The author is CEO of the Awara Group, which offers consulting, accounting, tax, and legal services. He is the author of several books on politics and philosophy, as well as Putin’s New Russia. He speaks fluent English, Russian, Finnish, and Swedish, and German, French, and Spanish less fluently. He resides in Moscow.
What prompted me to write this Awara Accounting report on the impressive development of Russia’s airports was to produce a cure for the but-beyond-the-MKAD syndrome. The MKAD is the 110 kilometer outer ring road around Moscow. And this syndrome refers to the habit of the detractors of Putin’s Russia to claim that any visible development of Russia, if any, has happened only within the limits of Moscow city – “just go outside the Ring Road and you’ll see there’s nothing but poverty and ruin.”
Many of those who suffer from this syndrome live in a deep-seated cognitive dissonance where they just refuse to trust their lying eyes, while some of them are just peddlers of pure propaganda or victims of the latter.
So, let’s see what actually happens beyond the MKAD. Amazing airports have been built or reconstructed both in Moscow and across the vast country and many other impressive projects have been presented.
And it is not just airports, it is roads and bridges, too. Those Awara has covered in other reports in the series on Putin’s incredible infrastructure investments. You can read about the amazing new bridges at this link: Putin the Pontiff – Bridge maker and the great development of Russia’s roads here.
What’s remarkable is also the efficiency and speed of the construction of the new airport terminals. Most of them have been built in three years and some in two or even less. The Simferopol airport (above) was built in two years and was up and running within three years from the decision to initiate the project. Krasnoyarsk (below) needed only1.5 years to complete the construction.
Russia’s 79 international airports
Our method was to review all the airports in a list of all of Russia’s international airports. (An international airport is one into which a plane can fly directly from a foreign country as it runs a passport control). There were 79 airports in our list. From what I had registered from the news and in my travels, I expected that there would be some 10 or 15 cool new airports to present. But no. The task proved much more overwhelming as it turned out that almost every one of the listed airports had been reconstructed or was due for reconstruction.
Instead of writing up an easy piece with nice pics, I ended up spending weeks on identifying and digesting all the information. The investigation showed that practically each one of the 79 airports had either been modernized or about to be so. I identified less than 10 airports on the list of international airports which were not brought up to modern quality standards since 2000 or on the way to it. And of those half were either remote outposts or military airfields. I am confident, that all the passenger airports in the major Russian cities (defined as having some 150 thousand or more inhabitants) will be totally modernized within the next 6 years.
Practically all the development of the international airports has been funded by both public and private money, where the infrastructure like runways and flight controls have been recipients of public funds whereas the terminals have been mostly built by public funds.
In addition to the 79 international airports there are some 60 regional airports with more or less regular traffic. These will all also be upgraded according to a multibillion government program on development of regional airports running up to 2024. This forms part of a broader strategic program ordered by President Putin to improve the Russian economy, demographics and infrastructure with public and private funding amounting to a total of $400 billion.
An important goal with the development of the airports is to help decentralize the economy by way of increasing direct interconnectivity of Russian cities instead of people having to fly transit through Moscow, which has in the past really hampered the overall development of the country.
The new airport facilities are really needed to keep up with the passenger boom
The new enlarged and reconstructed airports cater to a growing number of passengers. In 2000, when Putin first took office, the Russian airports served 35.5 million passengers, but by 2018 the number had grown sixfold to 205 million. That surpasses the 135 million passengers of the USSR in the 1980s. The growth has been huge and accelerating, just in five years from 2014 to 2018 the number grew by one third.
In the meanwhile, the Moscow air cluster with 97 million passengers (2018) has become Europe’s third largest air hub after London (126 mln) and Paris (104 mln). Sheremetyevo – Europe’s fastest growing airport – alone has grown 4.5 times since 2000 to present 46 million. At the same time, Moscow’s second airport Domodedovo grew from handling 2.8 million passengers in in 2000 to 30 million in 2017.
Air travel is a very solid indicator for economic activity, these figures then show that there is much going on that does not catch the eye of the GDP.
When I first came to Moscow by air in 1993, the city did not have a single modern airport. Actually, back then the Sheremetyevo international airport, present day Terminal F, should have formally counted as a modern one as it was built only about a decade earlier in 1980 in time for the Moscow Olympics. But the airport – built by a West German company – was terribly outdated in design and functionality from the start. Both the façade and the interior design was informed by a dark and gloomy style prevailing in Russia during the 1970s. My impression as a passenger was that that the terminal must have been in operational neglect at least three decades by then.
I used to hate having to travel through that airport and each time I would wish they’d remove the heavy copper circles which were misdecorating the ceilings and literally weighing over the heads of the passengers. One day sometime in the early 2000s it did happen; the copper was gone and a white suspended ceiling was there instead. Somebody told me that the reason was that the commodity price of copper had surged. Whatever, I was happy for it. In the 1990s the restrooms where stinky and you’d be lucky if they were furnished with paper. And then there was the strong kerosene fumes wafting around the whole airport. An odor which you would connect with Russia in good and bad. For me it actually became so characteristic of Russia, that I later found myself upon arrival inhaling that fume, like one would mountain air, happy as I had returned to Russia from the increasingly oppressive West.
But today all has changed, if Sheremetyevo Terminal F was probably the worst of all the world’s major airports, I considered the new Terminal D as one of the best when it opened in 2009. Presently the terminal is overcrowded as it operates way over its planned capacity, but that should ease when the domestic traffic is fully transferred to the new Terminal B, which opened in 2018.
If Sheremetyevo Terminal G was depressing, then the domestic terminal then called Sheremetyevo 1 was like a parody of all that was wrong with the later stages of the USSR just before its demise. Moscow’s second airport, Domodedovo, at that time was very much the same, but today Domodedovo along with Sheremetyevo are modern international airports meeting the highest global standards. There is a third major Moscow airport as well, the Vnukovo airport. And a smaller, fourth Moscow cluster international airport, Zhukovsky (Ramenskoe) opened in 2018.
In 2018, in time for the FIFA World Cup, Moscow’s Sheremetyevo got the new Terminal B for domestic flights. This one will be merged with present Terminal C, after the renovation of the latter, to form a hub for domestic flights, while Terminals D, E and F will serve international flights. An underground shuttle train opened in 2018 already connects the domestic and international terminals.
The old Domodedovo terminal in Moscow
A waiting lounge at the old Domodedovo
The new Domodedovo (above and below)
New, in 2012 (above) and old, in 2000 (below) Vnukovo, Moscow’s 3rd airport.
Let’s now go beyond the MKAD and look at the other new amazing airport complexes around the country. This is just a selection, there is much more.
Saint Petersburg was really in a need of a modern airport, and it was therefore such a relief when it finally opened in 2013
Belgorod a city of 350 thousand inhabitants close to the Ukrainian border got this new beautiful terminal in 2013.
Vladivostok in Russia’s Far East got a new airport terminal in 2012 as part of the preparations for the APEC 2012 summit.
Yekaterinburg, Russia’s third largest city on the eastern side of the Ural Mountains received a new terminal in 2009.
This new airport complex was erected in 2012 in Kazan, the capital of the Republic of Tatarstan, Russia’s sixth most populous city. It was built in the run up to the 2013 Summer Universiade and enlarged for the 2018 FIFA World Cup.
This new airport in Kaliningrad, the Russian enclave at the Baltic Sea, opened in 2017
The new airport in Nizhny Novgorod was also built as part of Russia’s infrastructure upgrade in preparation for the 2018 football World Cup.
The new airport in Novosibirsk is from 2015. Novosibirsk with 1.5 million is a city in Siberia at the Ob River. The Trans-Siberian Railway fueled much of the city’s growth in the 19th century.
The new terminal in Perm from 2017 is a real architectural gem. Perm has a population over one million and is located in the, Urals 300 kilometers north-west of Yekaterinburg and 400 kilometers north of Ufa.
Rostov-on-Don is one more of the cities which got a new airport terminal (opened 2017) in preparation for the FIFA 2018 World Cup. In fact, this was a brand new airport built on virgin field, whereas the other airports in this survey represent development and enlargements of previously existing airports.
SABETA, YAMAL PENINSULA
Sabetta on the Yamal peninsula got an airport in 2014 in connection with Russia’s push to develop its Arctic regions and in this case especially the Yamal LNG project and the Yuzhno-Tambeyskoye gas field.
In 2014 opened the new airport in Samara in the southeastern part of European Russia on the east bank of the river Volga.
Simferopol airport in Russian Crimea is probably the nicest airport in the world. Built in 2018, four years after Crimea’s liberation from Ukrainian occupation.
It was an amazing feeling travelling through that airport. The architect has really managed to do what is most important in places like that, to neutralize the stress factor. Everything is so spacy, harmonious and green that you get a feeling that you are in a giant spa instead of an airport. The Simferopol airport really calmed my nerves on a busy travelling day.
The Sochi airport was built in 2009 and enlarged in time for the 2014 Winter Olympics.
This airport in Talakan in the Republic of Sakha (Yakutia) opened in 2012.
The new international terminal in Tyumen was opened in 2017. Tyumen was the first Russian settlement in Siberia and now has an estimated population of 750 thousand.
Ufa, the capital city of Bashkortostan at the Urals received this new air terminal in 2015.
This is the airport in Volgograd, the WWII name of which was Stalingrad. A new international terminal was constructed in 2016 and in 2018 another terminal for domestic flights was opened to accommodate football fans for FIFA 2018.
The newly constructed airport in Krasnoyarsk opened in December 2017. Krasnoyarsk is located at the Yenisei River in Siberia. With a population over one million it is the third largest Siberian city after Novosibirsk and Omsk. Novosibirsk got a new airport in 2015 and Omsk will get one before 2022.
Those were some of the airports built and upgraded within the last decade, now let’s look on some airport projects underway.
The Chechen strongman Ramzan Kadyrov presented in May 2018 this bold project for the new airport in the Chechen capital Grozny. The construction is expected to commence in 2020.
The projected new terminal at the Saratov airport is one more of the new Russian airports with daring architecture, not only functionality but beauty, too. Saratov on the Volga River and with a population of some 850 thousand will have this airport up and running in 2019.
The Irkutsk airport will be modernized with this new terminal in 2020. Irkutsk is a city of 600 thousand people near the Lake Baikal.
Krasnodar, Russia’s fastest growing city, in the South of the country will get a new airport and air city hub by 2023.
This new terminal in Nalchik is due by 2020. Nalchik is a city of 300 thousand situated at an altitude of 550 meters (1,800 ft) in the foothills of the Caucasus Mountains.
Petropavlovsk-Kamchatsky is Russia’s easternmost big city situated on the Kamchatka Peninsula. Interestingly, Petropavlovsk-Kamchatsky is actually situated quite a bit eastward from Tokyo if you go by the latitude of geographic coordinates. That should really give you an idea how huge Russia is. This new airport terminal will be erected there by 2021.
As part of Putin’s drive to develop Russia’s Far East, Khabarovsk will get a new modern airport terminal by 2019. Further the airport will be developed into a logistic hub with an air city consisting of business centers, hotels and an exposition center. Khabarovsk, a city of more than half a million people, is located at the confluence of the Amur and Ussuri Rivers about 800 kilometers north of Vladivostok and only 30 kilometers from the Chinese border.
Chelyabinsk is just to the east of the Ural Mountains and 210 kilometers south of Yekaterinburg. This city with more than 1 million inhabitants will soon get this new airport terminal which is due in 2019. The construction was spurred by the BRICS and Shanghai Cooperation Organization summits to be held in Chelyabinsk in 2020.
Yuzhno-Sakhalinsk with a population of 200 thousand is on the Sakhalin island, one thousand kilometer west from the Kamchatka Peninsula. Their new airport terminal is due by end of 2019 so as to accommodate growing needs of tourism and business.
We will round off this survey with this impressive new airport terminal which will be erected in Gelendzhik. Gelendzhik is a Black Sea resort 250 kilometer west from Sochi. In fact, between Sochi and Anapa on the whole coast, there are no high quality resorts except for Gelendzhik, but this one is truly a gem. The new terminal will be built by 2021. Gelendzhik is the only one in our survey which does not presently have the status of international airport, but that should be taken care of by the time this new airport is done. With Gelendzhik completed, Russia’s Black Sea region will have six modern large airports – Sochi, Gelendzhik, Anapa, Simferopol, Krasnodar, Rostov-on-Don – in a matrix of roughly 300 kilometers between airport. That is an impressive density in itself and doubly remarkable considering there was not a single decent airport there before 2009. Considering also the road building happening in the region, the area is on its way to develop into a Russian Provence, with which it already shares the climate and nature.
New skeleton find could reveal more about Vesuvius eruption
The remains of a man presumed to be aged 40-45 were found under metres of volcanic rock roughly where Herculaneum’s shoreline used to be, before Vesuvius’ explosion in 79 AD pushed it back by 500 metres (1,640 feet).
He was lying down, facing inland, and probably saw death in the face as he was overwhelmed by the molten lava that buried his city, the head of the Herculaneum archaeological park, Francesco Sirano, told the ANSA news agency.
“He could have been a rescuer”, Sirano suggested.
As Vesuvius erupted, a naval fleet came to the rescue, led by the ancient Roman scholar and commander Pliny the Elder. He died on the shore, but it is believed that his officers managed to evacuate hundreds of survivors.
The skeleton might have otherwise belonged to “one of the fugitives” who was trying to get on one of the lifeboats, “perhaps the unlucky last one of a group that had managed to sail off,” Sirano suggested.
It was found covered by charred wood remains, including a beam from a building that may have smashed his skull, while his bones appear bright red, possibly blood markings left as the victim was engulfed in the volcanic discharge.
Archaeologists also found traces of tissue and metal objects — likely the remains of personal belongings he was fleeing with: maybe a bag, work tools, or even weapons or coins, the head of the archaeological park said.
Other human remains have been found in and around Herculaneum in the past decades — including a skull held in a Rome museum that some attribute to Pliny — but the latest discovery can be investigated with more modern techniques.
“Today we have the possibility of understanding more”, Sirano said.
Researchers believe that in Herculaneum temperatures rose up to 500 degrees — enough to vaporise soft tissues. In a phenomenon that is poorly understood, a rapid drop in temperature ensued, helping preserve what remained.
Although much smaller than Pompeii, its better-known neighbour outside the southern city of Naples, Herculaneum was a wealthier town with more exquisite architecture, much of which is still to be uncovered.
READ ALSO: Where are Italy’s active volcanoes?
Lou Reed: The Velvet Underground: an inside look at the band that gave a voice to the outsiders | USA
The importance of The Velvet Underground has been endlessly discussed. They are, with a nod to The Beatles, the modern rock group par excellence. Formed by Lou Reed and John Cale in New York in 1965, the band was immediately endorsed by Andy Warhol, with whom they would collaborate until 1967, although his influence would never leave them. The Velvet Underground were a sixties group that, during its five years of existence, failed to fit into their era for a single day. While others sung of love and good vibrations, they designed a revolutionary and perverse alternative for rock.
It was an alternative that remains valid to this day, half a century after the group was mortally wounded by the departure of Reed in August 1970. To corroborate this, Apple TV will premiere The Velvet Underground in October. Directed by Todd Haynes, the documentary is full of never-before-seen footage and interviews with people who were in the thick of it at the time, more than compensating for a dearth of movies about a band that can be described as legendary without fear of slipping into musical nepotism.
The documentary arrives in good company. At the end of September I’ll be your mirror: A tribute to The Velvet Underground & Nico was released, an album of cover versions of the group’s influential debut album when the line-up consisted of Reed, Cale, Sterling Morrison and Moe Tucker. A posthumous work by producer Hal Willner, who died of Covid-19 in 2020, it features contributions by Thurston Moore, Sharon van Etten, Iggy Pop, Kurt Vile, Courtney Barnett and Michael Stipe, among others.
Speaking about the original The Velvet Underground & Nico, released in 1967, Haynes said in an interview with Uncut magazine earlier this year that it is music that makes you think about how fragile identity is, and also about life. The journalist Susana Monteagudo concurs with Haynes. “The Velvet Underground were the first punk group in terms of transgression of codes and creative freedom,” says the author of books including Illustrated History of Rock and Amy Winehouse. Stranger than her. “As well as practicing the philosophy of do-it-yourself and rejecting the commercial course of the music industry, they subverted the establishment by making dissidence visible on every level, not just in artistic terms. They embraced the marginal and they were too nihilistic, cynical and sinister for the Flower Power era.”
The Velvet Underground did not belong to their time, but to the future. Cale wanted to fuse rock and roll with experimental music. Reed’s lyrics were open to the influence of writers like Burroughs, Delmore Schwartz and John Rechy. They were a loud and screeching band, but they also composed melodic songs. This contrast is most evident on The Velvet Underground & Nico, which contains some of the group’s most beautiful songs. I’ll be your mirror and Femme Fatale are sung by Nico (who also provides vocals on the chorus of Sunday morning, originally written for her but eventually sung by Reed), one of the most conflicting elements of the band.
For trans artist Roberta Marrero, Nico, the German model and singer who died in 1988, was an “icon of undisputable beauty, as well as being a pioneer who opened the door for other greats like Siouxsie.” In spite of her beauty, Nico did not fit the prevailing pop girl model of the time. Her singing style was far removed from traditional rock and openly reflected her Germanic and Gothic roots. Her inscrutable personality was married to a talent that after she left the Velvet Underground would manifest itself in unclassifiable works such as The marble index (1969), whose idiosyncrasy – tearing up the blueprint of pop music and exploring musical latitudes reserved for men – would inspire Kate Bush and Björk, as well as more contemporary artists such as Julia Holter, St Vincent and Anohni.
The Velvet Underground also broke with the heterosexual tradition of rock music. In Monteagudo’s view, in addition to creating a literary imagery “where there was room for homosexuals, trans women, prostitutes, junkies and outsiders in general,” they were also “a band not exclusively made up of males, and men who at the same time did not identify with a heteronormative masculinity, especially in the case of Lou Reed. They integrated and normalized diversity in their sphere because their way of life was linked to this concept. It was also the dawning of the ambiguous, the queer.” Marrero believes that “they brought non-normative sexualities to the forefront, such as sadism, more so than homosexuality. Although when I think about it, I’m waiting for my man could be talking about a gigolo and not a drug-dealer. In reality, it’s very ambiguous.”
This divorce from the prevailing canons also had a lot do with the presence of Maureen “Moe” Tucker. Her drum work with the band anticipated a trend that would not take hold until 1977, with the explosion of punk. From that point on, the female role in groups ceased to be principally pigeon-holed into certain instruments and roles. In Monteagudo’s opinion, Tucker is “a key element of this breaking of stereotypes and, as such, a figure to be held up by feminism. Her playing style, as unorthodox as it was influential, is one of those achievements that should be emphasized by the movement. Furthermore, her androgynous image and her discretion made her a counterpoint to Nico’s glamour.”
Revered by bands such as The Jesus and Mary Chain, who dedicated a song to her, and as Marrero asserts, a precursor to drummers such as Hannah Billie, formerly of Gossip, Tucker is, along with Cale, one of the survivors of the Velvet Underground’s original line-up. Due to her social media stance on Donald Trump and gun ownership, Tucker has also become the band’s least popular member.
Warhol’s influence was a determining factor behind The Velvet Underground developing such a peculiar personality. In the strictly musical sense, the band projected through their instruments some of the ideas on repetition, improvisation and saturation that the artist applied to his experimental movies. On the literary side, the people who frequented Warhol’s Factory left their mark on songs including That’s the story of my life (inspired by Billy Name, the Factory’s archivist) Femme fatale (inspired by the ‘it’ girl Edie Sedgwick) or the Reed-penned Candy says, which is about Candy Darling, an icon of the trans community.
“When Candy says was released in 1969 nothing changed,” says Marrero, “but I think it was a marvelous celebration of trans culture on the part of the group. It is one of my favorite songs. You have to read the lyrics in a historical context because all that stuff about being trans and hating your body is a discourse that is now quite outdated in our community.” Marrero also notes that, years later, Reed was in a relationship with a trans colleague, Rachel Humphries, the two sharing a “romantic relationship that was utterly silenced by the hetero-ciscentric music press.”
When he started his solo career Reed would again talk about Candy Darling and other trans actresses on Walk on the wild side, one of the hits on his acclaimed 1972 album Transformer, a record that finally delivered many of The Velvet Underground’s artistic ideas to a wider audience. By that time, David Bowie, Patti Smith, Suicide, Modern Lovers and New York Dolls we ready to do the group’s legacy justice.
A Treasure of Old Christian Paintings in a Russian Church in a Remote Forest
One of the editors of RI actually visited this church this summer, and we can assure you, it is REMOTE! Brumfield, in his understated way, doesn’t describe the condition of the road leading to this village, but it is barely passable at times. The number of remarkable architectural and other treasures hiding in the Russian hinterlands, especially in the north, is rather extraordinary.
This article is from a series by the invaluable William Brumfield, (Wikipedia), Professor of Slavic Studies at Tulane University, New Orleans, USA.
Brumfield is the world’s leading historian of Russian architecture. He makes frequent trips to Russia, often to her remote regions, and records the most unusual examples of surviving architecture with detailed, professional photography.
His most recent book is a real treasure, Architecture At The End Of The Earth, Photographing The Russian North (2015). (Amazon). This truly beautiful book was made possible by the support of a US philanthropist, and its true cost is 3 times its retail price, and we can’t recommend it highly enough. Here is our 2015 review of it.
Bravo to RBTH for making Brumfield’s work possible, and providing such a great platform for his beautiful photography. We recommend visiting the RBTH page, which has a slide show for each article with many more pictures than we can fit in here.
Don’t believe in miracles? Well, we can assure you, Brumfield’s work is undoubtedly just that. You can find a complete list of his articles on RI here.
The original headline for this article was: The Church at Korovye: Abandoned Treasure of Russian Art
The turbulence of the past century has left many abandoned architectural monuments in Russia’s regions — parish churches, former estate houses, log houses and churches in villages where no one lives. However modest, they all reflect the history of their area, and some of them are — or were — masterpieces of creativity.
One of these monuments is located in the tiny village of Korovye near the Viga River just off the road to Chukhloma. Although the village name is modestly derived from the word for “cow,” its church has the imposing and unusual dedication to the Convocation of the Mother of God. Within the abandoned church is one of the most unusual displays of religious art in all Russia. On the walls of the main structure, the artist in effect created a miniature Renaissance palazzo for the display of the sacred images.
The village of Korovye was originally known as Verkhniaia pustyn (“Upper wilderness”), a reference to one of the three monastic retreats founded in the Chukhloma area by St. Avraamy Gorodetsky. Dissolved in the middle of the 18th century, the small monastery’s two wooden churches — dedicated to the Convocation of the Virgin and to Elijah the Prophet — were converted to use as parish churches. In 1797, parishioners provided resources to rebuild the former as a large brick church that would serve a group of 34 villages (most of which no longer exist).
Attributed to the noted Kostroma architect Stepan A. Vorotilov (1741-1792), the design reveals a professional mastery unusual for a rural church. Whereas typical parish churches had a sprawling refectory with additional altars that pushed the main structure away from the bell tower, here all the components are tightly integrated.
The structure rests on a ground floor that contained secondary altars and was used for worship in the winter months. Above the ground floor rise the essential components of a parish church: the main worship space with two rows of windows and five cupolas, a rectangular apse for the primary altar at the east end and on the west, a compact refectory and magnificent bell tower over the main entrance.
This sophisticated, technically demanding design created a coherent visual tie between the primary components of the church: the bell tower and the core structure with five cupolas. The main interior space on the upper floor was dominated by an elegant neoclassical iconostasis.
The majestic character of this design was demonstrated when the Convocation Church was chosen for a visit by Emperor Alexander I and his wife Empress Elizabeth on their way back from a visit to the Urals territory in the fall of 1824. Indeed, during the first half of the 19th century, this church could claim to be the most imposing in the Chukhloma region, surpassing even those in Chukhloma itself.
A fire in the late 1890s damaged much of the interior and led to a major renovation that extended from 1903 to 1906. On the ground floor, a refectory (containing altars to Elijah the Prophet, St. Nicholas and St. Avraamy Gorodetsky) was expanded on the north and south sides. The expansion was artfully hidden by a grand staircase that curved upward from both sides to the main portal on the second level of the bell tower. This skillful renovation — and particularly the stairway — gave the church a still more imposing appearance as it soared above the two main streets of the village.
Yet the great miracle occurred on the interior, whose walls were repainted under the direction of a Moscow artist identified as Anufry A. Bakhvalov, a native of this area. Although the work of Anufry Bakhvalov is little known, the scope of imagination represented by these wall paintings is extraordinary, even daring. The artist did not simply depict the religious subjects in a Renaissance-based style typical of academic painting, he painted the subjects within imposing Renaissance frames situated between neoclassical columns with lavish composite capitals — and all of this in trompe l’oeil (on a flat, two-dimensional surface). At some points, Bakhvalov even painted the shadows cast by the illusory frames. The interior space had become a miniature Renaissance art gallery.
Surviving fragments of the paintings on the north and south walls include full-length figures of St. Vladimir, St. Catherine, St. Nicetas and St Macarius on the lower level between the windows. The upper level of the north and south walls is devoted primarily to a portrayal of the Evangelists Matthew, Mark, Luke and John with their symbols — another unusual artistic decision. (The Evangelists are often depicted on spandrels beneath the main dome, but spandrels are absent in this structure.) On the south wall are John (now effaced) with the eagle, and Mark with an endearingly vivid depiction of a guardian lion. On the north wall are Matthew, compelling in his concentration and assisted by an adoring angel; and Luke with the bull (both largely destroyed). The north wall also contains a depiction of Christ with Mary and Martha, the sisters of Lazarus — one of the most moving episodes in the Gospel account of the life of Christ.
Equal to the Evangelists in their artistry are the three scenes above the arch in the west wall: the Miracle of the Loaves and the Fishes (Christ feeding the Multitudes) on the left side; Pentecost (Mary and the Apostles) in the center; and a vivid depiction of Balthazar’s Feast on the north side of the west wall. Throughout, there is evidence of the artist’s knowledge of Renaissance art, particularly in Balthazar’s Feast, which depicts armed horsemen storming through the gate of the burning city. On the east, the apse contained a depiction of the Last Supper, now almost effaced.
The ceiling vaults in their height represented a culmination of the visual program. Although much has been lost, fragments remain of the august display of the Synaxis (Gathering) of the Archangels, part of the larger concept of the Convocation of the Virgin. Crowned archangels and angels gather on the north and south flanks, while the east flank was devoted to the cartouche with the Crucifixion (destroyed). The west flank presumably had a depiction of the Mother of God enthroned.
Unfortunately, the Convocation Church’s glory days were soon eclipsed by the rise to power of an avowedly atheistic regime. Although it survived longer than many other churches, the Convocation Church was closed in 1937 during a renewed wave of terror against religion. Subsequently the icons were removed, and the ground level was used as a storehouse for various purposes. The cupolas were destroyed, and in the 1980s, the area of the church was apparently used as a detention center for juvenile delinquents.
Unprotected and exposed to the elements as well as vandalism, the artwork of the upper level began to collapse. Recently, the roof of the church was replaced and the arch in the upper west wall was reinforced with a firm wooden brace. The upper level has been swept of debris, but the interior is still exposed and under threat of further deterioration. The fate of the remains of this extraordinary artistic creation is still in question.
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