This magnificent ensemble has remained mostly unchanged over the centuries.
At the beginning of the 20th century, the Russian chemist and photographer Sergei Prokudin-Gorsky invented a complex process for vivid, detailed color photography. Inspired to use this new method to record the diversity of the Russian Empire, he photographed numerous historic sites during the decade before the abdication of Tsar Nicholas II in 1917.
In 1911, Prokudin-Gorsky visited Rostov Veliky, or Rostov the Great, located some 130 miles northeast of Moscow. Rostov is one of the earliest historically attested towns in Russia. It was first mentioned under 862 in the ancient chronicle "Tale of Bygone Years." Prokudin-Gorsky traveled to Rostov not only to photograph its monumental architecture, but also its Museum of Antiquities, whose august patron was Nicholas II. My own photographs were taken during several visits from 1988 through 2013.
Rostov's main architectural ensemble is its majestic kremlin, which rises above the north shore of Lake Nero. Although most of the ensemble was not built until the 17th century, this citadel conveys an unforgettable sense of Rostov's importance for medieval Russia.
A valuable patron
The ensemble’s original designation was the Court of the Metropolitan, in recognition of its founder, Metropolitan Jonah of Rostov. After Patriarch, Metropolitan is the highest ecclesiastical rank in the Russian Orthodox Church. An ambitious, dynamic church leader, Jonah Sysoevich (ca. 1607-90) was the son of a country priest named Sysoi. Tonsured at the Resurrection Monastery in Uglich, he rose through the regional monastic hierarchy and in 1652 was appointed Metropolitan of Rostov by the newly elected Patriarch Nikon in Moscow.
Among Prokudin-Gorsky’s several photographs of the kremlin is a view north from the Metropolitan’s Chambers. On the right is the superb Church of the Resurrection, located over the north Holy Gate, which served as the main entrance to the kremlin from Cathedral Square.
Built in 1670, the Resurrection Church was one of the earliest churches within the ensemble. Its extended base supports an enclosed gallery on the south and west. The main structure is crowned by five soaring cupolas topped with ornamental iron crosses. Its interior, also photographed by Prokudin-Gorsky, is covered with frescoes and will be the subject of a subsequent article. On the wall to the left of the church is a small bell pavilion. The Rostov kremlin walls, supported by massive arches, resemble the late 17th-century walls of the St. Cyril-Belozersk Monastery in Kirillov, which was intended to serve as a mighty fortress guarding the Russian North. The Rostov kremlin, however, was never intended for military purposes, and its walls are solely for the imposing effect desired by Jonah.
As with many other major Russian churches, the Dormition Cathedral’s original curved roofline was later replaced with a simpler sloped roof visible in Prokudin-Gorsky’s photograph. My photographs show the post-war restoration to the earlier roofline that followed the contours of the semicircular gables (zakomary). My more recent views also show changes in the color of the Resurrection Church walls.
Fortunately, in the late 19th century Rostov merchants gathered funds to maintain the ensemble. In 1883 the White Chamber, built as a banquet hall for the Metropolitan of Rostov, opened as a museum of church antiquities, predecessor of the current distinguished Rostov Kremlin Museum. Thus through local pride Metropolitan Jonah’s visionary project was preserved for Prokudin-Gorsky and many subsequent generations.