangle, with twenty lanes on each side where the merchants have their shops and cellars ...

 

— Peter Petreius, History of the Great Duchy of Moscow, 1620

Templum S. Trinitatis, etiam Hierusalem dicitur; ad quo Palmarum fest Patriarcha asino insidens a Caesare introducitur.

Temple of Holy Trinity, also called Jerusalem, to where the tsar leads the Patriarch, sitting on a donkey, on the Palm Holiday.

 

— Legend of Peter's map of Moscow, 1597, as reproduced in the Bleau Atlas

The last donkey walk (хождение на осляти) took place in 1693. Mikhail Petrovich Kudryavtsev noted that all cross processions of the period began, as described by Petreius, from the Dormition Church, passed through St. Frol's (Saviour's) Gate and ended at Trinity Cathedral. For these processions the Kremlin itself became an open-air temple, properly oriented from its "narthex" (Cathedral Square) in the west, through the "royal doors" (Saviour's Gate), to the "sanctuary" (Trinity Cathedral) in the east.

 

Urban hub

Tradition calls the Kremlin the centre of Moscow, but the geometric centre of the Garden Ring, first established as the Skorodom defensive wall in the 1590s, lies outside the Kremlin wall, coincident with the cathedral. Pyotr Goldenberg (1902–71), who popularized this notion in 1947, still regarded the Kremlin as the starting seed of Moscow's radial-concentric system, despite Alexander Chayanov's earlier suggestion that the system was not strictly concentric at all.

 

In the 1960s Gennady Mokeev (born 1932) formulated a different concept of the historical growth of Moscow. According to Mokeev, medieval Moscow, constrained by the natural boundaries of the Moskva and Neglinnaya Rivers, grew primarily in a north-easterly direction into the posad of Kitai-gorod and beyond. The main road connecting the Kremlin to Kitai-gorod passed through St. Frol's (Saviour's) Gate and immediately afterwards fanned out into at least two radial streets (present-day Ilyinka and Varvarka), forming the central market square. In the 14th century the city was largely contained within two balancing halves, Kremlin and Kitai-gorod, separated by a marketplace, but by the end of the century it extended further along the north-eastern axis. Two secondary hubs in the west and south spawned their own street networks, but their development lagged behind until the Time of Troubles.

 

Tsar Ivan's decision to build the church next to St. Frol's Gate established the dominance of the eastern hub with a major vertical accent, and inserted a pivot point between the nearly equal Kremlin and Kitai-gorod into the once amorphous marketplace. The cathedral was the main church of the posad, and at the same time it was perceived as a part of the Kremlin thrust into the posad, a personal messenger of the Tsar reaching the masses without the mediation of the boyars and clergy. It was complemented by the nearby Lobnoye mesto, a rostrum for the Tsar's public announcements first mentioned in chronicles in 1547 and rebuilt in stone in 1597–1598. Conrad Bussow, describing the triumph of False Dmitriy I, wrote that on 3 June 1606 "a few thousand men hastily assembled and followed the boyarin with [the impostor's] letter through the whole Moscow to the main church they call Jerusalem that stands right next to the Kremlin gates, raised him on Lobnoye Mesto, called out for the Muscovites, read the letter and listened to the boyarin's oral explanation."

 

Replicas

A scale model of Saint Basil's Cathedral has been built in Jalainur in Inner Mongolia, near China's border with Russia. The building houses a science museum.

The Cathedral of Vasily the Blessed (Russian: Собо́р Васи́лия Блаже́нного, tr. Sobór Vasíliya Blazhénnogo), commonly known as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colors, was made in 1683. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.

 

The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, because it was perceived as the earthly symbol of the Heavenly City, like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.

 

The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century.

 

As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.

 

Construction under Ivan IV

The site of the church had been, historically, a busy marketplace between the St. Frol's (later Saviour's) Gate of the Moscow Kremlin and the outlying posad. The centre of the marketplace was marked by the Trinity Church, built of the same white stone as the Kremlin of Dmitry Donskoy (1366–68) and its cathedrals. Tsar Ivan IV marked every victory of the Russo-Kazan War by erecting a wooden memorial church next to the walls of Trinity Church; by the end of his Astrakhan campaign, it was shrouded within a cluster of seven wooden churches. According to the report in Nikon's Chronicle, in the autumn of 1554 Ivan ordered the construction of the wooden Church of Intercession on the same site, "on the moat". One year later, Ivan ordered the construction of a new stone cathedral on the site of Trinity Church to commemorate his campaigns. Dedication of a church to a military victory was "a major innovation" for Muscovy. The placement of the church outside the Kremlin walls was a political statement in favour of posad commoners and against hereditary boyars.

 

Contemporary commentators clearly identified the new building as Trinity Church, after its easternmost sanctuary; the status of "katholikon" (собор, sobor, large assembly church) had not been bestowed on it yet:

 

On the Trinity on the Moat in Moscow.

In the same year, through the will of czar and lord and grand prince Ivan began making the pledged church, as he promised for the capture of Kazan: Trinity and Intercession and seven sanctuaries, also called "on the moat". And the builder was Barma with company.

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

The identity of the architect is unknown. Tradition held that the church was built by two architects, Barma and Postnik, the official Russian cultural heritage register lists "Barma and Postnik Yakovlev". Researchers proposed that both names refer to the same person, Postnik Yakovlev or, alternatively, Ivan Yakovlevich Barma (Varfolomey). Legend held that Ivan blinded the architect so that he could not re-create the masterpiece elsewhere. Many historians are convinced that it is a myth, as the architect later participated in the construction of the Cathedral of the Annunciation in Moscow as well as in building the walls and towers of the Kazan Kremlin. Postnik Yakovlev remained active at least throughout the 1560s. This myth likely originated with Jerome Horsey's account of Ivan III of Moscow having blinded the architect of the fortress of Ivangorod.

 

There is evidence that construction involved stonemasons from Pskov and German lands.

 

Architectural style

Because the church has no analog—in the preceding, contemporary, or later architecture of Muscovy and Byzantine cultural tradition, in general,—the sources that inspired Barma and Postnik are disputed. Eugène Viollet-le-Duc rejected European roots for the cathedral, opining that its corbel arches were Byzantine and ultimately Asian. A modern "Asian" hypothesis considers the cathedral a recreation of Qolşärif Mosque, which was destroyed by Russian troops after the Siege of Kazan.

 

Nineteenth-century Russian writers, starting with Ivan Zabelin,[5] emphasized the influence of the vernacular wooden churches of the Russian North; their motifs made their ways into masonry, particularly the votive churches that did not need to house substantial congregations. David Watkin also wrote of a blend of Russian and Byzantine roots, calling the cathedral "the climax" of Russian vernacular wooden architecture.

 

The church combines the staggered layered design of the earliest (1505–1508) part of the Ivan the Great Bell Tower, the central tent of the Church of Ascension in Kolomenskoye (1530s), and the cylindric shape of the Church of Beheading of John the Baptist in Dyakovo (1547); but the origin of these unique buildings is equally debated. The Church in Kolomenskoye, according to Sergei Podyapolsky, was built by Italian Petrok Maly, although mainstream history has not yet accepted his opinion. Andrey Batalov revised the year of completion of Dyakovo church from 1547 to the 1560s–70s, and noted that Trinity Church could have had no tangible predecessors at all.

 

Dmitry Shvidkovsky suggested that the "improbable" shapes of the Intercession Church and the Church of Ascension in Kolomenskoye manifested an emerging national renaissance, blending earlier Muscovite elements with the influence of Italian Renaissance. A large group of Italian architects and craftsmen continuously worked in Moscow in 1474–1539, as well as Greek refugees who arrived in the city after the fall of Constantinople. These two groups, according to Shvidkovsky, helped Moscow rulers in forging the doctrine of Third Rome, which in turn promoted assimilation of contemporary Greek and Italian culture. Shvidkovsky noted the resemblance of the cathedral's floorplan to Italian concepts by Antonio da Sangallo the Younger and Donato Bramante, but most likely Filarete's Trattato di architettura. Other Russian researchers noted a resemblance to sketches by Leonardo da Vinci, although he could not have been known in Ivan's Moscow. Nikolay Brunov recognized the influence of these prototypes but not their significance; he suggested that mid-16th century Moscow already had local architects trained in Italian tradition, architectural drawing and perspective, and that this culture was lost during the Time of Troubles.

 

Andrey Batalov wrote that judging by the number of novel elements introduced with Trinity Church, it was most likely built by German craftsmen. Batalov and Shvidkovsky noted that during Ivan's reign, Germans and Englishmen replaced Italians, although German influence peaked later during the reign of Mikhail Romanov. German influence is indirectly supported by the rusticated pilasters of the central church, a feature more common in contemporary Northern Europe than in Italy.

 

The 1983 academic edition of Monuments of Architecture in Moscow takes the middle ground: the church is, most likely, a product of the complex interaction of distinct Russian traditions of wooden and stone architecture, with some elements borrowed from the works of Italians in Moscow. Specifically, the style of brickwork in the vaults is Italian.

 

Layout

Instead of following the original ad hoc layout (seven churches around the central core), Ivan's architects opted for a more symmetrical floor plan with eight side churches around the core, producing "a thoroughly coherent, logical plan" despite the erroneous latter "notion of a structure devoid of restraint or reason" influenced by the memory of Ivan's irrational atrocities. The central core and the four larger churches placed on the four major compass points are octagonal; the four diagonally placed smaller churches are cuboid, although their shape is hardly visible through later additions. The larger churches stand on massive foundations, while the smaller ones were each placed on a raised platform as if hovering above ground.

 

Although the side churches are arranged in perfect symmetry, the cathedral as a whole is not. The larger central church was deliberately offset to the west from the geometric centre of the side churches, to accommodate its larger apse on the eastern side. As a result of this subtle calculated asymmetry, viewing from the north and the south presents a complex multi-axial shape, while the western façade, facing the Kremlin, appears properly symmetrical and monolithic. The latter perception is reinforced by the fortress-style machicolation and corbeled cornice of the western Church of Entry into Jerusalem, mirroring the real fortifications of the Kremlin.

 

Inside the composite church is a labyrinth of narrow vaulted corridors and vertical cylinders of the churches. Today the cathedral consists of nine individual chapels. The largest, central one, the Church of the Intercession, is 46 metres (151 ft) tall internally but has a floor area of only 64 square metres (690 sq ft). Nevertheless, it is wider and airier than the church in Kolomenskoye with its exceptionally thick walls. The corridors functioned as internal parvises; the western corridor, adorned with a unique flat caissoned ceiling, doubled as the narthex.

 

The detached belfry of the original Trinity Church stood southwest or south of the main structure. Late 16th- and early 17th-century plans depict a simple structure with three roof tents, most likely covered with sheet metal. No buildings of this type survive to date, although it was then common and used in all of the pass-through towers of Skorodom. August von Meyenberg's panorama (1661) presents a different building, with a cluster of small onion domes.

 

Structure

The foundations, as was traditional in medieval Moscow, were built of white stone, while the churches themselves were built of red brick (28 by 14 by 8 cm (11.0 by 5.5 by 3.1 in)), then a relatively new material (the first attested brick building in Moscow, the new Kremlin Wall, was started in 1485). Surveys of the structure show that the basement level is perfectly aligned, indicating use of professional drawing and measurement, but each subsequent level becomes less and less regular. Restorers who replaced parts of the brickwork in 1954–1955 discovered that the massive brick walls conceal an internal wooden frame running the entire height of the church. This frame, made of elaborately tied thin studs, was erected as a life-size spatial model of the future cathedral and was then gradually enclosed in solid masonry.

 

The builders, fascinated by the flexibility of the new technology, used red bricks as a decorative medium both inside and out, leaving as much brickwork open as possible; when location required the use of stone walls, it was decorated with a brickwork pattern painted over stucco. A major novelty introduced by the church was the use of strictly "architectural" means of exterior decoration. Sculpture and sacred symbols employed by earlier Russian architecture are completely missing; floral ornaments are a later addition. Instead, the church boasts a diversity of three-dimensional architectural elements executed in brick.

 

Colour

The church acquired its present-day vivid colours in several stages from the 1680s to 1848. Russian attitude towards colour in the 17th century changed in favour of bright colours; iconographic and mural art experienced an explosive growth in the number of available paints, dyes and their combinations. The original colour scheme, missing these innovations, was far less challenging. It followed the depiction of the Heavenly City in the Book of Revelation:

 

And he that sat was to look upon like a jasper and a sardine stone: and there was a rainbow round about the throne, in sight like unto an emerald.

And round about the throne were four and twenty seats: and upon the seats, I saw four and twenty elders sitting, clothed in white raiment; and they had on their heads crowns of gold.

 

— Revelation, 4:3–4 (KJV)

The 25 seats from the biblical reference are alluded to in the building's structure, with the addition of eight small onion domes around the central tent, four around the western side church and four elsewhere. This arrangement survived through most of the 17th century. The walls of the church mixed bare red brickwork or painted imitation of bricks with white ornaments, in roughly equal proportion. The domes, covered with tin, were uniformly gilded, creating an overall bright but fairly traditional combination of white, red and golden colours. Moderate use of green and blue ceramic inserts provided a touch of rainbow as prescribed by the Bible.

 

While historians agree on the colour of the 16th-century domes, their shape is disputed. Boris Eding wrote that they most likely were of the same onion shape as the present-day domes. However, both Kolomenskoye and Dyakovo churches have flattened hemispherical domes, and the same type could have been used by Barma and Postnik.

 

Development

1583–1596

The original Trinity Church burnt down in 1583 and was refitted by 1593. The ninth sanctuary, dedicated to Basil Fool for Christ (the 1460s–1552), was added in 1588 next to the north-eastern sanctuary of the Three Patriarchs. Another local fool, Ivan the Blessed, was buried on the church grounds in 1589; a sanctuary in his memory was established in 1672 inside the south-eastern arcade.

 

The vault of the Saint Basil Sanctuary serves as a reference point in evaluating the quality of Muscovite stonemasonry and engineering. As one of the first vaults of its type, it represents the average of engineering craft that peaked a decade later in the church of the Trinity in Khoroshovo (completed 1596). The craft was lost in the Time of Troubles; buildings from the first half of the 17th century lack the refinement of the late 16th century, compensating for poor construction skill with thicker walls and heavier vaults.

 

1680–1683

The second, and most significant, round of refitting and expansion took place in 1680–1683. The nine churches themselves retained their appearance, but additions to the ground-floor arcade and the first-floor platform were so profound that Nikolay Brunov rebuilt a composite church from an "old" building and an independent work that incorporated the "new" Trinity Church. What once was a group of nine independent churches on a common platform became a monolithic temple.

 

The formerly open ground-floor arcades were filled with brick walls; the new space housed altars from thirteen former wooden churches erected on the site of Ivan's executions in Red Square. Wooden shelters above the first-floor platform and stairs (the cause of frequent fires) were rebuilt in brick, creating the present-day wrap-around galleries with tented roofs above the porches and vestibules.

 

The old detached belfry was demolished; its square basement was reused for a new belltower. The tall single tented roof of this belltower, built in the vernacular style of the reign of Alexis I, significantly changed the appearance of the cathedral, adding a strong asymmetrical counterweight to the church itself. The effect is most pronounced on the southern and eastern facades (as viewed from Zaryadye), although the belltower is large enough to be seen from the west.

 

The first ornamental murals in the cathedral appeared in the same period, starting with floral ornaments inside the new galleries; the towers retained their original brickwork pattern. Finally, in 1683, the church was adorned with a tiled cornice in yellow and blue, featuring a written history of the church in Old Slavic typeface.

 

1737–1784

In 1737 the church was damaged by a massive fire and later restored by Ivan Michurin. The inscriptions made in 1683 were removed during the repairs of 1761–1784. The church received its first figurative murals inside the churches; all exterior and interior walls of the first two floors were covered with floral ornamentation. The belltower was connected with the church through a ground-floor annex; the last remaining open arches of the former ground-floor arcade were filled during the same period, erasing the last hint of what was once an open platform carrying the nine churches of Ivan's Jerusalem.

 

1800–1848

Paintings of Red Square by Fyodor Alekseyev, made in 1800–1802, show that by this time the church was enclosed in an apparently chaotic cluster of commercial buildings; rows of shops "transformed Red Square into an oblong and closed yard." In 1800 the space between the Kremlin wall and the church was still occupied by a moat that predated the church itself. The moat was filled in preparation for the coronation of Alexander I in 1801. The French troops who occupied Moscow in 1812 used the church for stables and looted anything worth taking. The church was spared by the Fire of Moscow (1812) that razed Kitai-gorod, and by the troops' failure to blow it up according to Napoleon's order. The interiors were repaired in 1813 and the exterior in 1816. Instead of replacing missing ceramic tiles of the main tent, the Church preferred to simply cover it with a tin roof.

 

The fate of the immediate environment of the church has been a subject of dispute between city planners since 1813. Scotsman William Hastie proposed clearing the space around all sides of the church and all the way down to the Moskva River; the official commission led by Fyodor Rostopchin and Mikhail Tsitsianov agreed to clear only the space between the church and Lobnoye Mesto. Hastie's plan could have radically transformed the city, but he lost to the opposition, whose plans were finally endorsed by Alexander I in December 1817 (the specific decision on clearing the rubble around the church was issued in 1816).

 

Nevertheless, actual redevelopment by Joseph Bove resulted in clearing the rubble and creating Vasilyevskaya (St. Basil's) Square between the church and Kremlin wall by shaving off the crest of the Kremlin Hill between the church and the Moskva River. Red Square was opened to the river, and "St. Basil thus crowned the decapitated hillock." Bove built the stone terrace wall separating the church from the pavement of Moskvoretskaya Street; the southern side of the terrace was completed in 1834. Minor repairs continued until 1848, when the domes acquired their present-day colours.

 

1890–1914

Preservationist societies monitored the state of the church and called for a proper restoration throughout the 1880s and 1890s, but it was regularly delayed for lack of funds. The church did not have a congregation of its own and could only rely on donations raised through public campaigning; national authorities in Saint Petersburg and local in Moscow prevented financing from state and municipal budgets. In 1899 Nicholas II reluctantly admitted that this expense was necessary, but again all the involved state and municipal offices, including the Holy Synod, denied financing. Restoration, headed by Andrey Pavlinov (died 1898) and Sergey Solovyov, dragged on from 1896 to 1909; in total, preservationists managed to raise around 100,000 roubles.

 

Restoration began with replacing the roofing of the domes. Solovyov removed the tin roofing of the main tent installed in the 1810s and found many original tiles missing and others discoloured; after a protracted debate the whole set of tiles on the tented roof was replaced with new ones. Another dubious decision allowed the use of standard bricks that were smaller than the original 16th-century ones. Restorers agreed that the paintwork of the 19th century must be replaced with a "truthful recreation" of historic patterns, but these had to be reconstructed and deduced based on medieval miniatures. In the end, Solovyov and his advisers chose a combination of deep red with deep green that is retained to the present.

 

In 1908 the church received its first warm air heating system, which did not work well because of heat losses in long air ducts, heating only the eastern and northern sanctuaries. In 1913 it was complemented with a pumped water heating system serving the rest of the church.

 

1918–1941

During World War I, the church was headed by protoiereus Ioann Vostorgov, a nationalist preacher and a leader of the Black-Hundredist Union of the Russian People. Vostorgov was arrested by Bolsheviks in 1918 on a pretext of embezzling nationalized church properties and was executed in 1919.[citation needed] The church briefly enjoyed Vladimir Lenin's "personal interest"; in 1923 it became a public museum, though religious services continued until 1929.

 

Bolshevik planners entertained ideas of demolishing the church after Lenin's funeral (January 1924). In the first half of the 1930s, the church became an obstacle for Joseph Stalin's urbanist plans, carried out by Moscow party boss Lazar Kaganovich, "the moving spirit behind the reconstruction of the capital". The conflict between preservationists, notably Pyotr Baranovsky, and the administration continued at least until 1936 and spawned urban legends. In particular, a frequently-told story is that Kaganovich picked up a model of the church in the process of envisioning Red Square without it, and Stalin sharply responded "Lazar, put it back!" Similarly, Stalin's master planner, architect Vladimir Semyonov, reputedly dared to "grab Stalin's elbow when the leader picked up a model of the church to see how Red Square would look without it" and was replaced by pure functionary Sergey Chernyshov.

 

In the autumn of 1933, the church was struck from the heritage register. Baranovsky was summoned to perform a last-minute survey of the church slated for demolition, and was then arrested for his objections. While he served his term in the Gulag, attitudes changed and by 1937 even hard-line Bolshevik planners admitted that the church should be spared. In the spring of 1939, the church was locked, probably because demolition was again on the agenda; however, the 1941 publication of Dmitry Sukhov's detailed book on the survey of the church in 1939–1940 speaks against this assumption.

 

1947 to present

In the first years after World War II renovators restored the historical ground-floor arcades and pillars that supported the first-floor platform, cleared up vaulted and caissoned ceilings in the galleries, and removed "unhistoric" 19th-century oil paint murals inside the churches. Another round of repairs, led by Nikolay Sobolev in 1954–1955, restored original paint imitating brickwork, and allowed restorers to dig inside old masonry, revealing the wooden frame inside it. In the 1960s, the tin roofing of the domes was replaced with copper.

 

The last round of renovation was completed in September 2008 with the opening of the restored sanctuary of St. Alexander Svirsky. The building is still partly in use today as a museum and, since 1991, is occasionally used for services by the Russian Orthodox Church. Since 1997 Orthodox Christian services have been held regularly. Nowadays every Sunday at Saint Basil's church there is a divine liturgy at 10 a.m. with an Akathist to Saint Basil.

 

Naming

The building, originally known as "Trinity Church",[8] was consecrated on 12 July 1561, and was subsequently elevated to the status of a sobor (similar to an ecclesiastical basilica in the Catholic Church, but usually and incorrectly translated as "cathedral"). "Trinity", according to tradition, refers to the easternmost sanctuary of the Holy Trinity, while the central sanctuary of the church is dedicated to the Intercession of Mary. Together with the westernmost sanctuary of the Entry into Jerusalem, these sanctuaries form the main east–west axis (Christ, Mary, Holy Trinity), while other sanctuaries are dedicated to individual saints.

 

Sanctuaries of the cathedral

Compass point Type Dedicated to Commemorates

Central coreTented churchIntercession of Most Holy TheotokosBeginning of the final assault of Kazan, 1 October 1552

WestColumnEntry of Christ into JerusalemTriumph of the Muscovite troops

North-westGroin vaultSaint Gregory the Illuminator of ArmeniaCapture of Ars Tower of Kazan Kremlin, 30 September 1552

NorthColumnSaint Martyrs Cyprian and Justinia (since 1786 Saint Adrian and Natalia of Nicomedia)Complete capture of Kazan Kremlin, 2 October 1552

North-eastGroin vaultThree Patriarchs of Alexandria (since 1680 Saint John the Merciful)Defeat of Yepancha's cavalry on 30 August 1552

EastColumnLife-giving Holy TrinityHistorical Trinity Church on the same site

South-eastGroin vaultSaint Alexander SvirskyDefeat of Yepancha's cavalry on 30 August 1552

SouthColumnThe icon of Saint Nicholas from the Velikaya River (Nikola Velikoretsky)The icon was brought to Moscow in 1555.

South-westGroin vaultSaint Barlaam of KhutynMay have been built to commemorate Vasili III of Russia

North-eastern annex (1588)Groin vaultBasil the BlessedGrave of venerated local saint

South-eastern annex (1672)Groin vaultLaying the Veil (since 1680: Nativity of Theotokos, since 1916: Saint John the Blessed of Moscow)Grave of venerated local saint

The name "Intercession Church" came into use later, coexisting with Trinity Church. From the end of the 16th century[66] to the end of the 17th century the cathedral was also popularly called Jerusalem, with reference to its church of Entry into Jerusalem as well as to its sacral role in religious rituals. Finally, the name of Vasily (Basil) the Blessed, who died during construction and was buried on-site, was attached to the church at the beginning of the 17th century.

 

Current Russian tradition accepts two coexisting names of the church: the official "Church of Intercession on the Moat" (in full, the "Church of Intercession of Most Holy Theotokos on the Moat"), and the "Temple of Basil the Blessed". When these names are listed together the latter name, being informal, is always mentioned second.

 

The common Western translations "Cathedral of Basil the Blessed" and "Saint Basil's Cathedral" incorrectly bestow the status of cathedral on the church of Basil, but are nevertheless widely used even in academic literature. Especially during the 19. century, in English and other languages the Saint Basil's Cathedral was also called (Cathedral or Church of) Vassili Blagennoi.

 

Sacral and social role

On the day of its consecration the church itself became part of Orthodox thaumaturgy. According to the legend, its "missing" ninth church (more precisely a sanctuary) was "miraculously found" during a ceremony attended by Tsar Ivan IV, Metropolitan Makarius with the divine intervention of Saint Tikhon. Piskaryov's Chronist wrote in the second quarter of the 17th century:

 

And the Tsar came to the dedication of the said church with Tsaritsa Nastasia and with Metropolitan Makarius and brought the icon of St Nicholas the Wonderworker that came from Vyatka. And they began to offer a prayer service with sanctified water. And the Tsar touched the base with his own hands. And the builders saw that another sanctuary appeared, and told the Tsar. And the Tsar, and Metropolitan, and all the clergy were surprised by the finding of another sanctuary. And the Tsar ordered it to be dedicated to Nicholas ...

 

— Piskaryov Chronicle, 1560 (7068 per Byzantine calendar)

 

Allegory of Jerusalem

Construction of wrap-around ground-floor arcades in the 1680s visually united the nine churches of the original cathedral into a single building. Earlier, the clergy and the public perceived it as nine distinct churches on a common base, a generalized allegory of the Orthodox Heavenly City similar to fantastic cities of medieval miniatures. At a distance, separate churches towering over their base resembled the towers and churches of a distant citadel rising above the defensive wall. The abstract allegory was reinforced by real-life religious rituals where the church played the role of the biblical Temple in Jerusalem:

 

The capital city, Moscow, is split into three parts; the first of them, called Kitai-gorod, is encircled with a solid thick wall. It contains an extraordinary beautiful church, all clad in shiny bright gems, called Jerusalem. It is the destination of an annual Palm Sunday walk, when the Grand Prince must lead a donkey carrying the Patriarch, from the Church of Virgin Mary to the church of Jerusalem which stands next to the citadel walls. Here is where the most illustrious princely, noble and merchant families live. Here is, also, the main muscovite marketplace: the trading square is built as a brick rectangle, with twenty lanes on each side where the merchants have their shops and cellars ...

 

— Peter Petreius, History of the Great Duchy of Moscow, 1620

Templum S. Trinitatis, etiam Hierusalem dicitur; ad quo Palmarum fest Patriarcha asino insidens a Caesare introducitur.

Temple of Holy Trinity, also called Jerusalem, to where the tsar leads the Patriarch, sitting on a donkey, on the Palm Holiday.

 

— Legend of Peter's map of Moscow, 1597, as reproduced in the Bleau Atlas

The last donkey walk (хождение на осляти) took place in 1693. Mikhail Petrovich Kudryavtsev noted that all cross processions of the period began, as described by Petreius, from the Dormition Church, passed through St. Frol's (Saviour's) Gate and ended at Trinity Cathedral. For these processions the Kremlin itself became an open-air temple, properly oriented from its "narthex" (Cathedral Square) in the west, through the "royal doors" (Saviour's Gate), to the "sanctuary" (Trinity Cathedral) in the east.

 

Urban hub

Tradition calls the Kremlin the centre of Moscow, but the geometric centre of the Garden Ring, first established as the Skorodom defensive wall in the 1590s, lies outside the Kremlin wall, coincident with the cathedral. Pyotr Goldenberg (1902–71), who popularized this notion in 1947, still regarded the Kremlin as the starting seed of Moscow's radial-concentric system, despite Alexander Chayanov's earlier suggestion that the system was not strictly concentric at all.

 

In the 1960s Gennady Mokeev (born 1932) formulated a different concept of the historical growth of Moscow. According to Mokeev, medieval Moscow, constrained by the natural boundaries of the Moskva and Neglinnaya Rivers, grew primarily in a north-easterly direction into the posad of Kitai-gorod and beyond. The main road connecting the Kremlin to Kitai-gorod passed through St. Frol's (Saviour's) Gate and immediately afterwards fanned out into at least two radial streets (present-day Ilyinka and Varvarka), forming the central market square. In the 14th century the city was largely contained within two balancing halves, Kremlin and Kitai-gorod, separated by a marketplace, but by the end of the century it extended further along the north-eastern axis. Two secondary hubs in the west and south spawned their own street networks, but their development lagged behind until the Time of Troubles.

 

Tsar Ivan's decision to build the church next to St. Frol's Gate established the dominance of the eastern hub with a major vertical accent, and inserted a pivot point between the nearly equal Kremlin and Kitai-gorod into the once amorphous marketplace. The cathedral was the main church of the posad, and at the same time it was perceived as a part of the Kremlin thrust into the posad, a personal messenger of the Tsar reaching the masses without the mediation of the boyars and clergy. It was complemented by the nearby Lobnoye mesto, a rostrum for the Tsar's public announcements first mentioned in chronicles in 1547 and rebuilt in stone in 1597–1598. Conrad Bussow, describing the triumph of False Dmitriy I, wrote that on 3 June 1606 "a few thousand men hastily assembled and followed the boyarin with [the impostor's] letter through the whole Moscow to the main church they call Jerusalem that stands right next to the Kremlin gates, raised him on Lobnoye Mesto, called out for the Muscovites, read the letter and listened to the boyarin's oral explanation."

 

Replicas

A scale model of Saint Basil's Cathedral has been built in Jalainur in Inner Mongolia, near China's border with Russia. The building houses a science museum.

Norton Commando (1967-77) Engine 745cc air-cooled OHV parallel-twin

Registration Number KTX 87 L (Glamorgan)

NORTON SET

www.flickr.com/photos/45676495@N05/sets/72157626983592506...

  

The Norton Commando was built by Norton-Villiers with an OHV pre-unit parallel-twin engine initially of 750 (745cc), in January 1973 the ‘Mk.5 Fastback’ was launched and the ‘Long Range’ discontinued foreshadowing the first 850 cc machines launched in April 1973. The ‘Roadster’, ‘Hi Rider’ and the ‘Interstate’ all began to use a new 828 cc. engine, which had similar power to the 750 cc models but were less stressed.

During its ten years of production, the Commando was popular all over the world. In the United Kingdom it won the Motor Cycle News "Machine of the Year" award for five successive years from 1968-1972.

After some police forces expressed interest in the Commando, Neale Shilton was recruited from Triumph to produce a Commando to police specifications. The end result was the 'Interpol' machine, which sold well to police forces, both at home and abroad. The 750 cc machine was fitted with panniers, top box, fairing, radio mountings, police lights, and auxiliary equipment. The 'Interpol' name was retained for Norton's later Norton Interpol 2 rotary engined Police motorcycle.

 

Many thanks for a fantabulous 39,767,293 views

 

Shot at the Cars in the Park Show Lichfield 5th July 2015 Ref 107-435

Allard Motor Company Limited was a London based low volume car manufacturer founded in 1945 by Sydney Allard[1] which commenced from small premises in south west London. Car manufacture almost ceased within a decade. It produced approximately 1900 cars before it became insolvent and ceased trading in 1958.[citation needed] Before the war, Allard supplied some replicas of a Bugatti-tailed special of his own design from Adlards Motors in Putney.[1]

 

Allards featured large American V8 engines in a light British chassis and body, giving a high power-to-weight ratio and foreshadowing the Sunbeam Tiger and AC Cobra of the early 1960s. Cobra designer Carroll Shelby and Chevrolet Corvette chief engineer Zora Arkus-Duntov both drove Allards in the early 1950s.Pre-war Allard Specials

 

The first Allard cars were built specifically to compete in Trials events – timed rally-like events on terrain almost impassable by wheeled vehicles. The first Allard was powered by a Ford flathead V8 in a body mostly sourced from a Bugatti racer. It used the American engine's high torque to great effect in slow-speed competition.

 

Further Allards were soon built to order with a variety of large, Ford-sourced engines, including Lincoln-Zephyr V12 powerplants. By the outbreak of war in 1939 twelve Allard Specials had been built. Sydney Allard's planned volume production was pre-empted by work on Ford-based trucks during the conflict. By its end, Allard had built up a substantial inventory of Ford parts.

Post-war Models

 

Using its inventory of easy-to-service Ford mechanicals built up during World War II and bodywork of Allard's own design, three post-war models were introduced: the J, a competition sports car; the K, a slightly larger car intended for road use, and the four seater L. Sales were fairly brisk for a low-volume car, and demand was high for cars in general, which led to the introduction of several larger models, the drophead coupe M and P.

J2

J2; this very car was third overall at Le Mans 1950

 

Sydney Allard soon saw the potential of the economically more vibrant – but sports car starved – US market and developed a special competition model to tap it, the J2. The new roadster was a potent combination of a lightweight, hand-formed aluminium body fitted with independent front suspension and de Dion type rear axle, inboard rear brakes, and designed for a Ford "flathead" V8. Allard's distinctive front suspension was produced by splitting the I-beam front axle in two to make swing axles, with long radius rods and a new feature, for their day, of inclined telescopic shock absorbers.[2][3] Importing American engines just to ship them back across the Atlantic proved problematic, so US-bound Allards were soon shipped engineless and fitted out in the States variously with newer overhead valve engines by Cadillac, Chrysler, Buick, and Oldsmobile. In that form, the J2 proved a highly competitive international race car for 1950, most frequently powered by 331 cubic inch Cadillac engines. Domestic versions for England came equipped with Ford or Mercury flatheads. Russian-American engineer Zora Arkus-Duntov, formerly of Ardun (named after founders Yura and Zora ARkus-DUNtov) where he designed and developed aluminium overhead valve hemi heads for flathead Fords, worked for Allard from 1950 to 1952 and raced for the factory Allard team at Le Mans in 1952 and 1953.[4]

 

Available both in street trim and stripped down for racing, the J2 proved successful in competition on both sides of the Atlantic, including a third place overall at Le Mans in 1950 (driven by Sydney Allard himself, who also placed first in the Monte Carlo Rally in 1952 driving an Allard P1 saloon car). Of 313 documented starts in major races in the 9 years between 1949 and 1957, J2's compiled a list of 40 first place finishes; 32 seconds; 30 thirds; 25 fourths; and 10 fifth place finishes.[5] Both Zora Arkus-Duntov (the first chief engineer for the Chevrolet Corvette) and Carroll Shelby (the creator of the AC Cobra) raced J2's in the early 50's. 90 J2's were produced between 1950 and 1952.[6]

 

In an effort to extend a line growing obsolete in the face of advances in sports car design, Allard introduced an 'improved' model in late 1951, the J2X (extended). In an attempt to improve handling, the front suspension's rear attaching radius rods were redesigned with forward ones, which required a forward cross member and extending the nose out past the front wheels. This, in turn, allowed the engine to be moved forward, yielding more cockpit room. There is often confusion when it comes to identification of J2 and J2X types because they are seemingly very similar. However, the most obvious differences are that the J2 nose does not extend past the front tyres and has two vents below the grille, while the J2X nose has a more protruding chin with a single vent below the grille, which, as explained extends out past the front tyres. Allard historian Tom Lush, who was Sydney Allard's Personal Assistant and Allard employee from the beginning, said in his definitive book "Allard: The Inside Story" that the chin was the most obvious difference between the two models. In standard form the spare wheel was carried hidden on top of the rear mounted fuel tank but either version could carry one or two side mounted optional spares. This allowed the use of a 40 gallon long distance fuel tank.

 

Arriving later during a time when sports racing car design was developing rapidly, the J2X was not as successful in international racing as the J2, as it was not as competitive when compared to more advanced C and later D type Jaguars, alongside Mercedes, Ferrari, and Maserati works entries. Thus, it headlined less often in major international races and of 199 documented major race starts in the 9 years between 1952 and 1960, J2X's garnered 12 first place finishes; 11 seconds; 17 thirds; 14 fourths; and 10 fifth places.

P1

Main article: Allard P1

1948 P1 Sports

 

Known more often than not simply as the Allard 3.6-litre Saloon, the P1 was a five-seat, two-door sports saloon produced between 1949 and 1952. The cars used Ford engines and transmissions, and included a "Sports" model.

 

In 1952 an Allard P1, driven by Sydney Allard himself, along with Guy Warburton, won the Monte Carlo Rally. Tom Lush was the navigator.

M-Type

1949 M-type Drophead Coupé

 

The M-Type was offered in 1948 and 1949 as a Drophead Coupé.

Clipper

Main article: Allard Clipper

1954 Clipper

 

The 1953 Clipper was an attempt to cash in on the era's burgeoning microcar market. A tiny glass-fibre bodied car powered by a rear mounted 346 cc Villiers twin cylinder motorcycle engine, it claimed to seat three people abreast with room for two children in an optional Dicky seat. About 20 were made.

Palm Beach

Main article: Allard Palm Beach

Palm Beach (1952–59)

 

Allard introduced the 4- and 6-cylinder Palm Beach roadster in 1952. Built until 1958, the MkI was only available with four- or six- cylinder engines. A Mark II was introduced in 1956, it could be had with a six-cylinder 3.4-litre (3442 cc) Jaguar engine.

K3

1953 K3

 

Also in 1952, Allard adapted the Palm Beach in a K3, an attempt to offer a more civilized variant of the J2 and J2X models seen at the track. Exported to America as a potential "Corvette slayer" Dodge dealers had been clamoring for, it featured one of the most powerful engines of its era, the 331 cu. in. Chrysler hemi engine, fitted with a pair of 4-barrel carburetors.[7] Essentially a rebodied Palm Beach, it failed to find a niche in either market in spite of its performance. Today the exceptionally rare automobile can fetch the better part of a quarter million dollars (US) at auction.[7]

Allard P2 Safari

1953 P2 Safari

 

In an attempt to further extend its line, Allard adapted its P1 saloon to produce the 8 seater, wood sided, V8 engined, P2 Safari Estate. It too found weak sales.

Decline

 

Insufficient research and development meant that Allard failed to keep up with cheaper and more technically advanced cars. The Palm Beach was essentially a year behind its competitors, the K3 failed to live up to expectations, and the Safari Estate could not find a market.

 

By the mid-fifties Allard was struggling to remain solvent. The market was weak due to a late-'50s US recession

 

Sydney Allard's son, Alan Allard, marketed the Allardette 105, 109, and 116, using the straight four cylinder engine from the Ford Anglia and other Ford models.

 

In 1966 Sydney Allard died on the same night that an arsonist destroyed the Clapham factory and some of the Allard Motor Company factory records. The Allard factory site in Clapham is now a housing co-operative association, but the showroom and workshop in Putney remains as a car dealership.

University of Washington Campus in Seattle, with the Suzzallo Library in the background.

The Cathedral of Vasily the Blessed, commonly known as Saint Basil's Cathedral, is a Russian Orthodox church on Red Square in the historic centre of Moscow. It is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral. It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. It was completed, with its colours, in 1683.

 

The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, it was perceived as the earthly symbol of the Heavenly City. Like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the patriarch of Moscow and the tsar of all Russia.

 

The cathedral has nine distinctive onion domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. Russian historian Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century, and it is considered as a prime example of Russian Renaissance architecture.

 

As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928. It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. Following the dissolution of the Soviet Union in 1991, weekly liturgical celebration and prayers to St. Basil have been restored since 1997.

Triumph TR4A (1965-67) Engine 2138cc S4 OHV Production 28465

Registration Number PRP 171 D (Northamptonshire)

TRIUMPH ALBUM

www.flickr.com/photos/45676495@N05/sets/72157623847263736...

 

The TR4A was an evolution of the TR4, updated with a new chassis. It was hoped the new, but more complex independent rear suspension would address the buying public's desire for more comfortable riding sports cars. All of which added weight and the TR4A is around 100lbs heavier than the TR3. a/c electrics and diaphragm clutches were optional, as were wire wheels (£36), overdrive (£51), heater (£13) and set belts (£4 each)

In response to dealer requests, about 25 percent of TR4As were produced with a solid rear axle option (also called a live axle), similar to the earlier TR4. The TR4A was the first vehicle to offer an option for axle type. The new suspension eventually proved itself with the buying public and in racing, with three TR4A IRS models posting a team win and finishing 1st, 2nd and 3rd in class at the Sebring 12-hour race of 1966.

Like the TR4, the TR4A was also available with the Surrey Top hard top system; a weather protection system with rigid rear section including the rear window and removable fabric section over the driver's and passenger's heads. This aesthetically foreshadowed the silhouette of Targa top cars..

 

Diolch am 83,076,148 o olygfeydd anhygoel, mae pob un yn 90cael ei werthfawrogi'n fawr.

 

Thanks for 83,076,148 amazing views, every one is greatly appreciated.

 

Shot 17.07.2021 at Shelsley Walsh (Classic Nostalgia), Worcestershire 147-179

   

"Hopefully it won't take half a year for me to post photos" I said... 7 months ago.

Unfortunately I got sidetracked on a pretty large project, but I'm happy to finally be back doing some handful-sized builds again.

 

This one has been in limbo for quite a long while (is there such a thing as development hell for Lego builds?), changing colours and tweaking more or less every aspect back and forth. At least these tweaks led to something else (that's foreshadowing)

If you heard nothing about a gang of Ginger Joe then you probably were born much later the events that occurred on the territory of the future state of Colorado. In 1858, in the streams of the Rockies gold was found. Thousands of people flocked here going for the gold. Soon prospectors camps have turned into small towns and became the object of attack of the the Indians and robbers. Then all knew the most notorious thugs - Joe gang. His fiery red hair was seen at the attacks on shops merchants, robberies on the roads and even attacks on bank branches. So far, luck was on the side of the bandits, but this time it all went wrong...

 

Bank robbery was planned carefully. All foreshadowed easy profits. But, instead of the two guards with sawn-off shotguns, hijackers met well armed force. In the skirmish was killed most of the gangs, but Joe himself managed to escape. He decided to get rid of the chase and to lay low for the some time...

 

By the wild narrow path riding on the Caesar he sneaks to Arizona. But suddenly old Sheriff Bill Kanning blocked the way...

The rust foreshadows the inevitable future of the rails in St. Thomas. Once the incredibly busy, productive hub of rail commerce in Southern Ontario, there is little here to connect us any longer, and, I feel, the situation will grow bleaker, faster.

Proving that staying in it can win it, Wolf Henzler kept at going from 6th to 1st in the last two laps of a torrential downpour. Falken's rain tires did so well they even got a mention from Bobby Rahal as well as the Corvette boys after the race. Also of note is Jamie Howe conducting an interview behind the sleek lines of the Porsche 911 RSR for ESPN. Melanie Tillbrook is doing her best job at foreshadowing the upcoming race.

This second version of the fictional Class 22/1carries rail blue livery, suggesting a longer life than the ill-fated North British Class 22/0 (although some of the latter did receive this livery towards the end of their short lives). The body style foreshadows that developed for Northern Ireland Railways Class 101 that were constructed by BREL at Doncaster as sub-contractor to Hunslet-Barclay which, in this case, could have been a sub-contractor to North British (30-Aug-12).

 

All rights reserved. Not to be posted on Facebook under any circumstances but you are welcome to post a link. Not to be posted elsewhere without prior written permission. Please follow the link below for additional information about my Flickr images:

www.flickr.com/photos/northernblue109/6046035749/in/set-7....

 

Still in New York City and we're walking, always walking. What fun! I spot this sign and am certain it is NOT for Demi Less. I've grown really very fond of her since Mr. Zoom and I rescued her from the fixtures department of a store that was closing. We've had a blast. She's stood in line at the ice cream stand, been hoisted up the top of a towering tree, had momentary fun with the Belushi Brothers in a restaurant and most recently, been told by the moving Statue of Liberty to read the signs in order to find her other half....the thing she is searching for.

But Lush Life? No, her cousin, Eve N. Less....she's the lush! We suspect the N stand for Noir... as in Pinot Noir.

At any rate, Demi is different. I give Mr. Zoom the high sign and he hustles Demi right past it. Mr. Zoom is quick that way.

Foreshadowing: I am not so sure her next sign was any better.....certainly not for Mr. Zoom! Stay tuned!!!!

Acrylic on Canvas (150 cm x 250 cm)

 

"We Saw the Future" is a conceptual series of acrylic paintings by , Brazilian artist Zéh Palito. The series portrays a world wherein man and animal merge as one. Defining Palito's archetypal foreshadowings of this obscure destiny, each painting illuminates a specific step of the journey. Using his signature color palette of bright reds, royal blues, lime greens, and electric yellows within the contrasting organic shapes against geometric, Zéh Palito takes his audience into this self-conceived dimension. He enhances the cardinal concept of nature’s connectivity by splashing evocative imagery about the canvas: grenades ejecting rainbows, hands possessing hearts, elephants and gorrilas exploring uncharted territory. “We Saw the Future” reinvents the inherent evolution, alludes to the riddance of all things bad, and leaps towards the equality of man and his fellow animal. Yet again, Zéh Palito gives his audience reason to take a second look at the world around them. For, it is man who determines what lay ahead. Perhaps the future is not such a mystery after all.

 

(Paley Martin- Art Nouveau MAG)

 

From the Holy Gospel, which God himself first revealed in Paradise (Gen 3:15), afterwards proclaimed by the holy Patriarchs (Gen 22:18; 12:3†; 26:4; 28:14†; 49:10–11) and Prophets (Rom 1:1–4; Heb 1:1–2; Isa 53†; 42:1–4†; 43:25†; 49:5–6, 22–23†; Jer 23:6†; 31:32–33†; 32:39–41†; Mic 7:18–20†; Acts 3:22–24; Acts 10:43), and foreshadowed by the sacrifices and other ceremonies of the law (Lev 1–7†; John 5:46; Heb 9:13–15†; Heb 10:1, 7), and finally fulfilled by his well-beloved Son (Rom 10:4; Gal 4:4–5; Gal 3:24–25; Col 2:17†; Heb 13:8).

 

The text of the catechism is reproduced from, “The Heidelberg Catechism. A.D. 1563,” in Philip Schaff and David S. Schaff, eds., The Creeds of Christendom (1931; repr., Grand Rapids: Baker, 1996), 3:307–55.

RR... don't read the title.

 

Website | Tumblr

 

Norton Commando (1967-77) Engine 745cc air-cooled OHV parallel-twin

Frame No: 305533

Engine No: 305533

Registration Number Unregistered

NORTON SET

www.flickr.com/photos/45676495@N05/sets/72157626983592506...

  

The Norton Commando was built by Norton-Villiers with an OHV pre-unit parallel-twin engine initially of 750 (745cc), in January 1973 the ‘Mk.5 Fastback’ was launched and the ‘Long Range’ discontinued foreshadowing the first 850 cc machines launched in April 1973. The ‘Roadster’, ‘Hi Rider’ and the ‘Interstate’ all began to use a new 828 cc. engine, which had similar power to the 750 cc models but were less stressed.

During its ten years of production, the Commando was popular all over the world. In the United Kingdom it won the Motor Cycle News "Machine of the Year" award for five successive years from 1968-1972.

After some police forces expressed interest in the Commando, Neale Shilton was recruited from Triumph to produce a Commando to police specifications. The end result was the 'Interpol' machine, which sold well to police forces, both at home and abroad. The 750 cc machine was fitted with panniers, top box, fairing, radio mountings, police lights, and auxiliary equipment. The 'Interpol' name was retained for Norton's later Norton Interpol 2 rotary engined Police motorcycle.

 

This machine was offered as a non runner, at the British Motorcycle Museum, H and H sale 2nd March 2019 with a guide price of £4,500 - £5,000

 

Diolch yn fawr am 69,302,025 o olygfeydd anhygoel, mwynhewch ac arhoswch yn ddiogel

 

Thank you 69,302,025 amazing views, enjoy and stay safe

 

Shot 02.03.2019 at the National Motorcycle Museum, H and H Auction Ref 138-018

    

William Kendall had three daughters whom he loved to paint in tender moments with their mother, Margaret. Here, the closed curtain and open book suggest a bedtime story, but there is a tantalizing hint of another meaning in this image. Margaret Kendall turns her face away from her husband to focus her affection on her daughter, who looks out at us with a wide-eyed, almost haunted expression.

 

The title suggests a quiet moment before something happens, and it is possible that this image foreshadowed the disintegration of Kendall’s family. When An Interlude was painted, the artist had begun a relationship with the adolescent niece of artist Albert Herter. Kendall eventually divorced Margaret, resigned his teaching position at Yale, and retired to Hot Springs, Virginia, with Christine Herter.

 

William Sergeant Kendall, An Interlude, 1907, oil on canvas, Smithsonian American Art Museum

Five tilt-wing XC-142As were built in the 1960s to explore the suitability of Vertical/Short TakeOff and Landing (VSTOL) transports. VSTOL transports permit rapid movement of troops and supplies into and out of unprepared areas. XC-142As were tested extensively by the U.S. Army, Navy, Air Force and NASA.

 

An XC-142A first flew conventionally in September 1964 and performed its first transitional flight (vertical takeoff, changing to forward flight, and landing vertically) in January 1965. In tests, XC-142As were flown from airspeeds of 35 mph backwards to 400 mph forward.

 

Although the XC-142A didn't enter production, it foreshadowed future operational VSTOL transports like the V-22 Osprey. The aircraft on display -- the only remaining XC-142A -- was flown to the museum in 1970.

 

National Museum of the US Air Force

Wright-Patterson AFB

Dayton, OH

Sea Ice as we approach Kap Godfred Hansen, Liverpool Land, Greenland. We thought it looked like a polar bear. Foreshadowing of what we would actually see later in the expedition?

Voigtlander 20mm sl-2 3.5

fm2n

portra 400

 

streetizm.tumblr.com/

 

FREELANCE PROJECT

This and all South Telegraph designs are its sole property and cannot be resold or republished.

 

Goal: To create key art for an upcoming series at South Telegraph

Audience: Adult Service.

Direction: Pastor wanted this to have an inspirational feel that foreshadowed heaven.

Project: This would be the bulletin cover

 

As always your comments and feedback are appreciated.

The Fiat Coupé (type 175, officially titled the Coupé Fiat) was a coupé produced by the Italian manufacturer Fiat between 1993 and 2000. The car was introduced at Brussels Motor Show in 1993.

 

It is most remembered for its distinctive, angular design, with unique scalloped side panels. The body was designed by Chris Bangle from Centro Stile Fiat, while the interior was designed by Pininfarina. The exterior design would foreshadow much of late 1990s and early 2000s car design, acting as a precedent to both Bangle's somewhat notorious work at BMW, as well as futuristic angular designs by other marques, such as Ford and Renault.

 

History:

 

The Fiat Coupe made media headlines in auto magazines during 1992 after several spy shots were taken revealing the car on test. On its launch in 1993, the Coupé was available with a four-cylinder, 2.0 L 16V engine, in both turbo (190 PS) and normally aspirated (139 PS) versions. Both engines were later versions of Fiat's twin-cam design and inherited from the Lancia Delta Integrale, winner of the World Rally Championship a record six times. 1996 brought in a 1.8 L 16V engine (not available in the UK, 131 PS), along with a 2.0-litre 5-cylinder 20V (147 PS), and a 5-cylinder 2.0-litre 20V turbo (220 PS).

  

Fiat Coupé 20v Turbo Model

The turbocharged 16 and 20 valve versions were equipped with a very efficient Viscodrive limited-slip differential to counter the understeer that plagues most powerful front wheel drive cars. Additionally, the coupe featured independent suspension all round: at the front MacPherson struts and lower wishbones anchored to an auxiliary crossbeam, offset coil springs and anti-roll bar; at the rear, trailing arms mounted on an auxiliary subframe, coil springs and an anti-roll bar.

 

1998 saw the release of the Limited Edition which featured red Brembo brake calipers at the front and standard red calipers at the back, a body kit, push-button start, six-speed gearbox, strut brace to make the chassis more rigid and Recaro seats with red leather inserts which offered better support than the standard 20VT seats. The LE was produced in Black (flat), Red (flat), Vinci Grey (metallic), Crono Grey (flat) and Steel Grey (metallic). The bodywork of the LE also benefited from titanium coloured insert around the light bezels and the wing mirrors. Each Limited Edition ('LE') Coupé was manufactured with a badge located by the rear-view mirror which contained that car's unique number (it is rumored that Michael Schumacher was the original owner of LE No. 0001, however when the question was raised to him personally he confirmed he had owned one, but a red one, while LE No. 0001 is a Crono Grey one). Originally a spokesman from Fiat stated only approximately 300 Limited Editions would be built. The final amount was much higher, with numbers as high as 1400 touted by some. This angered many of the owners of the original 300 cars and almost certainly impacted residual values. The original number however was quoted by a Fiat UK spokesman, so probably that number only applied to the UK market. The numbered plaque on every Coupe features enough space for 4 numbers.

 

In 1998 the 2.0-litre 5-cylinder 20V got a Variable Inlet System which brought the power to 154 PS (113 kW). The 2.0-litre 5-cylinder 20V Turbo received a 6-speed gearbox and a large, satin gloss push starter button. In addition, the sills of the Turbo version were colour matched with the body paintwork. Fiat also released the 2.0 L 5 cylinder Turbo 'Plus'. This model came with an option kit that made it virtually identical to the LE, except for minor interior design changes and without the unique identification badge of the LE.

 

In 2000 Fiat released another special version of the Fiat Coupé. Featuring the 1.8-litre engine, it was only available throughout mainland Europe and marketed as an elegant and affordable edition. Fiat also made changes throughout the rest of the range: new seats, side skirts and wheels for the 2.0-litre 20V model, 'Plus' edition wheels on turbo models and Fiat manufactured seats on the 'Plus' that were virtually identical to the original Plus Recaro seats with the addition of extra airbags. The 2.0-litre 20V Turbo model is capable of accelerating from 0–100 km/h (0 to 62 mph) in 6.5 seconds, with a top speed of 240 km/h (149 mph) or 250 km/h (155 mph) with later 6-speed gearbox. When production finally stopped in September 2000, a total number of 72,762 units had been produced.

 

[Text from Wikipedia]

 

en.wikipedia.org/wiki/Fiat_Coup%C3%A9

 

This miniland-scale Lego FIAT Coupe (Type 175 - 1993 - Bangle) has been created for Flickr LUGNuts' 92nd Build Challenge, - "Stuck in the 90's", - all about vehicles from the decade of the 1990s.

Foreshadowing the use of Class 150 by London Midland on the Marston Vale line, nearly-new 150122 is seen near Isham with an early morning Kettering to Bletchley service.

 

03 March 1986

This is a wonderful too tight to creep passage. Such passages are known as creeps, they are many that are unfeasibly small. They raise many questions, were the old open ways closed in when new religious and ceremonial changes occurred? Tombs like this throughout Europe were erected and revered and then closed off as new ways took over. These new monumental ways could be friendly reworking of old ways, invading new dramatic changes and other ways too, any and all of which we continue to look for in the archaeology and also to listen for further and to wonder at what the shadows say when we explore them from near, or far.

 

© PHH Sykes 2023

phhsykes@gmail.com

  

Wideford Hill Chambered Cairn Kirkwall, Orkney

www.historicenvironment.scot/visit-a-place/places/widefor...

 

Megalithic Portal - Wideford Hill Chambered Cairn

www.megalithic.co.uk/article.php?sid=178

 

Wideford Barrow / Cairn Cemetery

www.themodernantiquarian.com/site/8428/wideford.html

 

Wideford Hill Chambered Cairn

www.themodernantiquarian.com/site/215/wideford_hill.html

 

The Shadownlands Collection is based on science fiction stories by Dyan Bender.

 

The second character in the collection is Fyre, whose secret name is Ardala. She is the adopted daughter of a wealthy Healer and direct descendant of the last ruler of what is often called the Great City.

 

She is a Highborn, a race the developed from Human close intermarriage of the ruling families. Thru centuries of narrowed bloodlines a race of physically beautiful and mentally gifted people consolidated power. Marked physically by extremely pale pearlescent skin and blazing red hair with oddly metallic quality. Highborn are marked by a drive to acquire power and are gifted with something other races call Charisma.

 

Ardala is young, she has gained her full height but is still not filled out completely. She has been able to pass as a boy for years. Her eyes are blue, the warm blue of shallow seas, and bright with curiosity and good humor. Although wealthy now for many years she and her mother moved often and she has learned to easily adapt to new locations...she enjoys learning about new people, customs and cultures. She is gentle, and her gentle nature shows in her expression. She completely lacks the imperious and commanding nature that typically marks Highborn, but she is just starting to understand that she has personal power, she is starting to learn that she can command the attention of others.

 

She wears her silk finery, wide pants of teal silk that were left a bit short in the ankles in her last growth spurt; silk slippers encrusted with brass sequins; a silk chiffon vest draping over her young shoulders with fine brass chains; a bra heavily embellished with tiger eye gems, brass and gold, forming hawk motives that symbolize and foreshadow her soaring potential. Her hips, neck and intricately braided hair are adorned with gold chains.

 

The doll is a Andro Inamorata Nnaji in Milk skintone.

 

This is a commissioned bespoken OOAK doll and not for sale.

Production: 2001 - 2004

Engine: 1,8 litre R4 (petrol)

Power: 132 - 182 PS

Gearbox: 6 speed manual

Layout: front engine, front drive

Location: Tokyo, Japan

 

Introduced at the 2001 Los Angeles Auto Show as a concept vehicle for Toyota's WiLL sub-brand (and foreshadowing the Scion brand), the WiLL VS was one of the few concept vehicles to go into production. Only about 4.000 units were ever made.

The Cathedral of Vasily the Blessed (Russian: Собор Василия Блаженного, romanized: Sobor Vasiliya Blazhennogo), known in English as Saint Basil's Cathedral, is an Orthodox church in Red Square of Moscow, and is one of the most popular cultural symbols of Russia. The building, now a museum, is officially known as the Cathedral of the Intercession of the Most Holy Theotokos on the Moat, or Pokrovsky Cathedral.[3] It was built from 1555 to 1561 on orders from Ivan the Terrible and commemorates the capture of Kazan and Astrakhan. Its completion, with its colors, was made in 1683. It was the city's tallest building until the completion of the Ivan the Great Bell Tower in 1600.

 

The original building, known as Trinity Church and later Trinity Cathedral, contained eight chapels arranged around a ninth, central chapel dedicated to the Intercession; a tenth chapel was erected in 1588 over the grave of the venerated local saint Vasily (Basil). In the 16th and 17th centuries, it was perceived as the earthly symbol of the Heavenly City. Like all churches in Byzantine Christianity, the church was popularly known as the "Jerusalem" and served as an allegory of the Jerusalem Temple in the annual Palm Sunday parade attended by the Patriarch of Moscow and the Tsar.

 

The cathedral has nine domes (each one corresponding to a different church) and is shaped like the flame of a bonfire rising into the sky. Dmitry Shvidkovsky, in his book Russian Architecture and the West, states that "it is like no other Russian building. Nothing similar can be found in the entire millennium of Byzantine tradition from the fifth to the fifteenth century ... a strangeness that astonishes by its unexpectedness, complexity and dazzling interleaving of the manifold details of its design." The cathedral foreshadowed the climax of Russian national architecture in the 17th century.

 

As part of the program of state atheism, the church was confiscated from the Russian Orthodox community as part of the Soviet Union's antireligious campaigns and has operated as a division of the State Historical Museum since 1928.[10] It was completely secularized in 1929, and remains a federal property of the Russian Federation. The church has been part of the Moscow Kremlin and Red Square UNESCO World Heritage Site since 1990. With the dissolution of the Soviet Union in 1991, weekly Orthodox Christian services with prayer to St. Basil have been restored since 1997.

 

Because the church has no analog—in the preceding, contemporary, or later architecture of Muscovy and Byzantine cultural tradition, in general,—the sources that inspired Barma and Postnik are disputed. Eugène Viollet-le-Duc rejected European roots for the cathedral, opining that its corbel arches were Byzantine and ultimately Asian. A modern "Asian" hypothesis considers the cathedral a recreation of Qolşärif Mosque, which was destroyed by Russian troops after the Siege of Kazan.

 

Nineteenth-century Russian writers, starting with Ivan Zabelin,[5] emphasized the influence of the vernacular wooden churches of the Russian North; their motifs made their ways into masonry, particularly the votive churches that did not need to house substantial congregations. David Watkin also wrote of a blend of Russian and Byzantine roots, calling the cathedral "the climax" of Russian vernacular wooden architecture.

 

The church combines the staggered layered design of the earliest (1505–1508) part of the Ivan the Great Bell Tower, the central tent of the Church of Ascension in Kolomenskoye (1530s), and the cylindric shape of the Church of Beheading of John the Baptist in Dyakovo (1547); but the origin of these unique buildings is equally debated. The Church in Kolomenskoye, according to Sergei Podyapolsky, was built by Italian Petrok Maly, although mainstream history has not yet accepted his opinion. Andrey Batalov revised the year of completion of Dyakovo church from 1547 to the 1560s–70s, and noted that Trinity Church could have had no tangible predecessors at all.

 

Dmitry Shvidkovsky suggested that the "improbable" shapes of the Intercession Church and the Church of Ascension in Kolomenskoye manifested an emerging national renaissance, blending earlier Muscovite elements with the influence of Italian Renaissance. A large group of Italian architects and craftsmen continuously worked in Moscow in 1474–1539, as well as Greek refugees who arrived in the city after the fall of Constantinople. These two groups, according to Shvidkovsky, helped Moscow rulers in forging the doctrine of Third Rome, which in turn promoted assimilation of contemporary Greek and Italian culture. Shvidkovsky noted the resemblance of the cathedral's floorplan to Italian concepts by Antonio da Sangallo the Younger and Donato Bramante, but most likely Filarete's Trattato di architettura. Other Russian researchers noted a resemblance to sketches by Leonardo da Vinci, although he could not have been known in Ivan's Moscow. Nikolay Brunov recognized the influence of these prototypes but not their significance; he suggested that mid-16th century Moscow already had local architects trained in Italian tradition, architectural drawing and perspective, and that this culture was lost during the Time of Troubles.

 

Andrey Batalov wrote that judging by the number of novel elements introduced with Trinity Church, it was most likely built by German craftsmen. Batalov and Shvidkovsky noted that during Ivan's reign, Germans and Englishmen replaced Italians, although German influence peaked later during the reign of Mikhail Romanov. German influence is indirectly supported by the rusticated pilasters of the central church, a feature more common in contemporary Northern Europe than in Italy.

Marble portrait of the emperor Antoninus Pius

Roman, Antonine period, A.D. 138-161

 

Antoninus Pius (r. 138–61 A.D.), originally from southern Gaul, was the first of the Antonines, an adoptive dynasty that reflected the connections between wealthy provincial and Italian families. He was adopted by Hadrian as his successor when he was already fifty-one years old. His portraits thus represent him as a mature man in a sober but refined style that consciously echoes the imperial imagery adopted by Hadrian. At the beginning of his reign, he had to impel a reluctant Senate to award Hadrian divine honors, and it is probably for this reason that he himself was given the title of Pius. Unlike his two immediate predecessors, Trajan and Hadrian, Antoninus did not embark on any major wars or travel widely through the Empire. Indeed, he was in effect the last emperor to spend most of his reign in the city of Rome itself. Regarded as a just and diligent administrator, Antoninus presided over the Empire at the height of its power--a time that the historian Edward Gibbon later famously referred to as the period when "the condition of the human race was most happy and most prosperous."

 

Many statues and portraits of Antoninus and his wife Faustina were produced in Rome and the provinces. In appearance, Antoninus followed the style made fashionable by Hadrian (r. 117–38 A.D.) (08.170.118; 08.170.120; 99.35.177)—a thick, curly beard and a frame of hair around the face—thus emphasizing a constructed familial connection to his predecessor and adoptive father.

 

In this marble portrait that was once part of a statue, the face of Antoninus assumes a meditative expression imparted mostly by upturned eyes and a prominent brow that overshadows the heavy lids. The contemplative pose is appropriate for Antoninus, a man who quietly furthered the centralization of government. Working with a coterie of legal experts, he made noteworthy revisions to Roman law, including the ruling that a man must be considered innocent until proven guilty.

 

The emotive quality of this portrait foreshadows a stylistic trend that reached its fullest development during the reign of Caracalla (r. 211–17 A.D.) (40.11.1a), whose portraits reflected a level of psychological expression previously unknown in Roman portraiture, and set a standard that greatly influenced the portrait styles of later emperors.

 

Fletcher Fund, 1933 (33.11.3)

 

**

The April 20, 2007 unveiling of the 30,000 square foot Greek and Roman Galleries concluded a 15-year project and returned thousands of works from the Museum’s permanent collection to public view. Over 5,300 objects, created between about 900 B.C. and the early fourth century A.D., are displayed, tracing the parallel stories of the evolution of Greek art in the Hellenistic period and the arts of southern Italy and Etruria and culminating in the rich and varied world of the Roman Empire from from the Late Republican period and the Golden Age of Augustus’s Principate to the conversion of Constantine the Great in A.D. 312. The centerpiece of the new installation is the Leon Levy and Shelby White Court, a monumental, peristyle cour court with a soaring two-story atrium that links the various galleries and themes.

 

The Metropolitan Museum of Art's permanent collection contains more than two million works of art from around the world. It opened its doors on February 20, 1872, housed in a building located at 681 Fifth Avenue in New York City. Under their guidance of John Taylor Johnston and George Palmer Putnam, the Met's holdings, initially consisting of a Roman stone sarcophagus and 174 mostly European paintings, quickly outgrew the available space. In 1873, occasioned by the Met's purchase of the Cesnola Collection of Cypriot antiquities, the museum decamped from Fifth Avenue and took up residence at the Douglas Mansion on West 14th Street. However, these new accommodations were temporary; after negotiations with the city of New York, the Met acquired land on the east side of Central Park, where it built its permanent home, a red-brick Gothic Revival stone "mausoleum" designed by American architects Calvert Vaux and Jacob Wrey Mold. As of 2006, the Met measures almost a quarter mile long and occupies more than two million square feet, more than 20 times the size of the original 1880 building.

 

In 2007, the Metropolitan Museum of Art was ranked #17 on the AIA 150 America's Favorite Architecture list.

 

The Metropolitan Museum of Art was designated a landmark by the New York City Landmarks Preservation Commission in 1967. The interior was designated in 1977.

 

National Historic Register #86003556

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