Rural settlement Tsar's cemetery Church of St. Nicholas. Nikolskoye-TsarevoNikolskaya Church. Lyubimovka Estate starring Sergei Bezrukov

About compassion and care. They advise correctly, but let me add: when asking, know when to stop and be prepared to sometimes hear the same direct “no”. Now I'll tell you why.

My grandmother learned from a young age that everyone around her was thick-skinned blockheads, and she always directly said what didn’t suit her and what those around her should do to make her life easier. Quite quickly, this fragile, gentle and tremulous woman became a domestic tyrant.

When my mother was a teenager, my grandmother stole her diaries (not school ones, but personal ones, containing all the girl’s secrets and hidden under a pillow or in a closet), and then made demonstrative scandals on the topic “how can you think so, now I can’t sleep , since you are offended because of such a trifle.” We were all teenagers and know how “little things” can hurt, but grandmother, apparently, immediately became an old grump and fell into hysterics when she encountered the slightest misunderstanding on her daughter’s part.

When I was a teenager, I knew that I had to return home strictly after school. Not because I might be robbed and raped in a dark alley, but because my grandmother will worry, and when (not if, but when!) I am attacked, her poor heart may not be able to stand it. All this was said many times with trembling lips and a bottle of sedative in hand.

When I went out to meet friends, my grandmother demanded that I leave the address and telephone number of the place where I was going. This essentially normal request (there were no cell phones) was presented as in a theater. It was explained in detail how worried she would be, how difficult it was for her not to know where we were and with whom, how difficult it was for her, such a caring person, to live among us, heartless creatures. Of course, in the midst of the fun, she called to find out how “her girl” was doing, and if at the age of 11 the “girl” put up with this, then at 14 I simply stopped saying where I was going. There will still be tears and pleas to “be more sensitive,” so what difference does it make?

At the age of 14, I broke up with my only friend, she offended me very much, it was unbearably difficult. It was impossible to hide it, my grandmother came with questions, I couldn’t stand it and started crying into her hem. You will never guess in your life how she “comforted” me. She began to tell me that the people around are so heartless, not like her, she would never do that, it hurts her to even look at my suffering... A minute later she burst into tears herself, went to get some drops, and she had to console me. For forty minutes she, blowing her nose into a handkerchief, talked about her feelings. But what do I have to do with it? She didn’t let me speak, let alone speak for more than a minute. My friend’s act was long forgotten, we restored our friendship, and I still remember my grandmother, who interrupted me mid-sentence.

20 years have passed. No one responds to grandma’s requests and complaints anymore. Attempts to talk and explain that if everyone around the grandmother lives “wrongly,” then the problem is most likely in the grandmother herself, ended in tears and the smell of Valocordin.

We're fed up. We live with constant vigilance. We come up with legends about passed exams, true friends, easy births, healthy children. We don’t complain, we don’t be frank, we “keep our face.” We agree on who lied about what, so as not to set each other up.

Every five years she suspects she has a terrible disease. Every month she calls and asks if nothing bad happened to us, and asks not to hide anything from her, otherwise she gets worried. Once every three months, she makes a scandal with her grandfather with a three-day boycott because he went out to buy bread and did not take his phone with him, and in 15 minutes she almost went crazy, imagining how he had a heart attack at the door, but everyone thinks, that he is drunk, and they pass him by. Here we would praise grandma for her foresight, but... we don’t praise her. We sincerely sympathize with grandfather.

Recently she needed to undergo a very specific medical examination due to suspected cancer. It's time to worry, stay awake at night, hold grandma's hand and support her in every possible way. On the eve of the examination, we gathered with the whole family. And, you know, no one felt sympathy or pity. Grandmother sat in the room alone and drank Valocordin, and we calmly discussed options further actions: who will care for us, with whose money we will treat if the diagnosis is confirmed. We were sad, we hoped that everything would work out, and we breathed a sigh of relief when the diagnosis was not confirmed, but there was no excitement or worry at all. It was as if we were discussing car repairs. It’s terrible to write about this, but we’ve been so tired of hearing endless “I feel bad, I’m worried, stay with me, have pity on me” for years that in this first truly serious situation we simply didn’t have the strength to empathize and support. They were exhausted many years ago.

Sometimes, if a person feels that for years he has not been given as much attention and care as he needs, the problem may not be the blindness of those around him, but an insatiable appetite. Rarely, but it happens. The moral is this: learn not only to talk about your problems, but also to hear the one who talks about his problems to you.

The stone St. Nicholas Church was built in relatively short time(1812-1815) at the expense of the village owners, the Durasov princes. The author of the project is not listed in the documents, but there is enough reason to believe that he was the architect I. Egotov, a student of Bazhenov and Kazakov. Brick temple with rich white stone and stucco decoration, standing out against the red background of unplastered walls, belongs to the most significant monuments of pseudo-Gothic architecture in the Moscow region. The facades of the building, dissected by highly elongated trunks of stone three-quarter columns, are surrounded by a bas-relief frieze of a beautiful design by the sculptor G. Zamaraev. In the interior there is modern church iconostasis in four tiers. Previously, on the site of the current one there was a wooden St. Nicholas Church, first mentioned in the archives of 1585. The names of the owners of the village (Vyluzgins, Tsarevs, Sheremetevs, Golitsyns, Durasovs) and more are also documented early name village of Ievlevo. A rather mysterious and hitherto unrevealed historical secret is connected with the place where the cathedral was replaced by a wooden temple. It is believed that previously on the site of the church there was a chapel erected over the grave of the son of Ivan the Terrible, who died at the age of 1-2 years, Vasily, from his second wife, Circassian Princess Maria. The baby mentioned in a few archival records allegedly died during a trip to Aleksandrovskaya Sloboda along the Trinity Road.

As evidenced by the surviving historical documents of the 16th-17th centuries, at that time, on the site of what exists today stone temple There was a wooden tented St. Nicholas Church. The first mention of it can be found in records dating back to 1575. The church was erected “on a stone foundation” (that is, on a stone foundation), and it had chapels of the Holy Martyr Paraskeva and the Martyr Elisarius.

In the 16th century, mass construction of tent-roofed churches began in Russia, caused by the unification of Russian lands and stabilization state power. Another documented evidence concerning the wooden St. Nicholas Church dates back to 1623, when it stood “without singing,” that is, no services were held in it. This was due to the consequences of the dramatic events of the Time of Troubles, or more precisely, with the heroic 16-month defense of the Trinity-Sergius Monastery from Polish-Lithuanian invaders who plundered nearby settlements, including Tsarevo. The entire area was deserted and depopulated. Only by 1678, the wooden St. Nicholas Church was not only restored, but also expanded with a third side-altar, consecrated in the name of St. Sergius of Radonezh. In 1811, when Tsarev was owned by the famous Moscow gentleman Nikolai Alekseevich Durasov, the St. Nicholas Church was destined to experience a rebirth. There was no estate here, since the village consisted of only two dozen households. But the estate of N. A. Durasov in Lublin gained fame for its original architectural ensemble, landscaped parks, greenhouses, theater and orchestra, and skillful arrangement of a complex economy. A wealthy Russian landowner, he was famous for his hospitality and, following the fashion of that time, he loved to surprise and amaze the guests who came to him. But it is in Tsaryov, far from the big ones settlements and main roads, Durasov decides to build a monumental and majestic stone temple. Why? Most likely, the main motive was the desire of a deeply religious person to build a temple in honor of his heavenly patron Nicholas the Wonderworker and in memory of his mother Agrippina Ivanovna Durasova (Myasnikova).

On December 6, 1811, Bishop Augustine of Dmitrov gave a blessed letter for the construction of the St. Nicholas stone church in Tsarev on the site of a wooden one, having studied the “plans and facades.” According to the assumptions of architectural historians, to build a stone church in Tsarev, N. A. Durasov invited the famous Moscow architect Ivan Vasilyevich Egotov, who built Durasov’s manor house in Lublin in 1801. Violating all the traditions of Russian temple construction that have existed for centuries in this part Central Russia, I. V. Egotov, who participated in the restoration and reconstruction of the towers of the Moscow Kremlin, is developing a project for a parish church in the Russian Gothic style. Having received the blessed letter, Durasov orders the wooden church to be carefully dismantled. With the onset of 1812, construction of a new stone church began in its place. Soon a majestic, handsome temple rises in Tsarev, surprising everyone with its size and unique architecture for this part of Russia. On June 12, 1812, a 600,000-strong French army crossed the Neman River and invaded Russian Empire- The Patriotic War began. Construction of the St. Nicholas Church is stopped. It was resumed only in 1813, and in 1815 the Tsarevsky Church acquired the outline that has survived to this day. The victory of the Russian people in the Patriotic War of 1812 will subsequently be indirectly reflected in the paintings of the temple. There is another indirect evidence of Egotov’s authorship in the project of the St. Nicholas Church. Having received his first artistic skills at the school of stucco art, Ivan Vasilyevich used sculptural bas-reliefs in the decor of many of his projects. A bas-relief frieze on biblical themes also surrounds the façade of the temple in Tsarev. It was completed in 1814-1815 by the sculptor G. T. Zamaraev.

The majestic temple in the small village of Tsaryov, dedicated to Nicholas the Wonderworker, is considered by local residents to be a symbol of their small homeland. Since its construction, it has always attracted attention with its unusual proportions and red and white decoration. Celebrating the 40th anniversary of the expulsion of the French from Moscow, the famous statesman and military figure of Russia at the beginning of the 19th century - A. A. Zakrevsky, while engaged in the improvement of the estates of his wife Agrafena Fedorovna Zakrevskaya (Tolstoy), Durasov's niece, could not ignore the St. Nicholas Church in Tsarev . Presumably, he participated in its decoration and ordered interior painting from Italian craftsmen. Starting with A. A. Zakrevsky, the improvement of the church was then continued by the owners of the flourishing Tsarevsky manufactory, through whose efforts the painting of the temple was completed in the mid-19th century. The church was decorated and repaired throughout the 19th century. According to documents from the Moscow Ecclesiastical Consistory Foundation, it is known that in 1885 the roof of the church was repaired, which had received significant damage. In 1893, the Ilyinsky chapel was built in the temple. Around the same time, a parochial school opened.

After the Bolsheviks came to power, the St. Nicholas Church faced the sad fate of thousands of churches, closed and looted, turned into warehouses, clubs or other premises for economic purposes. 1922 became another page in tragic story Russian Church. On February 23, 1922, a decree was issued “on the confiscation of church valuables.” All valuables were to be confiscated, even liturgical vessels. The action was covered up by helping victims of a terrible famine in the Volga region. This action did not bypass the St. Nicholas Church. Until 1940, services were held in the Tsarevskaya Church, and there was a parish. Then local authorities closed the temple, but when the Great Patriotic War began, they gave permission to hold services.

Almost a century and a half has passed since the construction of the church, and during this time the interior paintings of the temple darkened from soot and soot, and began to deteriorate from moisture and temperature changes. The floor began to collapse in some places. There were also sad incidents. According to the recollections of old-timers, no later than 1949, a certain “team” of restorers worked in the St. Nicholas Church. They “updated” fine tempera painting done in halftones Italian masters, ordinary oil paint. The problems with the repair of the temple that had accumulated over a century and a half were partially resolved in the 1980s. The new rector, Archpriest Nikolai Glebov, was able to convince the Commissioner for Religious Affairs for the Moscow Region to give permission for restoration and allocate funds. This made it possible to gild the cross on the dome, cover the roof with iron, wash the inside of the church and paint the outside, strengthen the stucco on the walls, repair the windows in the light drum and altar, and install heating in the winter part of the church. There was also enough money to restore the porch steps and replace front door and fence gates, improve the area around the temple. By December 1999, a Sunday school building was built, the successor to the parochial school that existed in Tsarev until 1917. The sponsors of the construction and care of the church were the spouses Mikhail and Elena Polyudov. Since 1999, thanks to their constant care and sacrificial labors, dramatic changes have occurred: everyday issues have been resolved (the church is provided with water, electrical facilities have been modernized), large-scale restoration work- How appearance, so interior decoration, the paintings have been updated. This made it possible for the temple to appear in all its grandeur and beauty.

In 2010, restoration of the façade of the temple was carried out, which included gilding of crosses, replacement white stone on the cornices and steps of the side entrances, covering the dome and roof with copper, restoration of the sculptural frieze. By Easter 2010, nine new bells, cast at the Tutaevsky Bell Factory, also funded by the Polyudov family, were raised to the church belfry. In the anniversary year of 2012, restoration work continued. The turn has come to the restoration of the paintings in the main altar. A member of the Union of Artists, V. M. Bibikov, who took part in the painting of the Cathedral of Christ the Savior, was invited to carry out these works. On December 19, 2012, on the day of memory of St. Nicholas, the St. Nicholas Church in the village of Tsarev celebrated its 200th anniversary. In April 2016, all work was completed, and on June 5, a joyful event took place - with the blessing of Metropolitan Juvenaly of Krutitsy and Kolomna, Archbishop Gregory of Mozhaisk led the celebrations marking the completion of the restoration of the church.

St. Nicholas Church in the village of Tsarevo near Moscow became one of the best examples of the pseudo-Gothic style, popular at the end of the 18th - the beginning of the nineteenth century. Art historians see continuity between Russian pseudo-Gothic and ancient Russian architectural tradition. They see the features of Russian artistic originality in motifs and details, in the ratio of materials, as well as in the general pictorial understanding of architecture.

The main volume of the temple - the rotunda, completed with a massive light drum - rests on eight abutments. The dome is crowned with a faceted tribune with a spire, a massive cross and four pinnacles. A similar composition completes the small belfry above the vestibule, as well as the pseudo-belfry built above the main altar. The central spire is tall, the four side spires, tightly pressed to it, are smaller. Previously, they were all topped with crosses, but today only one central cross has survived. The height of the temple with its spire reaches 57 meters. The facades of the building are dissected by highly elongated trunks of stone three-quarter columns, surrounded by a bas-relief frieze by the famous sculptor G. T. Zamaraev. The subjects of the frieze depict various scenes from the Gospel. Under the wide classical frieze there is another one - an arcature one, in gothic style. The frames of the lancet windows and the arcature belt above them add completeness and rigor to the architecture of the building, without disturbing the clarity of the entire composition.

The temple is built of red brick and decorated with white stone. Russia loudly celebrated the victory in the Patriotic War of 1812, and, most likely, those joyful events, glorifying not only the power and strength of Russian weapons, but the strength of spirit of all classes of the Russian people, were reflected in the architecture of the Tsaryovo-Nikolsky Church and in its interior decoration. Let's take murals, for example. In the St. Nicholas Altar behind the throne, where the risen Christ is usually depicted, there is a scene of the Nativity of Christ. And in the light drum, under the dome, there is the angelic hymn “Glory to God in the highest and on earth peace to men,” which announced to the shepherds about the Birth of the Savior into the world. Even today, more than 200 years after its construction, the temple amazes with its space and abundance of light, which comes through the high windows of the rotunda and the lower tier.

The iconostasis impresses with its harmony, skillfully executed carvings and restored icons. The side chapels are made in the style of classicism and have massive columns on the sides of the iconostasis. The temple is conventionally divided into two parts - winter and summer. In the winter there are two chapels: the Holy Prophet Elijah and the Holy Martyr Agrippina. After construction was completed at the beginning of the 19th century, the winter part of the temple had only one altar. In 1893, another altar was erected here in honor of the Prophet Elijah. Altar barriers with massive columns on the sides of the iconostasis are designed in the same style. At the end of the 19th century, a series of icons was written for them - " last supper", images of the Evangelists, the Mother of God and the Archangel Gabriel for the royal doors. A sharp contrast with this group of icons is the icon of the Holy Martyr Agrippina. The iconostasis in four tiers has been preserved since the construction of the temple, since it was practically not closed. Paintings on the walls and vaults of the second half of the 19th century attributed to unknown Italian masters. During a large-scale reconstruction carried out in 2007-2016, the paintings were cleared of soot, old paint and restored by a member of the Union of Artists of the USSR V. M. Bibikov at personal funds philanthropists - spouses Mikhail and Elena Polyudov.

The main shrine of the St. Nicholas Church is considered to be the icon of St. Nicholas the Wonderworker, painted, according to experts, at the end of the 17th century. Unique feature The icon of St. Nicholas the Wonderworker of the St. Nicholas Church is the presence of 20 marks on it: six in the top and bottom rows, and four on the right and left of the central image. Since 2012, next to the icon of St. Nicholas the Wonderworker there has been a reliquary with a particle of the relics of this great saint. Among the particularly significant icons of the St. Nicholas Church is the image St. Sergius Radonezh with a particle taken from his coffin.

From the magazine " Orthodox Temples. Travel to Holy Places". Issue No. 293, 2018.

The first name of the village of Tsarevo is Ievlevo. The first mention of it in the chronicles dates back to 1503. In the land ownership acts, Timofey Tsarev is listed as the owner of these lands. It was after his name that the village received its current name. Around 1623, the chronicles mention: “the village of Ievlevo, Tsarevo, also, on the Talitsa river and on the Morvanitsa river.” These two names were used until the middle of the 18th century, but since 1744 only one name, Tsarevo, has remained in use, which has survived to this day. Although in the 19th century the name Tsarevo-Nikolskoye is found. There is another version of the origin of the name of the village of Tsarevo. According to legend, the son of Tsar Ivan the Terrible from his second wife, the Circassian princess Maria, was buried here, who died at the age of one and a half years during the tsar’s trip from Moscow to Alexandrovskaya Sloboda (the modern city of Alexandrov).

The village of Tsarevo has been under the patronage of St. Nicholas since the mid-16th century. In 1575, a wooden church “in stone” of St. Nicholas the Wonderworker with chapels of the Holy Martyr Paraskeva and the Martyr Elizarius was mentioned in the village. In 1623, the wooden tent church stood “without singing,” that is, no services were held in it. There is little information about that wooden church. It is possible that it was rebuilt, since in 1678 the St. Nicholas Church with the chapels of the martyr Paraskeva, the Maccabean martyrs and Sergius the Wonderworker was mentioned in the village.

Over the centuries, the village belonged to well-known families in Russia: the Vyluzgins, Sheremetevs, Golitsyns, and Shcherbatovs. In 1774, the Durasovs, the heirs of the wealthy Ural mining owners Tverdyshevs and Myasnikovs, became the owners of the village. The name of Nikolai Alekseevich Durasov is associated with construction in early XIX centuries of the temple in the form we see it now.

On December 6, 1811, the construction of a stone church on the site of a wooden one in the village of Tsarevo, having studied the “plans and facades,” was blessed by Bishop Augustine of Dmitrov: “By the grace of God, His Holiness Augustine, Bishop of Dmitrov, Moscow vicar. Nikolai Alekseevich Durasov asked us for permission to build a church in his patrimony, the Dmitrov district village of Tsaryov, again instead of a wooden one, in the same place with a stone building, in the name of the Wonderworker Nicholas, with a chapel of the holy martyr Agrippina. From the certificate submitted from the Moscow Spiritual Consistory, there were no obstacles to the construction of this church: for this reason, We blessed the aforementioned church in the name of St. Nicholas the Wonderworker with the chapel of the holy martyr Agrippina with a stone building for him, the petitioner, according to the plan and facade approved by Us, to build an altar to the east in the likeness of other saints churches, good and decent architecture."

The beginning of the construction of a new stone church dates back to 1812. This year in the memory of our Fatherland is associated with the war between Russia and Napoleon’s army. As you know, on December 25, 1812, on the day of the Nativity of Christ, the last Frenchman was expelled from the territory of our country. Although the war had not yet ended for Russia, it was on this day that Emperor Alexander I issued a Manifesto in gratitude to Christ the Savior to build a temple in Moscow. It is no coincidence that in the paintings of the temple there are scenes reminiscent of those events: in the St. Nicholas altar behind the throne, where the risen Christ is usually depicted, there is a scene of the Nativity of Christ, and in the light drum, under the dome, there is an angelic hymn “Glory to God in the highest and on earth peace to men.” ”, who announced to the shepherds about the Birth of the Savior into the world.

The architect during the construction of the temple was Ivan Vasilyevich Egotov, a student of V. I. Bazhenov and M. F. Kazakov. In addition to St. Nicholas Church, latest works Egotov, who died in 1815, was the restoration of the Nikolskaya and Vodovzvodnaya towers of the Moscow Kremlin, blown up by the French in 1812.

The building of St. Nicholas Church was built in the majestic style of Russian Gothic, or neo-Gothic, popular in the 18th and early 19th centuries. The massive main volume of the temple, consisting of a quadrangle and a large wide rotunda, is crowned by a dome and an octagon, on which five spiers are placed instead of domes. The central spire is tall, the four side spires tightly pressed to it are smaller. All of them were topped with crosses, but today only one central cross has survived. The rotunda is also decorated with small spiers around the circle. Against the background of the huge rotunda, a small bell tower, also topped with pointed ends with crosses, is almost invisible. Symmetrically to the bell tower, on the eastern side, above the altar part, the same turret was erected - the influence of classicism with its commitment to strict symmetry is evident. A wide, beautiful frieze of bas-reliefs by sculptor Gavriil Tikhonovich Zamaraev looks unusual on a Gothic temple. The frieze figures depict various scenes from the Gospel. Under the wide classicist frieze there is another one - an arcature one, in the Gothic style. Inside the temple is impressive with its space. The huge main volume is brilliantly illuminated high windows rotunda and lower tier, the iconostasis with beautiful carvings and icons looks majestic. The side aisles are made in the style of classicism, with massive columns on the sides of the iconostasis.

Throughout the 19th century. the temple was decorated. In the inventory of the fund of the Moscow Spiritual Consistory in the Moscow City Archive there is mention of the work carried out in the temple, for example: 1859-1863: “On the construction of a new iconostasis in the St. Nicholas Church in the village of Tsarevo, Dmitrov district”; 1885-1886: “About damage to the roof in the St. Nicholas Church in the village. Tsarevo, Dmitrov district"; 1893: “On the construction of a chapel in the church of the village of Tsarevo.” The last document talks about the arrangement of the Ilyinsky chapel: The antimension on the throne in the Ilyinsky altar was signed in 1898. We do not know who the benefactors were who helped decorate the temple in the second half of the nineteenth century. In the twentieth century, services in the church continued until 1940, when the temple was closed, but after the beginning of the Great Patriotic War the life of the parish resumed.

Thanks to the surviving documents from the registration of marriage certificates, the names of the priests of the church from the moment of its construction have been established. So, from 1922 to 1930, the rector of the temple was Priest Sergius Krotkov, who in 2000 at the Council of Bishops of the Russian Orthodox Church was canonized as a martyr.

In 1948, restoration work was carried out in the temple, but these measures only distorted the interior decoration, since the workers ineptly, using household oil paint, recorded fine tempera painting, made, according to legend, by Italian masters. By the 1980s, the temple building began to deteriorate greatly. The stone floor slabs were collapsing, the roof of the summer part was rotten, and the plaster was falling off the dome due to leaks. Archpriest Nikolai Glebov, appointed rector of the church in 1984, managed to obtain permission from the Commissioner for Religious Affairs for the Moscow Region to renovate the building. The authorities hoped that religion in the country would die out on its own and did not encourage renovation work in churches. But then the temple was tidied up a bit: the roof was covered with new iron, the floor was repaired, heating was installed in the summer part, and rotten windows in the light drum and the altar were replaced.

Before October revolution In 1917, there was a parochial school at the Tsaryovo-Nikolskaya Church. After the revolution, the school was closed, and the building was occupied by the village council. In 1988, the school building was dismantled due to dilapidation. And on February 6, 1994, with the blessing of Metropolitan Juvenaly of Krutitsy and Kolomna, the school at the Tsaryovo-Nikolskaya Church reopened. The premises in the church gatehouse and church archive were adapted for classrooms. Thanks to the sacrificial help of the Polyudov family, in 2000 the construction of a new parish school building was completed and classes began there in September, and on November 5, 2000, a solemn service took place in the church and the consecration of the new school building by Archbishop Gregory of Mozhaisk.

In addition to the school, it was built deep well with an overhead chapel. In 2004, restoration and beautification of the interior decoration of the St. Nicholas Church began. In 2008-2010 the floor icon cases were gilded and the icons stored in them were restored. In May 2010, restoration of the temple facade began, which included gilding the crosses, replacing the white stone on the cornices and steps of the side entrances, covering the dome and roof with copper and painting. By Easter 2010, nine new bells, cast at the Tutaevsky plant at the expense of the Polyudov family and church parishioners, were raised to the church belfry. In total, there are 11 bells on the belfry, two of which miraculously survived from Soviet times. On June 24, 2012, the restoration of the Altar was completed. In 2013, restoration of the “local” row of icons in the iconostasis of the St. Nicholas chapel was carried out at the expense of the church patrons.

http://tsarevo.prihod.ru/abouthram

• Operating, open.
• Located 33 kilometers northeast of the Moscow Ring Road.
• "Komsomolskaya", "VDNKh" - st. metro for transfer to public transport.
• Types of burial: in the ground, an urn with ashes or a coffin.
• Places are provided for related subburials and reserved for family (ancestral) graves.
• It occupies 3.4 hectares.
• Address: Pushkinsky district, village Tsarevskoe, village Tsarevo.
• Open seven days a week: in October-April - from 9.00 to 17.00, in May-September - from 9.00 to 19.00. Throughout the year, funerals take place from 9.00 to 17.00.
• Coordinates 56.086167399188,38.093648068787.

A small rural cemetery in the Moscow region - Tsarevskoye - is located in a wooded area. Two hundred meters from the territory allocated for the Tsarevskoe cemetery, there is the Church of St. Nicholas the Wonderworker, built in the 19th century. The control of the activities carried out by the Tsarevskoe cemetery is carried out by the municipality of Domodedovo.

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