View allAll Photos Tagged soviet
Leningrad, 1977 "Dom Leningradskoi torgovli"
The poor focus is the result of low lighting and quick raise-the-camera-and-shoot approach. It is actually not bad given that (and my lack of good camera skills).
Despite the lack of goods for sale of much interest, there is a fair amount of foot traffic. People are on the lookout for a line forming where something of value might have (briefly) gone on sale.
Floating technical base рroject 2020. NATO: Malina Class. Nikolaev, "Chernomorskiy Shipyard". Intended for support and repair of submarines' nuclear propulsion plants, including nuclear refuelling. Ukraina. Nikolaev. The water area of the river Southern Bug. "Chernomorskiy Shipyard".
Мифический советский корабль-призрак со сладким названием "Малина" проект 2020 - предназначен для перегрузки ядерного топлива с атомных подводных лодок. Корабль более 20 лет находится в недостроенном состоянии на Черноморском судостроительном заводе в г. Николаеве. "Малина" - своеобразный памятник холодной войны и развалившейся советской империи. Находясь на Украине он не нужен России, которая не финансирует его достройку. Согласно межправительственному договору между Украиной и Россией, подписанному в Москве 15 января 1993 г., Украинская Сторона обязуется осуществить на средства Российской Федерации достройку и передачу в состав ВМФ России плавучей технической базы проекта 2020 "Малина", заводской N 698. С учетом взаимоотношений между двумя государствами - корабль никогда не будет достроен!
At the center of the Soviet war memorial at Treptower Park, a Soviet soldier stands atop a shattered swastika and holds a small child.
FORGOTTEN IMAGES
murals in abandoned soviet barracks
www.jonasginter.de/urbex-vergessene-bilder-sowejtische-wa...
Winter Soldier was the next figure I grabbed. He's not quite as fun as cap is. No, I don't like the gun either, but it's what I've got.
Anyone want to guess who's next?
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June 2014
Apocryphal russian tankette in green camo. Loosely based on the german wiesel.
My first serious build in green (I had no green brick in my young age. The crystal skulls sets are good for two things: dark green and soviet minifigs!
Maybe I will evolve this into a Ontos.
his rifle has a very rare alloy PU scope made in 1942,after 2 years of searching I was finally able to track down one of these 1942 alloy PU scopes in Latvia a couple days ago,cost me as much as 5 Mosin rifles.But worth it considering it may have been at Stalingrad,Leningrad,or the battle of moscow. I'll post pics when it arrives
What makes these 1942 scopes different than the others is that the adjustment knobs sit on square turrets like the PE/PEM scopes
As leader of the new Soviet Canada, I thought it only necessary I create a flag for it.
Which is what you'll see here.
The monument was built in 1984 to memorize 40th anniversary of the victory in the Great Patriotic War. There is a beautiful statue of a bronze woman with trumpet beside the obelisk. Military parades are still held every year with this monument as central point. The Order of Lenin and the Gold Star medal, the highest decorations of the Soviet Union issued to Hero Cities are both depicted on the monument. The Obelisk to Hero City Minsk can be found on Masherov Avenue.
DSC03902
The Spasskaya Tower, translated as "Saviour Tower") is the main tower with a through-passage on the eastern wall of the Moscow Kremlin, which overlooks the Red Square.
The Spasskaya Tower was built in 1491 by an Italian architect Pietro Antonio Solari.
The height of the tower with the star is 71 m.
Abandoned Soviet Architecture
As a reminder, keep in mind that this picture is available only for non-commercial use and that visible attribution is required. If you'd like to use this photo outside these terms, please contact me ahead of time to arrange for a paid license.
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.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Immediately after the 1989 Velvet Revolution, the Czech president Václav Havel declared a de-mobilization of the Czech defense industry. Nevertheless, after the dissolution of the Soviet Union in 1991, the Czech company Aero Vodochody continued developing the basic L-39 Albatros design with a view toward greater export. The resulting L-39MS, later re-designed as L-59 Super Albatros, featured a more powerful turbofan engine, advanced avionics, and has been bought in quantity by Egypt and Tunisia. In 1993, a group of Czech military experts launched a project of production of a modern domestic fighter to replace the obsolete Soviet aircraft. Since the proposed Aero L-X supersonic fighter development proved to be financially demanding (up to US$2 billion), the less costly L-159 subsonic attack aircraft was approved for procurement instead.
Conducted between the years 1994 and 1997, the technical development of L-159 ALCA (Advanced Light Combat Aircraft) in Aero Vodochody consisted primarily of building one L-159 two-seat prototype based on the L-59 airframe, utilizing western engine, avionics and weapon systems, with Rockwell Collins (eventually Boeing) as the avionics integrator.
The L-159 ALCA was designed for the principal role of light combat aircraft (single-seat L-159A variant) or light attack jet and advanced/lead-in fighter trainer (two-seat L-159B and T variants). The design of the L-159 was derived from the L-39/59 in terms of aerodynamic configuration, but a number of changes were made to improve its combat capabilities. These included strengthening of the airframe, reinforcing of the cockpit with composite and ceramic ballistic armor and enlargement of the aircraft's nose to accommodate a radar. Compared to the L-59, number of underwing pylons was increased from four to six, and a new hardpoint under the fuselage was added instead of a fixed GSh-23L cannon in an external fairing. The aircraft was capable of carrying external loads up to 2,340 kg, ranging from unguided bombs and rocket pods to air-to-ground and air-to-air guided missiles or special devices to conduct aerial reconnaissance or electronic warfare. Guided precision ordnance like laser-guided glide bombs could be carried, too, thanks to the aircraft’s ability to carry respective targeting equipment, for example the AN/AAQ-28(V) LITENING pod.
The L-159 was powered by the non-afterburning Honeywell/ITEC F124-GA-100 turbofan engine with a maximum thrust of 28 kN. Almost 2,000 litres of fuel was stored in eight internal tanks (six in the fuselage, two at the wingtips) with up to four external drop tanks (two 500 L and two 350 L tanks) carried under the inner wings.
The lightly armored cockpit was equipped with a VS-2B ejection seat, capable of catapulting the pilot at a zero flight level and at zero speed. The aircraft's avionics based on the MIL-STD-1553 databus include a Selex Navigation and Attack Suite, Ring Laser Gyro based Inertial Navigation System (INS) and Global Positioning System (GPS). Flight data was displayed both at the FV-3000 head-up display (HUD) and on two multi-function displays (MFD). Communications were provided by a pair of Collins ARC-182 transceivers. Self-protection of the L-159 was ensured by a Sky Guardian 200 radar warning receiver (RWR) and Vinten Vicon 78 Series 455 chaff and flare dispensers. L-159A and T2 variants were equipped with the lightweight Italian FIAR Grifo L multi-mode Doppler radar for all-weather, day and night operations.
The maiden flight of the first L-159 prototype occurred on 2 August 1997 with a two-seat version. On 18 August 1998, the single-seat L-159A prototype first flew; it was completed to Czech customer specifications. 10 April 2000 marked the first delivery of L-159A to the Czech Air Force and the type was marketed for export.
One of the type’s foreign operators became the young Republic of Catalonia, which had declared independence from Spain in 2017. The Catalan independence movement already began in 1922, when Francesc Macià founded the political party Estat Català (Catalan State), but the modern independence movement began and gained serious momentum in 2010, when the Constitutional Court of Spain ruled that some of the articles of the 2006 Statute of Autonomy - which had been agreed with the Spanish government and passed by a referendum in Catalonia - were unconstitutional, and others were to be interpreted restrictively. Popular protest against this decision quickly turned into demands for independence. Starting with the town of Arenys de Munt, over 550 municipalities in Catalonia held symbolic referendums on independence between 2009 and 2011. All of the towns returned a high "yes" vote, with a turnout of around 30% of those eligible to vote. A 2010 protest demonstration against the court's decision, organized by the cultural organization Òmnium Cultural, was attended by over a million people. The popular movement fed upwards to the politicians; a second mass protest on 11 September 2012 (the National Day of Catalonia) explicitly called on the Catalan government to begin the process towards independence. Catalan president Artur Mas called a snap general election, which resulted in a pro-independence majority for the first time in the region's history. The new parliament adopted the Catalan Sovereignty Declaration in early 2013, asserting that the Catalan people had the right to decide their own political future.
After three more troublesome years and constant strife for independence from Spain, the Catalonian president Carles Puigdemont eventually announced a binding referendum on the topic. Although deemed illegal by the Spanish government and the Constitutional Court, the referendum was held on 1 October 2017. In a vote where the anti-independence parties called for non-participation, results showed a 90% vote in favor of independence, with a turnout of 43%. Based on this result, on 27 October 2017 the Parliament of Catalonia approved a resolution unilaterally creating an independent Republic.
This event was also the rather sudden birth of the Catalonian armed forces. Esp. the nascent air force, called Guàrdies Aèries de la República Catalana (GARC, Republic of Catalonia Air Guard), faced serious trouble, since Spain refused any assistance. Furthermore, there were no former Spanish military air bases in the region that could be taken, and any equipment and infrastructure had to be procured from scratch and on short notice.
In the wake of this hasted start, the L-159s became part of the GARC’s initial mixed bag of flying low-budget equipment. They were 2nd hand machines, bought from EADS-CASA of Spain and mothballed since 2012 after a barter deal with the Czech Republic: In 2009, EADS had exchanged with the CzAF four CASA C-295 transporters for three L-159As, two L-159T1s and 130 million Euros. These aircraft were still in EADS inventory in late 2017, even though grounded and taken out of service since 2012, because the operations of this small fleet as chasing aircraft were expensive and no buyer could be found in the meantime.
However, in 2018 the company sold them, under indirect pressure from NATO, to the Catalonian government at a “symbolic”, yet unspecified, price. This small fleet was soon augmented by five more L-159As and ten L-159T1s which were directly procured from the Czech Republic in 2019. These aircraft formed the initial, small backbone of the young country’s air defense, armed with AIM-9 Sidewinders (AIM-120 AMRAAM was possible, to, but not procured due to severe budget restraints) and Mauser BK-27 cannon in conformal pods. Since no military airfields with a suitable infrastructure for jet aircraft were available for the GARC at the time of their purchase and introduction, the L-159s were initially based at two public regional airports: at Reus, in the proximity of Tarragona at the Mediterranean coast, and at Girona in the country’s north, where airfield sections were separated of the military operations.
General characteristics:
Crew: one
Length: 12.72 m (41 ft 8¾ in)
Wingspan: 9.54 m (31 ft 3½ in)
Height: 4.87 m (16 ft)
Wing area: 18.80 m² (202.4 ft²)
Airfoil: NACA 64A-012
Aspect ratio: 4.8:1
Empty weight: 4,350 kg (9,590 lb)
Max. takeoff weight: 8,000 kg (17,637 lb)
Powerplant:
1× Honeywell F124-GA-100 turbofan, delivering 28.2 kN (6,330 lbf) thrust
Performance:
Never exceed speed: 960 km/h (518 knots, 596 mph)
Maximum speed: 936 km/h (505 knots, 581 mph) at sea level, clean
Stall speed: 185 km/h (100 knots, 115 mph)
Range: 1,570 km (848 nmi, 975 mi) max internal fuel
Combat radius: 565 km (305 nmi, 351 mi) lo-lo-lo, with a gun pod, 2× Mark 82 bombs, 2× AIM-9
Sidewinder and 2× 500 L drop tanks
Service ceiling: 13,200 m (43,300 ft)
Rate of climb: 62 m/s (12,220 ft/min)
Armament:
7Í hardpoints in total, 3 under each wing (outer pylons only for AAMs) and 1 under the fuselage,
holding up to 2,340 kg (5,159 lb) of ordnance
The kit and its assembly:
This model was spawned by a grain of truth: as mentioned in the background, EADS Spain had actually bought a few L-159s in 2009 from the CzAF in exchange for transporters, and together with the ongoing plans of an independent Catalonia I merged both into this ALCA single seater for the fictional Republic of Catalonia Air Guard.
The kit is the relatively new KP L-159. This is basically a nice model, but the kit has some severe flaws (see below). The model was basically built OOB, I just added AIM-9L Sidewinders and their respective launch rails as external ordnance on the outermost underwing hardpoints. Since I did not find the standard gun pod (a ZVI PL-20 Plamen pod with 2×20 mm guns) suitable, I decided to give the GARC aircraft a heavier, Western weapon in the form of a Mauser BK-27 (the same weapon used onboard of the Panavia Tornado or the Saab Gripen) in a conformal cannon pod under the fuselage. This piece was taken and adapted from a Heller Alpha Jet. Its shape perfectly fitted between the two ventral air brakes.
Concerning the kit itself, the build turned out to be a medium nightmare. The kit looked promising in the box, with fine engravings, but nothing fits well. There are no locator pins, you have (massive) ejection marks almost everywhere, and the parts’ attachment points to the sprues protrude into the parts themselves, so there’s a lot to clean up. At least there are no sinkholes.
Upon assembly, the cockpit tub – nicely detailed – would not fit into the fuselage at all and ended up in an oblique position (hidden through a pilot figure from the scrap box and a re-mounted avionics fairing in the rear cockpit). The air intakes left me guessing, too: while the edges are crisp and thin, the overall fit with the fuselage and the orientation of the parts had to be guesstimated, plus a mediocre fit, too. The instructions are not very helpful, either. I am quite disappointed and tried to make the best of the situation.
Painting and markings:
Much more thought was put into the model’s looks. What camouflage should such an aircraft carry? And I had to invent roundels/markings for a Catalonian air force aircraft, too.
Since the Catalonian L-159s were multi-purpose aircraft, yet primarily tasked with air space defense, I opted for an subdued air superiority scheme instead of a tactical low-level camouflage. Furthermore, the camouflage was supposed to be suited for a mountainous landscape (Pyrenees), relatively flat and dry land and also to open sea. This was a good opportunity to give a model the Greek “Ghost” scheme: a three-tone wraparound scheme consisting of FS 36307 (Light Sea Grey), 36251 (Aggressor Grey) and 35237 (Medium Grey, but actually a rather greyish blue). The pattern was adapted from Hellenic F-16s. I think it’s a good compromise, and it suits the ALCA well.
The national markings caused more headaches. I was looking for something that would not look like the Spanish roundel, but still reflect the Catalonian indpendence flag and – most important – I wanted to be able to create it from stock material (not printing them at home), with the option to replicate it on potential future builds.
In the end and after long safaris through my spare decal repository, I came up with a round marking. It consists of an Ukrainian roundel with a relatively thin outer yellow ring (from a Begemot MiG-29 sheet), placed on top of a Hinomaru, so that a thin, red outer ring was added. Onto the central, blue disc a white star (from a TL Modellbau sheet with US Army markings) was added. I think that this looks original enough?
There was a problem, though… In my first attempt to apply this construction, the roundels turned out to be VERY large overall. While the design itself looked O.K. (despite reminding of Captain America somehow), this looked ridiculous, esp. on an aircraft with a wraparound low-viz paint scheme. I was not satisfied, so I heavy-heartedly ripped the decals off again (using adhesive tape, works like a charm) and tried it again, in a smaller version.
Hinomaru became the basis once more, even though smaller, and then die-punched discs in yellow and blue (from generic decal sheet) were added, and finally small white stars again, one size smaller than during the first attempt. While this is still colorful and stands out from the grey background, the second attempt looked much more balanced now, and I stuck with it.
In order to add more flavor, I added Catalonian fin flashes and squadron emblems on the nose, depicting the “burro”, the Catalonian donkey which has become a kind of unofficial regional symbol as a kind of anti-mascot to the Spanish bull. These markings/decals were printed at home on white sheet.
The tactical codes were based on the Spanish system. The Spanish Air Force has its own alphanumeric system for identifying aircraft: This forms a prefix to the airframe serial number, usually marked on the tail. C means cazabombardero (fighter bomber); A, ataque (attack); P, patrulla (patrol); T, transporte (transport); E, enseñanza (training); D, search and rescue; H, helicopter; K, tanker; V, Vertical Take Off and Landing (VTOL); and U, utility. An example would be that the F-18 with "C.15-08" on the tail is the fifteenth type of fighter that arrived in the Spanish Air Force (the Eurofighter is the C.16) and is the eighth example of this type to enter the SAF. On the nose or fuselage, the aircraft has a numeral specific to the unit in which it is based.
Variants of planes in service, for example two-seater versions or tanker versions of transports planes, add another letter to differentiate their function, and have their own sequence of serial numbers separate from the primary versions. Example: "CE.15-02" will be the second F-18 two-seater (Fighter Trainer) delivered to the SAF. In addition, the aircraft used by the Spanish Air Force usually carry a code consisting of one or two digits followed by a dash and two numbers, painted on the nose or fuselage. The first number corresponds to the unit to which they belong, and the second the order in which they entered service. Example: the fourth F-18 arriving at Ala 12 will have on the nose the code "12-04". Those codes do change when the aircraft is re-allocated to a different unit. Quite complicated…
This led to the tactical code “2-03”, for the 3rd aircraft allocated to the 2nd fighter squadron, and “C.1-03” as individual registration as the 3rd aircraft of the 1st fighter type in Catalonian service. All codes were puzzled together with single black letters and numbers from TL Modellbau in 3 and 5mm size.
Finally, the kit was sealed with matt acrylic varnish.