SAINT VOLODYMYR'S CATHEDRAL

Located on Boulevard Tarasa Shevchenka, St. Vladimir's Cathedral was originally designed by Ivan Strom and the building was begun by Alexander Beretti and Paul Sparro and completed by Vladimir Nikolayev. The construction and interior decorations took more than 30 years (1862-96). This seven dome three-aisled church resembles the buildings of old Ukraine only slightly. Its walls are loaded with ornamental details. The interior is decorated in the style of Prince Vladimir's period. The interior completed by a team of outstanding artists accomplished the work in eleven years. The main facade is decorated with a double door made of oxidized bronze with enamel, carving and openwork tracery. On the sides of the door are figures of Princess Olga and Prince Vladimir made of embossed bronze and portrayed against a blue enamel background.

Inside the cathedral, the feeling is grand and spacious, light and richly painted, with splendid bronze ornaments, white marble walls and a marble floor. Most of the painting inside the cathedral was done by Victor Vasnetsov (1848-1926), whose work is closely associated with Kyiv. He painted the entire central nave of the cathedral. His most outstanding masterpieces are a hugh figure of the mother of God with an infant; Jesus Christ on the main cupola, the Evangelists on four sides beneath the cupola; and the scene of the Last Judgment over the western entrance. He is also the painter of such magnificent historical murals as "The Baptism of the Kievans" and "The Baptism of Prince Vladimir".

After 1890 another outstanding artist, Mikhail Nesterov (1862-1942), took part in the painting of the cathedral, mainly contributing large compositions in the chair gallery and icons for the altar screen of the north and south chapels.

Despite the eclecticism felt in all the cathedral's decoration, this memorial is one of the more significant and characteristic examples of monumental art of the second half and end of the nineteenth century.

St. Michael's Golden-Domed Monastery

St. Michael's Golden-Domed Monastery (Ukrainian: Михайлівський золотоверхий монастир, Mykhaylivs’kyi zolotoverkhyi monastyr; Russian: Михайловский златоверхий монастырь, Mikhaylovsky zlatoverkhy monastyr) is a functioning monastery in Kiev, the capital of Ukraine. The monastery is located on the right bank of the Dnieper River on the edge of a bluff northeast of the Saint Sophia Cathedral. The site is located in the historic administrative Uppertown and overlooks the city's historical commercial and merchant quarter, the Podil neighbourhood.

Originally built in the Middle Ages by Sviatopolk II Iziaslavych, the monastery comprises the Cathedral itself, the Refectory of St. John the Divine, built in 1713, the Economic Gates, constructed in 1760 and the monastery's bell tower, which was added circa 1716–1719. The exterior of the structure was rebuilt in the Ukrainian Baroque style in the 18th century while the interior remained in its original Byzantine style. The original cathedral was demolished by the Soviet authorities in the 1930s, but was reconstructed and opened in 1999 following Ukrainian independence.

History

11th to 19th centuries

Some scholars do not believe that Prince Iziaslav Yaroslavych, whose Christian name was Demetrius, first built the Saint Demetrius's Monastery and Church in the Uppertown of Kiev near Saint Sophia Cathedral in the 1050s.[1][2] Half a century later, his son, Sviatopolk II Iziaslavych, is recorded as commissioning a monastery church (1108–1113) dedicated to his own patron saint, Michael the Archangel. One reason for building the church may have been Svyatopolk's recent victory over the nomadic Polovtsians, as Michael the Archangel was considered a patron of warriors and victories.

The Mosaic of St. Demetrius was installed by Sviatopolk II in the monastery cathedral to glorify the patron saint of his father.

The monastery was regarded as a family cloister of Svyatopolk's family; it was there that members of Svyatopolk's family were buried. (This is in contrast to the Vydubychi Monastery patronized by his rival, Vladimir Monomakh). The cathedral domes were probably the first in Kievan Rus to be gilded, a practice that became regular with the passage of time and acquired for the monastery the nickname of "golden-domed" or "golden-roofed", depending on the translation.

During the Mongol invasion in 1240, the monastery is believed to have been damaged seriously. The Mongols damaged the cathedral and removed its gold-plated domes. The cloister subsequently fell into disrepair and there is no documentation of it for the following two and a half centuries. By 1496, the monastery had been revived and its name was changed from St. Demetrius' Monastery to St. Michael's after the cathedral church built by Sviatopolk II. After numerous restorations and enlargements during the sixteenth century, it gradually became one of the most popular and wealthiest monasteries in Ukraine. In 1620, Iov Boretsky made it the residence of the renewed Orthodox metropolitan of Kiev, and in 1633, Isaya Kopynsky was named a supervisor of the monastery.

The monastery enjoyed the patronage of hetmans and other benefactors throughout the years. The chief magnet for pilgrims were the relics of Saint Barbara, alleged to have been brought to Kiev from Constantinople in 1108 by Sviatopolk II Iziaslavych's wife and kept in a silver reliquary donated by Hetman Ivan Mazepa. Although most of the monastery grounds were secularized in the late eighteenth century, as many as 240 monks resided there in the nineteenth and twentieth centuries. The monastery served as the residence of the bishop of Chernigov after 1800. A precentor's school was located on the monastery grounds; many prominent composers, such as Kyrylo Stetsenko and Yakiv Yatsynevych, either studied or taught at the school.

In 1870, about 100,000 pilgrims paid tribute to St. Barbara at St. Michael's Monastery. Before the Russian Revolution in 1917, rings manufactured and blessed at St. Michael's Monastery, known as St. Barbara's rings, were very popular among the citizens of Kiev. They usually served as good luck charms and, according to popular beliefs, occasionally protected against witchcraft but were also effective against serious illnesses and sudden death. These beliefs reference the facts that the Monastery was not affected by the plague epidemics in 1710 and 1770 and cholera epidemics of the nineteenth century.

Demolition of the cathedral and belltower

View of the original St. Michael's Golden-Domed Cathedral prior to demolition.

St. Michael's Golden-Domed Monastery in the early 1900s.

During the first half of the 1930s, various Soviet publications questioned the known historical facts regarding the age of the Cathedral. The publications stressed that the medieval building had undergone major reconstructions and that little of the original Byzantine-style cathedral was preserved. This wave of questioning led to the demolition of the monastery and its replacement with a new administrative centre for the Ukrainian Soviet Socialist Republic (previously located in the city of Kharkiv). Before its demolition (June 8–July 9, 1934), the structure was carefully studied by T.M. Movchanivskyi and K. Honcharev from the recently purged and re-organized Institute of Material Culture of the Ukrainian Academy of Sciences. On the basis of their survey, the cathedral was declared to belong primarily to the Ukrainian Baroque style, rather than to the twelfth century as was previously thought, and thus did not merit preservation due to its lack of historical and artistic value. This conclusion backed up the Soviet authorities' plans to demolish the entire monastery. Local historians, archaeologists, and architects agreed to the monastery's demolition, although reluctantly. Only one professor, Mykola Makarenko, refused to sign the demolition act; he later died in a Soviet prison.

On June 26, 1934, work began on the removal of the twelfth century Byzantine mosaics. It was conducted by the Mosaic Section of the Leningrad Academy of Fine Arts. Specialists were forced to work in haste on account of the impending demolition and were thus unable to complete the entire project. Despite the care and attention shown during the removal of the mosaics from the cathedral's walls, the relocated mosaics cannot be relied upon as being absolutely authentic.

The remaining mosaics, covering an area of 45 square metres (485 sq ft), were partitioned between the State Hermitage Museum, the Tretyakov Gallery, and the State Russian Museum. The other remaining mosaics were installed on the second floor of the Saint Sophia Cathedral, where they were not on display for tourists. Those items that remained in Kiev were seized by the Nazis during World War II and taken to Germany. After the war ended, they fell into American hands and were later returned to Moscow.

During the spring of 1935, the golden domes of the monastery were pulled down. The cathedral's silver royal gates, Mazepa's reliquary (weighing two poods of silver) and other valuables were sold abroad or simply destroyed. Master Hryhoryi's five-tier iconostasis was removed (and later destroyed) from the cathedral as well. St. Barbara's relics were transferred to the Church of the Tithes and upon that church's demolition, to the St Volodymyr's Cathedral in 1961.

During the spring-summer period of 1936, the shell of the cathedral and belltower were blown up with dynamite. The monastery's Economic Gate (Ekonomichna Brama) and the monastic walls were also destroyed. After the demolition, a thorough search for valuables was carried out by the NKVD on the site.

The only building completed on the former monastery grounds before World War II currently houses the Ministry of Foreign Affairs. The construction of the second building ("the capital center"), planned to be built on the site where the Cathedral had once stood, was delayed in the spring of 1938 as the authorities were not satisfied with the submitted design. This building failed to materialize. Some time after demolition, the site where the former cathedral used to be located was transformed into a sport complex, including tennis and volleyball courts. The Refectory (Trapezna) of St. John the Divine was used for changing rooms.

Interior of the cathedral as seen during its demolition.

Preservation and reconstruction

In August 1963, the preserved refectory of the demolished monastery without its Baroque cupola was designated a monument of architecture of the Ukrainian SSR. In 1973, the Kiev City Council established several "archaeological preservation zones" within the city; these included the territory surrounding the monastery. However, the vacant site of the demolished cathedral was excluded from the proposed Historic-Archaeological Park-Museum, The Ancient Kiev, developed by architect A. M. Miletskyi and consultants M. V. Kholostenko and P. P. Tolochko.

During the 1970s, Ukrainian architects I. Melnyk, A. Zayika, V. Korol, and engineer A. Kolyakov worked out a plan of reconstruction of the St. Michael's Monastery. However, these plans were only considered after the fall of the Soviet Union in 1991.

The Eucharist mosaic is installed on the second floor of the Saint Sophia Cathedral.

After Ukraine regained independence in 1991, the demolition of the monastery was deemed a crime and voices started to be heard calling for the monastery's full-scale reconstruction as an important part of the cultural heritage of the Ukrainian people. These plans were approved and carried out in 1997–1998, whereupon the cathedral and belltower were transferred to the Ukrainian Orthodox Church - Kiev Patriarchate. Yuriy Ivakin, the chief archaeologist for the site, said that more than 260 valuable ancient artifacts were recovered during excavations of the site before reconstruction. In addition, a portion of the ancient cathedral, still intact, was uncovered; this today makes up a part of the current cathedral's crypt.

With support of the Kiev city authorities, architect-restorer Y. Lositskiy and others restored the western part of the stone walls. The belltower was restored next and became an observation platform. Instead of the original chiming clock, a new electronic one with hands and a set of chimes (a total of 40) was installed from which today the melodies of famous Ukrainian composers can be heard. The Cathedral was reconstructed last and decorated with a set of wooden baroque icons, copies of former mosaics and frescoes, and new works of art by Ukrainian artists.

The newly rebuilt St. Michael's Golden-Domed Cathedral was officially opened on May 30, 1999. However, interior decorations, mosaics, and frescoes were not completed until May 28, 2000. The side chapels were consecrated to SS. Barbara and Catherine in 2001. During the following four years, 18 out of 29 mosaics and other objets d'art from the original cathedral were returned from Moscow after years of tedious discussion between Ukrainian and Russian authorities. However, by the end of 2006, the remaining frescoes of the monastery are going to be transferred from the Hermitage Museum in Saint Petersburg to Kiev. They are placed in a special preserve that is owned by the municipality rather than the church body.

Vydubytsky monastery - Saint George Chapel

     A legend says, during christening of the citizens, wooden idol Perun was pulled off the Starokyivsky (Oldkiev) Hill top and was thrown into the deep-blue Dnipro waters. The crowd kept running along the river bank crying out to their idol to surface – “Vydybai!”, and Perun did so – on the place, where he surfaced, there was a forest which later got the name of the motto “Vydybai!” – Vydubytchi. Son of the King Yaroslav the Wise – Vsevolod – founded there in Xi century own family monastery. In 1070-88 Mykhailivsky (Saint Michael) Cathedral was erected. In a few years time a southern enemy tribe of polovtsi attacked and damaged the monastery.

      Not only people, but also the weather did a lot of harm to the monastery – especially, numerous inundations. To protect the monastery from the water element, famous Kiev architect Petro Meloneg built in 12th century a special system of strong thick walls. These walls have been doing their job for about three centuries. But then, in 15th century they didn’t manage to oppose the flooding, and the eastern side of Saint Michael monastery slid down the hill. In two centuries time the monastery was restored owing to Petro Mogyla costs. During its long history, the monastery has seen and suffered numerous fires, inundations and even a collapse. In 1845 after another flooding there even appeared a small lake near the cathedral, which got the name of Vydubytske.

    Contemporary ensemble of Vydubytsky monastery formed in late-17th-early 18th centuries under Ukrainian baroque influence. The first man to have started rebuilding was Myklashevsky, who built five-domed Saint George Cathedral and a refectory, on facades of which one can find his family symbol. A little later Danylo Apostol built there a bell tower.

      Vydubytsky monastery was declared one of the most worthy monuments, a masterpiece of Ukrainian baroque.

 

Maidan Nezalezhnosti

    Maidan Nezalezhnosti is the central square of Kiev, the capital city of Ukraine. One of the main city squares, it is located on the Khreschatyk Street. The square was known under many different names but it became prominent as simply the Maidan due to the political events of great significance that took place there in the recent years after the Ukrainian accession to independence.

Current name's etymology

"Maidan" literally translates from Ukrainian as square; this word originally came from Persian. It received its current name in 1991 in the aftermath of the Ukrainian accession to independence. Nezalezhnist (independence) commemorates the Ukrainian independence achieved in 1991 in the aftermath of the collapse of the Soviet Union.

Early history and Russian Empire times

Throughout its history the square was called by several different names. The area was known since the time of Kievan Rus", but it was not populated or developed until the 18th century, when stone-made fortified walls were constructed. The walls known as Pecherski Gates stood until 1833. Until the late 18th century – early 19th century, the area was a vacant ground known as Goat Swamp (Kozyne Boloto).

In the 1830s, the first wooden dwellings were built, and in the 1850s, stone-made buildings appeared. The most famous Ukrainian writer, Taras Shevchenko was living in that area in 1859, in a building between Small Zhytomyrska and Mykhailivska streets.

The development rapidly intensified after the mid-19th century when the territory gradually found itself in the commercial centre of Kiev that boomed immensely during the Russian Industrial Revolution becoming the third most important city of the Russian Empire.

Until 1871 it was called the Khreschatyk Square; it was a location of the market and folk entertainment. In 1876 the Kiev City Duma building constructed in the square gave the square a new name, Duma Square.

In 1894 the line of the Kiev tram, the first electric tram in the Russian Empire started in 1892, reached the square.

In 1913 in the front of the City Duma, a monument of Pyotr Stolypin (who was assassinated in Kiev in 1911) was constructed, which stood there until 1917.

Soviet prewar years

In 1919 the square was renamed to the Radyanska (Soviet) Square. From 1935 it was called the Kalinin Square to Mikhail Kalinin, the first chairman of the Supreme Soviet of the USSR.

Much of the square was ruined in the World War II.

In World War II the square was heavily demolished along with almost every building in the centre of Kiev as they were all mined with explosives by the retreating Red Army. In September 1941, after German troops occupied the city, explosions were set off by radio-controlled fuses from over 400 km away. Such unprecedented demolition of the centre of Kiev made this the first operation in history where long-distance radio-controlled explosions were used for military purposes. It caused panic and brought heavy casualties among both the occupying forces and the city"s remaining civilian population.

Soviet postwar years

During the first years after the war, the square was completely rebuilt from scratch. It was architecturally integrated with the newly constructed Khreschatyk in the typical for the time neo-classical Stalinist architecture. The newly constructed Kiev Central Post Office and Trade-Union House with its high-rise clock located on the square to this day became some very well known and frequently pictured views of the center of the city.

In 1976-77, as a part of metro construction, much of the square was again rebuilt and it was renamed to the October Revolution Square (Polshcha Zhovtnevoyi revolyutsii). During the reconstruction, the massive cubist monument to commemorate the 60th anniversary of the October Revolution was put up as well as the complex ensemble of fountains.

Independent Ukraine

After Ukraine"s accession to independence in 1991, the square was given its current name. The competing proposal of Liberty Square (Ploshcha Svobody) was raised at the time as well as in the years to follow, but the current name commemorating the Ukrainian independence is now firmly associated with the square (see the section below).

In 2001, as the square was the major center of the "Ukraine without Kuchma" mass protest campaign, the new extensive construction of the area was abruptly ordered by that time"s Kiev mayor Oleksandr Omelchenko. The square fenced off for construction became inaccessible for the protesters and many observers claimed that the main goal of the project ordered by the city mayor was to disrupt the protests, especially since similar tactics was used by local authorities throughout Ukraine.

Following the construction, the old familiar look of the square, with its many fountains, was significantly altered and the public reaction to the new look of the square was initially mixed. However, by now the square"s monument to Kyi, Schek and Khoryv - the legendary founders of Kiev, the folklore hero Cossack Mamay, the city"s historic protector Archangel Michael as well as a more modern invention, the protecting goddess Berehynia, and the many glass domes are easily recognisable parts of the modern city centre.

A mostly underground shopping mall, the Globe, was built under Maidan Nezalezhnosti to replace the old and shabby giant underpass formerly dubbed by Kievans as Truba (the Tube).

Future developments of the square include the demolition of the old "Ukraina" hotel (formerly hotel "Moskva"), and building a new 68-floor building instead.

Bessarabska Square

   Bessarabs’ka square marks the end of Khreschatyk. However, it was only by the end of the 40s of XIX century that it was included into the city zone, even though regarded much earlier. For instance, it is known that by the end of the XIX century here used to be a horse post station. It was also used as a stop-point for the guests coming from the South. 

      At that time around the station used to be active sales because of winemakers coming to Kyiv from Besarabiya. Probably, this explains the name of the square. 

   The 80s and 90s of the XIX century were to bring rapid building of Khreschatyk and Rue Grand Vasyl’kivs’ka. Bessarabs’ka square turns into one of the most central squares in Kyiv. On the place of a shy house of Beretti is a fashionable hotel “National” erected, on the opposite side of the square – appears not less stylish “Palais Royal”. The last one has miraculously survived. Until recently here was a hospital; after permanent restoration, it was turned into a shopping center – “Mandarin Plaza”.

   The central building of the square later appeared to be Bessarabs’ky covered bazaar, erected in 1910-12 years by a Polish architect Gaj. The style was chosen – Ukrainian Modernism with little of Constructivism. The architect was willing to depict the options of the used construction structures that is why all the farms and the stuff are seeable.

 

     The bazaar is masterfully embellished with sculptures and ornaments. These have been made by the pupils of the Kyiv Artist School of Balavens’ky.

Askold‘s Tomb (Askoldova Mohyla)

     As legend says, in the year 882 prince Oleg from Novgorod (a city in Russia) berthed to the Kyiv Dnipro bank. After that, he managed to kill Kyiv kings Askold and Dir in the nearby wood on the Dnipro banks. Therefore, Oleg took the Kyiv throne. When he had done so, following the legend, he announced: “Kyiv will become the mother for all Russian (meaning the ones of the Rus) cities”. Oleg has recovered himself in the eyes of the descendants by having united all the local tribes with the center in Kyiv. He also has strengthened the reputation of the royal power. However, probably the most valuable thing he has reached was the victory against Constantinople (today – Istanbul).

   The same legend also mentioned the place where Askold was buried – in the Hungarian forest on the Dnipro banks. In the year 1810 on the place, where before used to be a wooden church, was erected a new stone church-rotunda which was later turned into a park pavilion. As times passed, there appeared a cemetery.

   Picturesque, legendary place kept on attracting the attention of both Kyiv resident and its guests. Shevchenko reproduced Askold tomb in one of his numerous works of paint art. Writer Zagors’ky wrote a novel “Askold Tomb” which later became the basis of Verestovs’ky’s opera. Bestuzhev-Ryumin used to visit this place regularly.

    Plenty of well-known people were buried on this cemetery. For instance, Solovtsov (also known for his theatre), the maker of the first in the world “dead loop” Nesterov, professor of Medicine Mering etc.

    The graveyard existed until 1935. The buries were generally destroyed or removed to other graveyards.

Saint Andrew's church

The place of the erection of St. Andrew’s church is fairly legendary. Here is thought to have been the first settlement of those today known as Kyivits. At the hill’s peak – Perun’s Hump – used to be a Slavic wooden pagan idol – god Perun – surrounded by other pagan gods. To the left were royal palaces, later there appeared Desyatyn church – first ever stone building of the Kyivan Rus.

 As legend says, in the first century AD this place was blessed by St. Andrew. In the 11th century there appeared St. Andrew’s monastery (it was also known under name of Yanka – the daughter of Vsevolod Yaroslavovych king), where there later was opened first ever once again in the Rus female embroidery school.

It was here that in September 1744 owing to the arrival of Queen Elizabeth (Russian Queen) St. Andrew’s church’s foundations were laid. Project was made by a famous architect Rastrelli, the building was directly managed by Michurin, who showed great talent in solving complicated engineering problems. The foundations are hidden in two-storey building – stylobate. All the forces rely on this building. That is why the church looks so light-weight. The style of the church is baroque, the height – 46 metres. The facade of the single-domed church is overdecorated with various columns, rich carvings etc. the doors and the windows are all decorated with typical ornaments. The balcony (terrace) has lovely view looking over Podil and Dnipro River.

The inner decorations may well be recognized as those of rococo period. Such world-class masters as Antropov, Nos-Levyts’ky, Boryspolets’ etc. have done their best to make the inside of the church memorable to the descendants.

By architectural means, St. Andrew’s church especially after the recent restoration has united petty well with the surroundings and has now become an ultimate feature of Kyiv.