Kosma and Damiana on Maroseyka schedule. Temple of Cosmas and Damian: history and modernity on Maroseyka. History of the old church

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Museums

Behind the Garden Ring, not far from the Moscow Compound of the Holy Trinity Lavra of St. Sergius, in a quiet, shady lane, there is the house of the outstanding Russian artist V. M. Vasnetsov, built in 1894 according to the design of the artist himself in the neo-Russian style. V. M. Vasnetsov lived here for the last 32 years of his life (1894–1926). On August 25, 1953, a museum was opened in the house; in 1954, 3rd Troitsky Lane, in which the house stands, was renamed Vasnetsov Lane. Immediately after the artist’s death, the relatives had the idea of ​​“preserving everything as it was, setting up something like a house-museum.” Having turned to the Tretyakov Gallery for help, they received consent to working together on organizing a posthumous exhibition of works by V. M. Vasnetsov with the further prospect of creating a museum. On January 27, 1927, the artist’s son Alexey Viktorovich Vasnetsov submitted a statement to the gallery’s Board stating that the family was ready to accept all obligations related to the organization of the exhibition. He was also approved as a commissioner for the conduct of affairs. Alexey Viktorovich was helped by his sister Tatyana Viktorovna and his wife Zinaida Konstantinovna. M. V. Nesterov, P. Korin, Ap. were directly involved in the design of the exposition. M. and Vl. V. Vasnetsov and Scientific Secretary Tretyakov Gallery N. S. Morgunov. The necessary renovation work, several hundred posters with information about the exhibition were printed and posted, tickets were prepared and a catalog was published. The exhibition opened on March 13, 1927. On the first day, about 600 people visited it. In the following days, many interested visitors and school groups came to the exhibition, and there were excursions. The exhibition was kept on display until 1933. The preface to the catalog stated that the works exhibited at the exhibition, in particular the fairy-tale cycle, were being presented to the public for the first time and that in the future landscapes, studies and sketches would be shown, “which, combined with what is being shown now, should form the Victor Vasnetsov Museum.” . The exhibition featured 212 exhibits: paintings, graphics and objects of decorative and applied art. The exhibits were housed in the living room, former classroom and workshop. The authors of the catalog provided the fairy-tale-epic paintings with brief texts from the literary source. During the Great Patriotic Wars The artist’s relatives continued to live in the house. The large paintings were rolled up, the rest of the works were placed in boxes. The house itself was not damaged, but the fence and terrace were not preserved. In September 1946, the heirs expressed a desire to organize a museum in the house for the centenary of the birth of V. M. Vasnetsov in 1948 and negotiated with the Tretyakov Gallery about this. The exhibition of the master’s paintings, which opened in May 1948 in the exhibition hall of the Union of Soviet Artists, aroused great interest among visitors and contributed to the decision to organize the museum. On June 29, 1950, a decree was issued by the Council of Ministers of the USSR on the organization of the V. M. Vasnetsov House-Museum. The Committee for Arts Affairs under the Council of Ministers of the USSR issued an order to begin organizing the museum, for which it would accept the house, as well as art collections and property donated by the artist’s heirs to the state. A month later, on July 29, 1950, the heirs signed a statement to the Committee for Arts under the Council of Ministers of the USSR on the gratuitous transfer of property and valuables to the state for the organization of the V. M. Vasnetsov House-Museum. On July 18, 1951, by order of the Committee, the “Regulations on the House-Museum of V. M. Vasnetsov” were approved. On August 28, 1951, an act of acceptance by the commission of the house was signed, works of art– paintings, graphics, works of decorative and applied art, household items and property of V. M. Vasnetsov from his heirs. The first director of the museum (from 1951 to 1957) was the artist’s nephew Dmitry Arkadyevich Vasnetsov, a participant in the First World War and the Great Patriotic War, an actor in the Musical Theater of K. S. Stanislavsky and V. I. Nemirovich-Danchenko, director of the Children’s Theater music school. Z. K. Vasnetsova was appointed chief custodian. Together with Tatyana Viktorovna, D. A. Vasnetsov was engaged in renovating the house, restoring its layout and recreating the environment that was during the life of V. M. Vasnetsov. The architecture of the house was completely preserved, the furnishings of the house were restored to the beginning of the twentieth century. The decoration of the dining room, living room and workshop has been almost completely preserved. All other rooms, including the exhibition rooms, contained original objects donated to the museum by the artist’s family. The part of the collection that remained in the ownership of the heirs was transferred to the museum according to the will of T.V. Vasnetsova in 1959 and on the basis of her deed of gift in 1961. Thus, all collections: paintings, graphics, objects of decorative and applied art and everyday life, the artist’s personal archive and library, photographs and reproductions became part of the museum’s collection, which was replenished through gifts different persons, procurement, and currently has about 25 thousand museum items. In 1978–80, the house was restored and restored appearance outbuildings, where under common roof there was a janitor's room, a laundry room and a carriage house; in the courtyard the cobblestone pavement and brick path. On the eastern side, the firewall erected in the 80s of the 19th century has been preserved ( Brick wall), to which in the 1970s the mosaic “The Savior on the Throne” was transferred, made at the beginning of the twentieth century according to a sketch by V. M. Vasnetsov in the St. Petersburg mosaic workshop under the direction of V. A. Frolov. On the north and west side of the house there is a garden with centuries-old oak and elm trees. At the time of its organization, the museum was under the jurisdiction of the Committee for Arts under the Council of Ministers of the USSR. Practical guide The work of the museum was carried out by the Main Directorate of Institutions fine arts. In 1954, the museum was transferred to the jurisdiction of the Ministry of Culture of the RSFSR, in January 1955 - to the jurisdiction of the Moscow City Council Culture Department. In 1963, it was decided to join the Museum of History and Reconstruction of Moscow, and in 1986, the V. M. Vasnetsov House Museum became part of the All-Union Museum Association “State Tretyakov Gallery"as a scientific department.

In Moscow and the Moscow region there are several churches consecrated in honor of the unmercenary saints Cosmas and Damian. For example, to find one of them, you can go to Khimki. The Temple of Cosmas and Damian is also in the very center - in a place called Shubino, near Tverskaya Street. Another one is located on Maroseyka Street. This is exactly what we will talk about in this article.

History of the old temple

The building of the Kosmodemyanovsky Church was built in 1793 on the site of the former church. So, exactly how many years has this location been located? Orthodox parish, it’s difficult to say. What is known is that it was already there at the beginning of the seventeenth century, that is, in the 1600s. There is also information that the former temple was made of stone and had two altars, and the chapel in honor of Cosmas and Damian was secondary, and the main altar of the temple was consecrated in honor of St. Nicholas. By the beginning of the eighteenth century, or maybe a little earlier, the temple of Cosmas and Damian on Maroseyka acquired a second tier, where an altar was built in honor of the Kazan Icon Mother of God. This church was maintained by Princess Evdokia Kurakina until it became a parish church at the end of the eighteenth century.

New temple

The need to rebuild the church building was caused by the dilapidation of the building, in which it became unsafe to perform religious rites. Therefore, the parish council decided to demolish the old building and build a new one; the petition was submitted in 1790 to the then ruling bishop of the Moscow Metropolis, Metropolitan Platon.

The modern temple of Cosmas and Damian on Maroseyka is that very new temple. At the same time, its central chapel was consecrated in honor of the Savior, the healer of the paralytic. But this happened only in 1803. And the first consecration took place in 1793, when they were completed construction works southern aisle in honor of St. Nicholas. The northern Kosmodemyanovsky chapel was consecrated in 1795.

Temple of Cosmas and Damian on Maroseyka after 1812

During the devastating intervention of the French army in Moscow in 1812, the temple was significantly damaged. Much of its beauty was lost, and it took many more years to restore the church.

Temple in the XX-XXI centuries

The Temple of Cosmas and Damian on Maroseyka entered the twentieth century with a rich and splendid building. But ruin awaited him again, but this time not at the hands of foreign occupiers, but from the Soviet government. With the change of power in Russia, religious policy changed dramatically, and this affected all the churches in the country, including the temple of Cosmas and Damian. Moscow, overwhelmed by the atheistic zeal of the communists, lost many beautiful things. The Kosmodemyanov Church was also ordered to be blown up, but this was not destined to happen. As a result, the temple building played the role of either an archive, or a club, or educational institution or even a warehouse.

In the 60s, several church buildings were demolished to make way for the construction of a large administrative building. At the same time, gradual restoration of the building began. Even the church's exterior decoration was restored, including gilded crosses on the domes. Inside, however, the temple remained a non-church building. In addition, due to frequent redevelopment of its space, it fell into disrepair.

Finally, in the summer of 1993, by decree of the Moscow government, the building was returned to the hands of believers of the Russian Orthodox community Orthodox Church. And already in the fall of the same year, the first liturgy since the 30s was celebrated in a side chapel. This happened on November 14, that is, on the holiday of Cosmas and Damian. A little later, services began to be held in the main chapel, although restoration work still continue to this day.

At the intersection of Maroseyka and Starosadsky Lane, after which it turns into Pokrovka, there is a remarkable temple. It seems as if it consists of several “Easter cakes” adjacent to each other. You can feel the hand of a good architect - and indeed, one of the the best masters of your business.

The first mention of the church is associated with a sad event: it completely burned down in 1547. Then the church disappears for a long time historical sources and appears again in 1629 - and again in connection with a devastating fire. In 1639 it was built in stone. However, in the 18th century, this building also fell into disrepair and was in danger of collapse. One of the best architects of his era, M.F. Kazakov, was invited to rebuild it. Construction proceeded slowly, stopping several times and ultimately lasting from 1791 to 1803. The funds for its completion were provided by Lieutenant Colonel M.R. Khlebnikov, who lived opposite.

Although the temple is named after Saints Cosmas and Damian, only one of the side chapels is actually dedicated to them. The second aisle is Nikolsky. And the central altar was consecrated in honor of the icon of Christ the Savior, who healed the paralytic - the only case in Moscow. The architecture of the temple is classified as “mature classicism,” which is characterized by laconicism and restraint in design. The church attracts attention not so much by the decoration of the facades, on which there is neither stucco molding nor paintings, but by its overall structure. The altar apse and the aisles are equal in height and thereby create a harmonious ensemble consisting of a combination of four cylinders adjacent to each other (the main part, the altar and two aisles) and a cubic refectory with a bell tower. In the main part and in the refectory, two-column porticoes are located at an equal distance from the side chapels. A little more decor in the upper part of the church: the dome of the central volume is cut through by lucarne windows, and it itself is topped by the main one with a drum decorated with pilasters.

Among the parishioners of the temple were famous Russian writers: F.I. Tyutchev,. After the revolution, the temple was closed and at the end of the 1920s, under the pretext of expanding the street, it was scheduled for demolition, which was preceded by complete photographic recording of the building and taking measurements. However, the decision to destroy the church was not implemented. Instead, a warehouse and a beer hall were set up in it, then their place was taken by a car model workshop, then by a club of automoto-tourists. During the adaptation process it turned out to be almost completely lost interior decoration temple, but outwardly it remained virtually unchanged and was not radically rebuilt. Since 1993, worship services have resumed here; during the years of restoration they were dismantled interfloor ceilings, lost interior details and iconostases were recreated.