And the heavenly and earthly Dionysius. Ferapontov Monastery and unique frescoes of Dionysius

Strelnikova E.R.

CATHEDRAL OF THE Nativity OF THE VIRGIN

The Cathedral of the Nativity of the Virgin Mary was erected in 1490 on the site that was consecrated by the Monk Ferapont for a wooden church in 1408. The construction of stone churches in the North was unusual at that time. Even in the Cyril Monastery - the more famous and rich - only seven years later they were able to build a stone Assumption Cathedral. For the first time, brick construction began in the North in the Spaso-Kamenny Monastery on the island of Lake Kubenskoye. Next was the Cathedral of the Nativity of the Virgin Mary at the Ferapontov Monastery. Its decor and construction techniques indicate that the architects were most likely Rostov masters.

The type of the temple is traditional for Moscow architecture: cross-domed, four-pillar, cubic, three-apse. Under the pitched roof are hidden the zakomars and the drum of the unpreserved dome above the chapel of St. Nicholas of Myra. The cathedral had a belfry, the remains of which became part of the northern porch. The facades and the drum are decorated with brick patterns.

The temple was “signed” by the famous ancient Russian master Dionysius and his sons. Its authorship is confirmed by the autograph of the icon painter on the northern wall of the church. It states that the painting began on August 6, 7010 (1502), and was completed on September 8, for the temple holiday. “And the scribes Dionysius the iconographer and his children.”

Interior of the Cathedral of the Nativity of the Virgin Mary at the Ferapontov Monastery. Photos of the early 20th century

Frescoes cover the entire internal surface of the temple with a total area of ​​about 800 square meters, they are completely preserved. Only some fragments were lost due to the removal of windows and the reconstruction of the iconostasis. The frescoes of the cathedral made the Ferapontov Monastery world famous. This is the only monument in the country in which the frescoes of the early 16th century have survived in their original design almost in full. Renovations made in the middle of the 18th century affected mainly the paintings in poorer preservation.

Dionysius painted in mixed media - frescoes (on wet ground) and tempera. To make paints, as legend says, he partially used multi-colored minerals located in the vicinity of the Ferapontov Monastery in the form of placers.

The basic scheme of the paintings is traditional: in the dome the Lord Pantocrator is depicted with the archangels and forefathers, in the sails - the evangelists, in the vaults - gospel scenes, on the western wall - the Last Judgment, on the pillars - martyred soldiers and saints, below above the ornamental shrouds - the seven Ecumenical Councils , in the altar - the Mother of God with the Child of God on the throne, in the altar - the Forerunner and Baptist of the Lord John, in the deacon (aka the southern chapel) - St. Nicholas the Wonderworker.

Saint Nicholas the Wonderworker. Concha of the southern aisle of the Cathedral of the Nativity of the Virgin Mary of the Ferapontov Monastery.

GREAT AKATHIST

A special place among the paintings of the Ferapontov Monastery is occupied by “Akathist to the Mother of God” - a picturesque interpretation of a song of praise consisting of 25 songs. All the chants are reflected in Dionysius. The master placed the akathist scenes in the third tier of paintings along the entire perimeter of the cathedral. Dionysius created one of the most perfect embodiments of the Akathist in painting.

The cycle begins on the eastern pillars with four scenes of the Annunciation, conveying the first four songs of the Akathist. The scenes then move to the edges of the western pillars, facing the center of the temple (Kissing of Mary and Elizabeth, Joseph's Doubt, Adoration of the Shepherds, Journey of the Magi). The continuation of the theme of the Nativity of Christ moves to the southwestern vaults (“Return of the Magi”, “Flight into Egypt”), from the 16th song (kontakion of the 9th “Every angelic nature was amazed...”) on the southern wall, the scenes along the western edges of the pillars move to the northern wall (starting from kontakion 7 - “Candlemas”). The use of the surfaces of the pillars, and not just the southern and northern walls for the Akathist scenes, has no analogues either in the paintings of Russian churches or churches outside Russia. This arrangement is very important compositionally: the artist filled the entire temple with scenes of chants. They “sound” both along the walls, and in the center of the temple on the pillars, and on the vaults in the northern and southern corners of the cathedral.

Akathist to the Mother of God, ikos 3. “Kissing Elizabeth” (meeting of Mary and Elizabeth)

According to the content of the narrative parts, the Akathist songs of Dionysius are divided into two halves - related to gospel history(the first 12 songs) and containing reasoning and doxologies (the next 12).

The akathist cycle is associated with the main paintings of the temple, dedicated to the glorification of the Mother of God, her Praise, which includes such compositions as the Intercession, the Cathedral of the Mother of God (“What shall we bring to Thee”) and “Every creature rejoices in You, O blessed One.” The latter, like the Akathist, are written to the words of chants.

FRESCO OF DIONYSIUS IN THE TOMB OF THE REVEREND MARTINIAN

In addition to painting the entire internal surface of the Church of the Nativity of the Virgin, Dionysius in the same 1502 partially decorated with frescoes the two outer walls of the cathedral, the western and southern ones. The portal painting of the western wall is dedicated to the temple feast of the Nativity of the Virgin Mary. A lot has been written about her. Much less attention was paid by researchers to the external fresco of the southern wall at the burial of one of the founders of the Ferapontov Monastery, the Monk Martinian. In the 17th century The fresco ended up in the interior of the church-tomb attached to the cathedral, and is located in a niche of its northern wall.

The burial of the wonderworker Martinian turned out to be the logical center around which the stone construction of the monastery took shape. Martinian died in 1483, at the age of 76, and was buried near the southern wall of the then wooden Church of the Nativity of the Virgin Mary, erected by the monk himself in 1465. In 1490, his student and prayer leader, Archbishop of Rostov Joasaph (Obolensky), on the site of a wooden Church built the first stone cathedral without disturbing the burial. The fact that the burial was not under the cathedral, but outside, suggests that the veneration of St. Martinian was already significant at that time, and this was supposed to be evidenced by a separate tomb, following the example of the tomb of St. Kirill of Belozersky. There is no exact information about what the original tomb was like, apparently wooden. I. I. Brilliantov suggested that after the construction of the cathedral a chapel was erected. Its presence is confirmed by the existence of a wooden shrine, built before the construction of the Martinian Church in 1640-1641. The reliquary dates from about 1570. One panel of it survives, forming the east side of the later gilded wooden reliquary of 1646, which became part of the decoration of the stone church.

Gilded wooden carved shrine of St. Martinian. Fresco of Dionysius over the burial. Photo from the 1980s.

It can be assumed that the original tomb on the site of the existing church was erected before the canonization of the abbot. The basis for this can be the healings described in the life at the tomb of Martinian, where prayer services were served before the councils of 1549-1551, although not to the abbot, but to the Mother of God. In the Life, compiled in the middle of the 16th century. The monk of the Ferapontov Monastery, Matthew, mentioned not only the tomb, but also cancer (in the story about the 10th miracle of the healing of the young man Stephen from leprosy). The miracle occurred at a time when Abbot Gury was in Moscow with a list of nine miracles and learned about the tenth miracle upon his return to the monastery. The builder of the Cathedral of the Nativity of the Virgin, Archbishop Joasaph of Rostov, could himself build a tomb for his illustrious teacher. Not without interest in this sense is the opinion expressed to the author by the artist N.V. Gusev, who copied the frescoes of the cathedral for 35 years, that the fresco over the burial of St. Martinian was created for the interior, since it was painted with darker colors, in contrast to the external portal.

Compared to the painting of the cathedral, this painting has very large losses. Despite the poor preservation of the composition, it can be defined as “Our Lady of Pechersk with the upcoming archangels Michael and Gabriel, St. Nicholas the Wonderworker and the kneeling monks Ferapont and Martinian.” All the figures are facing the central image of the Virgin Mary, which has been completely lost. The figures of the archangels and St. Nicholas standing behind the Archangel Gabriel are in the best state of preservation. The figures of the crouching Ferapont and Martinian have been lost by almost half.

The width of the fresco exactly corresponds to the length of the shrine (231 cm), that is, the size of the saint’s coffin. In the 17th century During the construction of the tomb church, the fresco was to some extent neglected, since its upper left edge turned out to be higher than the edge of the arch of the niche, and behind right side There is a wide field left for composition. The fresco was not whitewashed for a long time; the monastery inventories were from 1763 and 1747. she is mentioned. In the 19th century Significant alterations began in connection with the extension in 1836-1838. meals on the west side. At the same time, the mural painting of the quadrangle and the meal was completed. During these works, the tombstone fresco of Dionysius was severely damaged: the protruding part of the composition (the cathedral pilaster) was hewed away and a new painting was made on top of the ground. The ancient fresco was hidden by a layer of cement and a recording, different in content, which depicted the “Death of Martinian”.

In 1928, the fresco of Dionysius was uncovered from contamination and cement by restorer P.I. Yukin. The composition turned out to be severely damaged: in addition to the loss of its central part, the spaces on the faces of the saints and some other upper layers of the painting were erased. Confirmation that the central figure was the Mother of God and Child was found in the archive by researcher M.G. Malkin in the inventory of the beginning of the 18th century: “Above the shrine is the image of the Most Pure Mother of God of Pechersk, on the sides are the images of the Archangels Michael and Gabriel, St. Nicholas in prayer, the Venerables Ferapont and Martinian, written in wall writing.” Another researcher V.D. Sarabyanov found mention of this fresco in the inventories of 1747, 1751, 1763 and 1767. and did not find it in subsequent inventories of the 18th century, suggesting that the fresco had already been whitewashed by that time.

The author of the first book about the frescoes of the Ferapontov Monastery V.T. This composition remained unknown to Georgievsky, since it was revealed by P.I. Yukin much later than the publication of Georgievsky. The murals of the church-tomb were introduced into scientific circulation by N.M. Chernyshev, who dated it to the time of the painting of the cathedral. In art history literature they have expressed different opinions about the nature of the composition and the degree of skill of its author. For example, G.V. Popov believed that the fresco was painted without the participation of Dionysius, and M.G. Malkin took it to the hand of the “last master” of his artel.

Following historical logic, it can be argued that the mural painting in the niche of the church of St. Martinian was carried out by Dionysius himself due to the special importance of this place, since it decorated the burial of the highly revered abbot, the “owner” of the monastery, figuratively speaking, the “successor” of the glory of the founder of the monastery, St. Ferapont. Let us recall that the relics of the wonderworker Ferapont are located in the Luzhetsky Mozhaisk Monastery, where he rested in 1426, and his Belozersk monastery began to be called the Martinian monastery.

If we consider the composition in the tomb church not in isolation from the rest of the mural, then in addition to decorating the place where the relics of one of the founders of the monastery are buried, it continued (or rather completed) the disclosure of the general plan for the painting of the Cathedral of the Nativity of the Virgin. Like the portal fresco, which was simultaneously completed at the end of the painting of the cathedral, the mural painting of the tomb was the final link in a single artistic embodiment of the idea of ​​intercession. If on the portal of the cathedral the main focus in the upper register of the painting is the appearance of the Savior, then on the southern wall of the temple this continued with the appearance of the Mother of God. Moreover, the asymmetry of the number of Deesis figures in the portal fresco was balanced in combination with the asymmetry of the standing Virgin Mary on the southern wall. Based on this, it seems unconvincing to assume that the fourth figure from the left in the Deesis is St. Nicholas, especially from the unconventional side for him, ¾ at the right hand of the Savior. Following the logic of the unity of the external frescoes, it can be assumed that when placing the image of Archbishop Nicholas of Myra on the fresco in the tomb, Dionysius placed on the portal not him, but his fellow saint. Thus, in the iconostasis of the cathedral, the icon of St. Nicholas corresponded to the icon of the apostle and evangelist John the Theologian.

The recognition of the fourth saint on the portal was complicated by the fact that his figure was also badly damaged by alterations, like the fresco in the tomb. In the 18th century the roof of the porch was lowered, and its rafters were cut into the murals of the upper register of the portal. Before restoration work, the figure was not completely visible; it remained above the suspended ceiling. Various assumptions have been made about which saint is depicted in the Deesis of the portal. The monastery inventory of 1747 mentions this composition: “In the porch above the western church doors there is an image of the Savior Almighty. On the sides of the Spasov image there are written in wall script images of the Most Holy Theotokos, John the Baptist, the archangels Michael and Gabriel and the apostolic images, and images of the Nativity of the Mother of God” [emphasis added by us ¾ E.S.] Dionysius depicted the third pair, as in the Deesis of the iconostasis the apostles Peter and Paul, the fourth unpaired figure at the right hand of the Savior is most likely the Apostle John the Theologian, the same name saint of the builder of the cathedral, Archbishop Joasaph of Rostov (in the world Prince John of Obolensky).

Returning to the fresco in the tomb, it should be noted that the image of St. Nicholas the Wonderworker on the southern wall is not accidental, since this wall is common with the St. Nicholas chapel (a feature noticed by many researchers). It is worth emphasizing the “feedback” connection of the chapel with the church of St. Martinian. On the southern wall of the chapel there is a composition “The Transfer of the Relics of Nicholas the Wonderworker,” which depicts a large shrine of St. Nicholas. Under this fresco on the outside, that is, in the interior of the church-tomb, there is a shrine of St. Martiniana. The interconnection of the compositions is enhanced by the architectural detail of a ¾ window from the cathedral to the church, which, as is known, also had a symbolic interpretation. The vertical line from the window, which is the connecting link between the cathedral and the church, falls on the edge of the composition from the side of the figure of St. Nicholas.

If in the chapel all the compositions reveal the “earthly” deeds of St. Nicholas the Wonderworker, then the outer fresco depicts his “heavenly” intercession. Here the continuity from Archbishop Nicholas to Abbot Martinian is emphasized. Nicholas of Myra is a great organizer and shepherd, and this is in consonance with the actions of the Monk Martinian, the builder of the Ferapont monastery and a revered shepherd. Saint Martinian was the spiritual mentor of such famous figures as the Monk Cassian the Greek, Blessed Galaktion of Belozersky, Bishop Philotheus of Perm and the aforementioned Archbishop Joasaph of Rostov, the builder of the Cathedral of the Nativity of the Virgin and the customer of the frescoes of Dionysius.

The frescoes of Dionysius in the St. Nicholas chapel colorfully depict the intercession of St. Nicholas for those unjustly convicted (the compositions “Deliverance of Three Men from Execution,” “Appearance to Three Governors in Prison,” “Appearance of St. Nicholas to Tsar Constantine” and “Appearance of St. Nicholas to Eparch Evlavius”). Similar examples we meet in the Life of St. Martinian. It is enough to recall his fearlessness in defending the boyar from the disgrace of Grand Duke Vasily II the Dark. Grand Duke, having chosen the monk as his spiritual father, he called him to be abbess at the Trinity-Sergius Monastery, from where he subsequently returned to the Ferapont monastery. One day Vasily II wanted to return a boyar who had fled to the prince of Tver, and sent the Monk Martinian to him. Having secured promises, the boyar returned, but was captured and imprisoned. Having learned about this, Abbot Martinian immediately rode on horseback to Moscow, appeared to the sovereign and denounced him with anger, withdrawing his blessing on him and his reign. The prince remembered well how the loss of the blessing of his former rival Dimitry Shemyaka turned out and “feared God.” He immediately removed the boyar’s disgrace and went to the Trinity Monastery with repentance. Hegumen Martinian met and blessed his spiritual son with honor, and he himself asked for his forgiveness for his daring, showing an example of gentleness and humility.

The composition “The Repose of St. Nicholas” is located on the southern altar pillar of the cathedral opposite the “Transfer of the Relics of Nicholas of Myra.” It is the only image of the Dormition in the temple murals, which indicates the connection of both compositions with the tomb behind the wall. We do not see the “unearthly” life of Nikola in the bowels of the cathedral, but we see outside it, in another world, in heavenly intercession. Thus, the cycle of frescoes of the St. Nicholas chapel ends in the church of St. Martiniana with the intercession of Nicholas the Wonderworker before the Mother of God.

The idea of ​​​​the relationship between the external frescoes of the cathedral is supported not only by the upcoming, but also by the kneeling figures of the Venerables Martinian and Ferapont on the southern wall ¾ of the Venerable John of Damascus and Cosmas of Mayum, respectively, in the tympanum of the door arch of the portal, where they are depicted by Dionysius falling to the Mother of God of the Sign.

In both exterior paintings of the cathedral there are figures of the archangels Michael and Gabriel. In the Martinian Church, the image of the Archangel Michael has an additional meaning. This is the saint of the same name of the Monk Martinian in the world and in the schema. The monk himself is depicted at the feet of the Archangel Michael, above his head there is an almost erased inscription, which can be read as “MARTINIAN”. The image of the buried person on the mural was natural and traditional if the tomb was walled up in the floor or wall of the temple. If it were not for this circumstance, then the founder of the monastery, the Monk Ferapont, should have been depicted on the left side of the composition (his image is opposite). The founders of the monastery are depicted without halos (the head of the right figure has not been preserved), since the canonization of Saints Ferapont and Martinian took place between 1547 and 1549, that is, almost 50 years after the painting of the cathedral. But Dionysius, ahead of his time, leaves us their images.

ICON ARTIST DIONISIOUS

The most difficult thing, perhaps, to write about is the amazing miracle that was preserved in the Ferapontov Monastery by the 21st century - the frescoes of Dionysius. A lot of research has been compiled on this topic, but little is known about the icon painter himself. Discovered in last years Monastic synodics (memorial books) with records of the Dionysius family do not provide sufficient grounds for judgments about its origin. It remains unknown when and where he was born, when he died and where he was buried.

According to reviews of Dionysius' contemporaries, already in the 1470s he was considered the most famous among Russian icon painters. His works were highly valued. Thus, Vladyka Vassian (Toporkov) of Kolomna gave three icons of Dionysius to the Joseph-Volokolamsk Monastery for commemoration, and in the monastery’s insert book it was written that it should be commemorated “as long as the monastery of the Most Pure One stands.”

The first mention of one of Dionysius’s early works is contained in a chronicle compiled in Moscow under Grand Duke John III. In it, under the year 1477, is placed “The Legend of Paphnutius Borovsky,” which reports on the construction venerable temple and about his “wonderful” painting. However, the names of the masters were omitted by the grand ducal chronicler. The authorship of Elder Mitrofan and Dionysius was pointed out by Archbishop Vassian (Sanin) of Rostov in the life of the Monk Paphnutius of Borovsky, which he compiled. Having named the icon painters, he gave them the highest assessment, calling them “notorious [glorified] then more than anyone else in this matter.”

Well, it’s even somehow difficult to evaluate, such antiquity. Of course this is a wonderful miracle. Such safety in such a climate. The monastery looks great. Very correct organization of material delivery. First, watch and tell where and what to watch, then the story itself

A small, almost pocket monastery, snow-white. In winter there are practically no people. We came specifically to see the frescoes. For a 500-year-old work, it is in very good condition. It’s good that before personal acquaintance with the frescoes, an educational program is carried out with the help of a film.

Konstantin ★★★★★

(22-06-2017)

We often came here to admire it, but we haven’t been to the museum for a long time. This time we decided to go all the way. The exhibition consists of 4 parts, tickets separately. In the amount of about 500 rubles per adult (including 250 rubles for the actual frescoes), pensioners get a 20 percent discount. You can pay by card.
They are allowed to visit the frescoes in groups according to a schedule, before which there is a showing documentary film. We also visited the church. Martiniana and the top and bottom of the refectory (church art and folk items).

Ferapontovo, about 130 km, the road is good. There is no point in coming up with delightful epithets for this place. If you have not taken part in the fresco paintings of Dionysius in the Cathedral of the Nativity of the Virgin Mary, you most likely happy man– You have a lot to strive for in order to discover the Beautiful. And when you see the paintings, you simply absorb the great beauty of the master, sometimes you can soar to the domes. Anticipating the fleeting nature of communication with this place, we agreed in advance with the most knowledgeable specialist of the museum, Elena Nikolaevna, she Researcher reserve with 30 years of experience, knowledge is not limited to the same domes. ... continuation src="/jpg/plus.gif">

We spent two hours with her, talking mainly about the paintings. I was able to understand for myself how such a non-canonical creation was born. Ferapontov was located in such a wilderness that here the master could afford to deviate from the conventional canons; the eye of the clergy did not hang over him, trying to present faith as a flock of sinners who are eternally repentant about something. In Ferapontovo, the master simply created as he himself felt Vera - a holiday of the soul. That’s why all his figures turned out to be moving, and the faith in his frescoes turned out to be joyful, giving a person inner spiritual grace,

The monastery is small, but very good. It looks beautiful. The frescoes are quite interesting from a historical point of view, when they were painted, but of course not really. But it's certainly worth watching once. Museums and exhibitions seemed weak. And of course it shouldn’t cost as much money as they charge for tickets.

Alexander ★☆☆☆☆

(15-01-2016)

What is surprising first of all is the rudeness and “bully talk” as a standard way of communicating with visitors and the sullenness of the locals. Everyone is rude - the seller in the store, the driver of the minibus (not a regular one, but a custom one, who received 6,000 rubles for a 3-hour route), the owner of the house, which was not rented for a pittance for the whole company. They are rude and rude for no reason, in response to smiles and politeness.
They raise prices on the fly, despite previous agreements.
The places are wonderful, it’s strange that very close by, for example in Kargopol, people are extremely responsive and friendly.
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The monastery itself is beautiful, both the architecture and the atmosphere.

A very small, “pocket” monastery. What's interesting is that it is included in the list of objects World Heritage UNESCO not only because of its frescoes, but also as an example of Russian monastic construction of that time.
The Church of the Nativity of the Virgin Mary is architecturally very simple and modest. The frescoes are amazing, wonderful. It's like they're "singing." Wouldn't year-round access hurt them?!
There is an active Church of the Epiphany, the inside is very good and blissful, although the space is small and dark (the darkness in this church adds a sense of mystery). ... continuation src="/jpg/plus.gif">

The church has miraculous icon Mother of God“Quick to Hear” - according to the candle maker, she has the special grace to help with infertility.

I’ll say right away that people come to Ferapontovo for practically the only purpose: to see the frescoes of the great icon painter of the Russian Middle Ages, Dionysius (they are preserved only here). Therefore, if you are not particularly interested in this type of art, you may be disappointed. For a person who is interested in icon painting, the issue of money and other things is not in the first place. To each his own. And the frescoes are truly restored perfectly; Rublev in the Assumption Cathedral of Vladimir or Veliky Novgorod are not even close. ... continuation src="/jpg/plus.gif">

Advice: come during the non-tourist season (for example, we were in April), then you can look at the creations of Dionysius as much as you like.

I have known about the Dionysius Fresco Museum for a very long time, so as soon as the opportunity arose, I went there with my wife. The impressions are twofold: on the one hand, unique paintings by a famous master in excellent preservation; on the other hand, the expectation of something more. In general, I experienced ambivalent sensations from everything in Ferapontovo. The “front” (south) side of the monastery displays a dilapidated fence, ridiculous vegetable gardens and dilapidated sheds that spoil the view; but on the north side there is a beautiful lake, a clean shore and pine trees. ... continuation src="/jpg/plus.gif">

The monastery courtyard is clean, but small. Apart from the frescoes of Dionysius, there is nothing special to see. For the ticket price (250 rubles), it becomes especially offensive when the caretakers try to force you to pay separately for photography.
Because of the Renaissance masters mentioned in the video (Leonardo, Raphael, etc.) - contemporaries of Dionysius, the comparison for a non-professional is not in favor of the Russian master (tested on other visitors). Perhaps you need to know well why you are going to Ferapontovo in order to avoid disappointment.

If you find yourself in Kirillov, you should definitely stop by Ferapontovo. A nice place, beautiful frescoes, but it’s not worth 250 rubles. for a ticket!!! To visit other attractions on the territory of the monastery you must also pay 200 rubles. from the nose. We stopped only at the frescoes + the ticket price includes watching a film for 10 minutes. Everything is clear on time: we entered at 16.15 - watched a film about the frescoes - left - entered the temple at 16.30 - watched for 10 minutes - left because... The next group is hot on their heels. ... continuation src="/jpg/plus.gif">

It’s just a museum and nothing else, but it’s quite possible to visit once.

The monastery is small but very pleasant. Located in a picturesque place on the shore of the lake (more precisely, between Borodaevsky and Paskoe lakes). The Cathedral of the Nativity of the Virgin Mary works as a museum of frescoes - the murals of Dionysius have been preserved since 1502 (some work was carried out to preserve the paint layer, but not restoration, which implies restoration). In the church of St. Martiniana is a shrine with the relics of St. Martiniana (the only wooden carved shrine from ancient Rus' that has been completely preserved). In the Refectory Chamber there is an exhibition of ancient monastery icons, as well as paintings. ... continuation src="/jpg/plus.gif">

The current Temple in honor of the Epiphany of the Lord (gate church).

It was during the New Year holidays. A separate ticket is purchased for the frescoes, the price is 250 rubles. I didn’t go to the museum itself because... It was a long-time dream to see the frescoes. I was afraid that there would be a lot of people. But I watched the film in splendid isolation; there were 4 people in the church itself. + caretaker. So organizationally everything is fine.
As for the frescoes themselves.... For me, the standard in this form of art is the painting of the Church of the Prophet Elijah in Yaroslavl. Those who have seen will understand. Here the palette is different, pastel (blue, ocher, brown) and style. ... continuation src="/jpg/plus.gif">

And, of course, the question is that the frescoes of Dionysius were not renewed, and 500 years is still a period! I tried to imagine what it looked like freshly drawn - it must be great!
To sum it up: it's definitely worth watching once.

Beautiful nature, monastery, silence, few people. If I were an artist, I would sit and paint landscapes. I agree that the prices for the frescoes of Dionysius are too high, it was saved by the pension) But you should definitely see them!!! They are not allowed to take photos, but they give you a sheet with photos and the location of the murals.

What a great place! Wonderful lands - silence, smooth water, incredible landscapes! As a museum - it’s poor, and also expensive! Tickets to the Hermitage are cheaper. For viewing the frescoes - 250 rubles, for the rest of the museum - 210 rubles, which is a museum peasant life, an exhibition of local artists (we saw paintings depicting sunny Italy...) and a wooden c. Elijah the Prophet in the village of Tsypino is perhaps the most interesting of this. In addition, in order to see different exhibitions we had to look for caretakers to open them for us. ... continuation src="/jpg/plus.gif">

But despite everything, come, the architecture and nature are worth it!

We visited the monastery yesterday. We booked an excursion to the cathedral to inspect the frescoes (1500 up to 5 people). We listened with pleasure, really liked it, worth the money spent. What is the advantage of visiting such places out of season, walk and look calmly. Unfortunately, a terrible cold wind was blowing, we realized that we were in the north, so we were not able to attend another tour of the monastery, but the impressions were already magnificent. By the way, Monday is a day off at the museum. But there was nowhere to eat: the hotel was open, and the restaurant... continuation src="/jpg/plus.gif">

Somehow this place is not conducive to conversation - more to
reflections! Especially when the sun breaks through the narrow windows and snatches a fragment of the PAST, which is like the present!
Warm floors now allow people in even in winter
to these masterpieces. In such a wilderness (with such roads!) and
such a ringing beauty!

Museum! As a museum, it is weak and almost unorganized. All attention to the frescoes, which were initially destroyed for almost 70 years, have now been restored. By the way, in churches where services are held - mold and mildew, which restorers fight when performing a feat, do not live at all... And where services have recently been restored, the paintings themselves are often cleaned.
Something apparently prevents mold from living where they serve...
The area is poorly maintained. Such a monument! And such practically neglect... There is no devastation, but there is no loving care either. Which is not surprising. Nobody will give money to the museum. They will give money to the temple but not to the museum....
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I have seen many temples with similar paintings. But apparently with such old paintings there are no more.
A place in itself amazing beauty. And the lake and the pine trees and the monastery on the hill
Museum of Peasant Life - a warehouse of spinning wheels and looms. No more. Very interesting gallery paintings by local artists. Very bright, joyful work.
There is a tiny gate church... nothing caught my eye in it.
But a must visit. I actually then went to Vologda.
Road from Vologda. Excellent in places, patch on patch in others.

Elena ★★★★★

(27-07-2012)

We visited at the end of March 2012 after the Kirillo-Belozersky Monastery (which we didn’t really like). We booked a tour and were absolutely delighted. We also have something to be proud of. Stunning frescoes of Dionysius, perfectly organized modern system their preservation. In the Mirozhsky Monastery in Pskov, the frescoes are older, but their author is not known, so museum workers preserve them with improvised means. The government has invested money here (thanks to the dedication of the local director) and this is great. The silence around is not real. ... continuation src="/jpg/plus.gif">

I was surprised to learn that Ferapont, after this monastery, founded the Luzhetsky Monastery in Mozhaisk (there is even a font there, but not on the territory of the monastery, but in the nearest village). We have a dacha nearby, we’ve been to the monastery a hundred times, but they didn’t know this. The gap has already been filled!!! You should definitely book a tour: it’s much more informative and educational.

The road from Vologda is very decent, I don’t even know why people here write that it’s bad. Entrance to the territory is free. On the walls there is an exhibition of old photos and paintings by local artists. Services are currently being held in the gate church. I confess, we didn’t go to look at the frescoes - they were expensive. All around, beauty - the lake, in the distance. Overall it’s good, although not as extensive as Kirillov, but definitely worth a visit.

Svetlana ★★★★★

(12-06-2012)

on a single ticket for 200 rubles. There's practically nothing to see. well, very expensive. frescoes are not included in this price

Andrey Klochkov ★★★★☆

(11-05-2012)

Unfortunately, the museum closes at 17:00, and people are not allowed into it until half past four.
But there are beautiful views all around!!!

Elena ★★★★★

(4-05-2012)

We were there on May 2. We were the only visitors. From the outside, there seemed to be nothing special, but when we entered the temple, there was a feeling of some kind of miracle! I liked the image of St. Nicholas the Wonderworker the most, he is simply extraordinary! I didn't want to leave!!!
It is amazing that in such a wilderness (120 km from Vologda along a terribly broken road, in a village “with 2 houses”) ALL the paintings of the temple from 1502 have been preserved. in PRIMARY form! It (as the guide explained to us) was not restored; all restoration work was aimed only at preserving and cleaning it from brick dust and fungus. ... continuation src="/jpg/plus.gif">

And 250 rub. not a big fee at all, considering how much it costs to maintain all the systems (and there is an air purification system, and maintaining the set temperature and humidity, and God knows what else) and the salary for the staff who are there and work, even for single tourists which we turned out to be...

vorchun ★★★★★

(12-03-2012)

I visited for the third time. The first two frescoes were inaccessible. Now, thanks to warm floors and equipment,
a miracle became possible (even in winter). The sun only contributed, and the rays inside the temple worked miracles!
I didn’t want to leave! Special thanks to the guide and the diagram of the frescoes, from which you can understand everything!
And everything is forgotten, both the bad road and the long distances.
You need to visit and IMPROVE!

Uralochka ★★★★★

(11-01-2012)

Unfortunately, the monastery and museum are not even open every day! We were unable to get there on January 9, apparently due to Monday and the New Year holidays.

Mariyka ★★★★★

(3-10-2011)

It’s definitely worth a visit, but just once will be enough for those who don’t understand anything about ancient Russian painting. The places are incredibly beautiful and amazing. There were 09/24/2011, 250 rubles. For viewing frescoes in such a wilderness, in my opinion, it is expensive. People in other museums didn’t go to other museums (also for money). I recommend going up to the gate church, it is active (right above the entrance gate) - this is antiquity and holiness!

We were here on July 14, 2011. We watched the film and the frescoes. They don’t let you look for a long time, but what’s wrong is necessary - temperature regime and so on. In general, of course, it’s a little expensive for 10 minutes of viewing without a live tour. I rate the frescoes and the work of the restorers; I would rate the museum less.

tata ★★★☆☆

(7-07-2011)

We visited the monastery on June 19. The place is wonderful and the frescoes are good, but instead of a tour there is a 10-minute lecture on TV with terrible sound quality. If you remember anything, go look at the frescoes. All this for 250 rubles. per person. The general disappointment was corrected by communication with an employee of the Tsypinskaya Church museum. The church is part of the Ferapontov Monastery Museum and is located 2 km from it. I give "Tsypin" 5 points.

Elena ★★★☆☆

(30-05-2011)

I want to warn all travelers coming to the monastery. The frescoes of Dionysius can only be seen with a separate ticket costing 250 demolition rubles. A single ticket doesn’t give you this opportunity! And you can’t return it. And we got caught in this. We had to buy both tickets, although we were only going to see the frescoes (unfortunately, we were running out of time). The museum workers don't really explain anything. No one was going to give a tour. I will never go here again, because this attitude towards tourists will leave a bad feeling for a long time. ... continuation src="/jpg/plus.gif">

And the place is very beautiful. Worth a look.

I visited Ferapontovo for the second time in January 2011. We arrived at sunset, and the monastery was illuminated by the setting sun at pink colors. Magnificent views, nature. It makes me want to come there again and again. Once again I admired the frescoes of Dionysius. Now before the inspection they show a film about the frescoes, and then a tour with a guide. Cost for January 2011 - 250 rubles.
And also, if you’re there in winter, don’t forget to take a sled or ice skate with you and slide down the mountain straight to the lake with the local kids))

Natalia ★★★★★

(22-11-2010)

The place is amazing! What I like most is that there is no city around, so the monastery is located in a marvelous corner of nature on the shore of a beautiful lake. The monks knew how to choose a place. I like the antiquity, the lack of gloss. The tour of the museum also seemed interesting. And one more thing. I have never seen such a blue sky as above the Ferapontov Monastery anywhere in the central and northern Russia. Maybe we were just lucky with the weather.

Maryam ★★★★★

(28-10-2010)

We visited with a group from Moscow State University in May 2001 (after visiting the Kirillo-Belozersky Monastery, where in the evening in the rays of sunset - which still left an unforgettable impression of Nature in the soul) this majestic, powerful monastery rose, and then in the morning, having just arrived by bus, we climbed to the Ferapontov Monastery against the backdrop of a lake bathing in the rays of the sun, this graceful monastery glows in my memory - everything is sacred here, and when soon in Moscow in the Tretyakov Gallery there was an exhibition of frescoes by Dionysius (we are already ready... continuation src="/jpg/plus.gif">

were interested in the information about Dionysius) How I want to return here to this ring - Kirillo-Belozersky - Ferapontov - Goritsy (what is the state of the latter now - they were just beginning to restore it)

The monastery was not impressive, nor was the museum housed in it. I don’t like monastery-museums with Soviet grandmothers-museum workers. These are not living monasteries that have lost grace and holiness. In monasteries you need to pray, and not stare at the exhibitions. It’s good that at least the gate church was given to the parishioners - there is a place to pray and light a candle...

Yes, the monastery is good. In the active part, scarves for women hang on the railings. But the current church is very small. And to see the frescoes is really quite expensive - 200 rubles. In general, you can stop by. The lake is very clean, and the view of the monastery from the lake will not be repeated...

Anna ★★★★★

(13-03-2010)

We were in Kirillov and Ferapontov in October 2009, it was magical Golden autumn. The most beautiful places, lakes, forests, villages... And when from behind a hillock they saw a monastery shining with white walls above the lake, they stood on the side of the road in admiration for about ten minutes, just silently admiring it, it took their breath away. There are plenty of attractions, don’t be lazy to move off the main road.
We will definitely return to those parts!

Yes, the place is unique. Some of the frescoes have been restored, restoration work continues. There is not much to see in the museum of everyday life and the exhibition of local artists. The gate church is active. Although tickets, I agree with Maria, are a little expensive. It could be cheaper for our compatriots.

We were very lucky with the guide; a live girl told us how she sang :). A completely different vision of history, different legends.
The frescoes of Dionysius are not allowed to be photographed, not because they will be damaged by the flash, but in order to stop “personal enrichment.”
The monastery itself looks much more beautiful from below, from the square.

Mikhail G. ★★★☆☆

(25-09-2008)

We visited the monastery in June 2008. The impressions are sharply negative. Achieving commercial results nullifies the entire spiritual perception of what is seen. 10 years ago I was delighted with this place, although at that time it was less well-groomed and “civilized”. The monastery makes a much greater impression from the water at sunset, if you take a boat from the local population and float on the lake. This will at least remind you a little of the former spirituality of this place.

Maria ★★☆☆☆

(24-09-2008)

The monastery is located on the shore of a picturesque lake. Beautiful! Fits well into the surrounding landscape. Commerce inside! Tickets to the museum are expensive (to see the frescoes of Dionysius - 160 rubles per person). The ticket takers and museum keepers are stern, like overseers.
The frescoes of Dionysius did not impress me; they do not touch my soul.

Rucheva ★★★★★

(25-08-2008)

The main thing, of course, is the frescoes, their quantity and remarkable state of preservation. Been here twice. For the first time in 1983, in the winter. There was no knowledge then about frescoes and ancient Russian painting. We arrived, everything around was dilapidated and neglected, someone opened the church door for us, and we saw a miracle. Among winter, dirt and desolation there is another world, the blue of the frescoes, and for many years a feeling of wondrous vision and wonder how it could have survived for 500 years. Not stone, not powerful fortress walls, but a subtle pattern on a layer of plaster.
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The second time was in 2007. Landscaping, control of the number of visitors. Everything is quite understandable - the museum is unique, but the feeling of miracle is no longer there. There is an understanding that you are in a museum, albeit a unique one. You can look at the frescoes as much as you want, just ask to leave if a group comes and there are more than 10 people in the temple.

I really liked the exhibition with household items, precisely because there were so many of them. It was interesting both at the book exhibition and at the exposition dedicated to the history of the monastery. For a place so far from the capitals, the museum as a whole (there is no question of the frescoes, they are unique, that says it all) cannot but delight, it is very worthy.

Ferapontov Belozersky Nativity of the Virgin Mary monastery founded at the turn of the 14th – 15th centuries, during the period of expansion of the political influence of the Moscow Grand Duchy, for about 400 years it was one of the prominent cultural and religious educational centers in the Belozersky region.

The history of the Ferapontov Monastery at some key points comes into contact with important historical events era of Russian formation centralized state, is closely connected with the main historical events that took place in Moscow in the 15th – 17th centuries: the capture and blinding of Grand Duke Vasily II the Dark, the establishment of the power of the first “sovereign of all Rus'” Ivan III, the birth and reign of the first Russian Tsar Ivan IV, the formation of the Romanov dynasty, with reference to Patriarch Nikon.

Traditionally, the founding date of the Ferapont Monastery is taken to be 1398. At this time, Ferapont, an associate of St. Kirill of Belozersky, settled separately on a hill between two lakes, Borodaevsky and Paskim. A few years later, having obeyed the insistence of the Belozersk prince Andrei Dmitrievich, Ferapont went near Moscow, to Mozhaisk, and founded his second monastery - Luzhetsky.

Ferapontov Monastery becomes widely known thanks to the activities of the disciple of Cyril of Belozersky, Venerable Martinian, confessor of Vasily II, who was in 1447 - 1455. abbot of the Trinity-Sergius Monastery.

In the second half of the 15th - early 16th centuries, the Ferapontov Monastery became a significant spiritual, cultural and ideological center of Belozerye, one of the famous Trans-Volga monasteries, whose elders had a serious influence on the politics of Moscow.

Along with the Kirillo-Belozersky Monastery, it becomes traditional place worship and contributions of many representatives of the Russian feudal nobility (Andrei and Mikhail Mozhaisky, Vasily III, Ivan IV and others). From its walls at the turn of the 15th – 16th centuries. prominent hierarchs of the Russian Church came out, actively participating in inner life countries - Archbishop of Rostov and Yaroslavl Joasaph (Obolensky), Bishop of Perm and Vologda Philotheus, Bishop of Suzdal Ferapont.

At the same time, major church figures who fought for the priority of church power in the state (Metropolitan Spiridon-Sava, Patriarch Nikon) were exiled here. Book writers Martinian, Spiridon, Philotheus, Paisius, Matthew, Efrosyn, and icon painter Dionysius worked here.

The entire 16th century was the heyday of the monastery. This is evidenced by the surviving deposits and letters of grant from the secular and spiritual authorities, primarily Ivan IV. Vasily III and Elena Glinskaya, Ivan IV come to the monastery on pilgrimage. The deposit book of the monastery, begun in 1534, names among the contributors “princes Staritsky, Kubensky, Lykov, Belsky, Shuisky, Vorotynsky... Godunov, Sheremetev” and others. The rulers of Siberia, Rostov, Vologda, Belozersk, and Novgorod are also mentioned here.

With the discovery of the relics of St. Martinian and his subsequent canonization, attention to the monastery increases, contributing to the growth of deposits and income.

To the richest patrimony of Belozerye - the Ferapontov Monastery at the beginning of the 17th century. belonged to several villages, about 60 villages, 100 wastelands, more than 300 peasants.

In 1490, with the construction of the first stone church of Belozerye, the Cathedral of the Nativity of the Virgin Mary, by Rostov craftsmen, the formation of the stone ensemble of the Ferapontov Monastery of the 15th - 17th centuries began.

In the 16th century In the monastery, the monumental Church of the Annunciation with a refectory, a state chamber, service buildings - a stone drying room, a guest chamber, a cook's chamber - are being built. Having recovered from the Lithuanian devastation, in the middle of the 17th century. the monastery erects gate churches on the Holy Gates, the Martinian Church, and a bell tower.

In 1798, the Ferapontov Monastery was abolished by decree of the Synod.

In the 19th century, during the parish period, the narrowed monastic territory was surrounded by a stone fence.

In 1904, the monastery was reopened as a convent and closed again in 1924.

Currently, the monuments of the Ferapontov Monastery house the Museum of Frescoes of Dionysius, which has the status of a historical, architectural and art museum-reserve. The museum, which arose at the beginning of the 20th century, protected the monuments with the help of only one guard throughout the 1930s-1960s. Since 1975, the formation of a modern museum began, which has turned into a research and educational center, disseminating knowledge about the unique monuments of the Ferapontov Monastery ensemble through various forms of museum work. At the end of 2000, the ensemble of the Ferapontov Monastery with paintings by Dionysius was included in the UNESCO World Heritage List.

The buildings of the monastery, perhaps the only ones in the Russian North, have preserved everything characteristics decor and interiors.

The pilgrim walks slowly, thoughtfully. He is on his way to holy places. So that in a place of prayer you can pray to him and venerate the holy relics. And this path is in itself a work, a feat. While he is walking, he asks to stay, people give him a penny for a candle and they punish him for asking for it in God’s monastery. You'll see how it gets there - it will become different. Cleaner, closer to God...

Such paths are difficult these days. I won’t say, impossible - not accepted. Let's run, hurry up. But this does not mean that one should strive for places of prayer with less diligence. Those trips still bring spiritual joy and the joy of God.

Ferapontovo sank into my soul for a long time, or rather, forever. The feeling is that if I had entered this cathedral without God behind my soul, I would have believed and converted instantly, so great is the impression from the brush of Dionysius. I'm sure there were such people. Like Nikolai Rubtsov:

In the darkening rays of the horizon

I looked at the surroundings

Where the soul of Ferapont saw

There is something divine in earthly beauty.

And one day, emerging from a dream,

From this praying soul,

Like grass, like water, like birch trees,

A marvelous wonder in the Russian wilderness!

And the heavenly and earthly Dionysius,

Having appeared from neighboring lands,

This wondrous wonder has been exalted

To a point unprecedented before...

The trees stood motionless

And the daisies turned white in the darkness,

And this village seemed to me

Something most sacred on earth...

Scientists believe that the appearance of the monastery (as well as the surrounding landscape) has remained virtually unchanged since the 17th century. Compared to the neighboring Kirillo-Belozersky Monastery (this monastery is 20 kilometers away), Ferapontov seems small, just a toy. It is located between two lakes, Borodaevsky and Paskim, on a small hill. A sandy country road leads to the monastery, immediately putting the visitor in a homely, intimate mood.

The surrounding area is amazingly picturesque. A lake with rare fishermen on wooden boats... horses grazing nearby...

Thank God, in the USSR they “didn’t get around to visiting the monastery.” For a long time, from 1924 to 1975, the Ferapontov Monastery was closed. Then a museum was made on its territory with a staff of one employee - a watchman.

Nowadays, the monastery has not been opened; only the gate church with the side chapels of the Epiphany and St. Ferapont. There are no holy relics, miraculous crosses, or living elders of prayer here. And yet the hike became akin to a pilgrimage; this place is holy. Prayed.

Frescoes of Dionysius

The unconditional shrine of Ferapontov, and of the entire Vologda land, to say the least, is the frescoes of the Cathedral of the Nativity of the Virgin. From August 19 to September 21, 1502, according to the new style - from the Transfiguration of the Lord to the Nativity of the Virgin - in 34 days the cathedral was painted by the artel of the great icon painter Dionysius with his sons Vladimir and Theodosius, the gesso painter Eremey, accomplices and scribes. The researchers found that the drawing of all the compositions and the main color laying, done with water-based paints on wet plaster, was done in just five days. At the same time, art historians were unable to identify the hand of each of the writers - probably all three masters worked together on each composition. In addition to the mural painting, the artel also painted the iconostasis of the cathedral (the surviving icons are now kept in the Tretyakov Gallery, the Russian Museum and the Kirillov Museum-Reserve).

By the time he arrived in Ferapontovo, Dionysius was already very famous - his team painted icons for the iconostasis of the Assumption Cathedral of the Moscow Kremlin. The frescoes of Dionysius and his associates, and they are more than 500 years old, amaze and surprise. No matter how pompous it sounds, the degree of their impact on the modern viewer cannot be conveyed in words. This is a holiday, joy and light, imprinted on the walls of the cathedral. Perhaps the frescoes of some ancient Russian churches of the 16th century were just as beautiful - but, alas, all of them have not reached us in their original beauty. The reason for this is renewal or destruction. Yes, to the Great Patriotic War Almost all Novgorod churches were destroyed. And the Cathedral of the Nativity of the Virgin is not only the only monumental monument by Dionysius that has survived almost intact, but also the only unrenovated monument of ancient Russian fresco painting.

Organizer of monasteries

In 2000, the Ferapontov Monastery was included in the UNESCO World Heritage List (there are currently 15 cultural monuments in Russia under the care of UNESCO). Ferapontov's museum collection is very interesting and unique in its own way. A collection of handwritten and early printed books, an exhibition of accurately reproduced cathedral frescoes (artist-restorer N.V. Gusev), beautifully designed regularly updated exhibitions, annual Ferapont readings... Whether the complex will be transferred to the Church - God knows. With God's help, this too will work out. The Mother of God of the Nativity Ferapont Monastery was founded in 1398 by the Monk Ferapont (at first the saint labored in the Moscow Simonov Monastery, then he went with the Rev. and by mutual agreement founded his own monastery). Hermitage, silence, raids of robbers. Later, monks began to flock to the monk. The hermitage, where isolated hermits lived, becomes a communal monastery. Rev. Ferapont, out of humility, does not accept the abbotship. But fame about the exploits of the saint spreads far beyond the borders of Belozerye. A decade later, Prince Andrei Dmitrievich summoned the Monk Ferapont to establish a monastery in Mozhaisk (the Luzhetsky Nativity of the Mother of God Monastery arose there).

Heyday and decline

The second abbot of the monastery, Venerable Martinian, was elected by the monastery brethren. As a child, he lived at the Kirillo-Belozersky Monastery and learned to read and write from the Reverend Kirill himself. And one of the obediences of all the monks of the Ferapontov Monastery was reading, rewriting and binding books. Soon the small Nativity of the Theotokos Monastery also became a major social and cultural center. When the Novgorod Archbishop Gennady needed to fight heretics rare books, he sent for them to the Ferapontov Monastery.

For ten years Ferapontovo was
place of exile of Patriarch Nikon

The 17th century is rightly considered to be the heyday of the Ferapontov Monastery. By this time, three stone buildings had been erected on the territory of the monastery. The first among them was the Church of the Nativity of the Virgin Mary, built in 1490 (it was painted later, 12 years later, by Dionysius and his sons). IN late XVII century Ferapontovo was the place of exile of Patriarch Nikon for ten years.

In the 18th century, Ferapontovo suffered raids, fires, and devastation. The confiscation of monastery lands finally crippled it. In 1798, the monastery was abolished, its churches became parish churches. In 1904 it was opened again, but as a women's one. After arrival new government in 1924 the monastery was closed completely.

The small village of Ferapontovo is located. Here, on a low hill, located between the Borodaevsky and Pasky lakes, rises the small Ferapontov Monastery - one of the remarkable places of the Belozersky region.

Ferapontov monastery history

Ferapontov Monastery was founded by the Monk Ferapont in 1398. The historical significance of the monastery, a significant cultural and spiritual center of Belozerye. It is determined by his participation in epoch-making moments of the formation of the Russian centralized state. In the second half of the 15th – early 16th centuries, the Ferapont elders had a serious influence on the politics of Moscow.

Ferapontov Monastery in the 17th century.

In 1614, the Ferapontov Monastery was captured by Cossack detachments, but its buildings suffered only relatively minor destruction. At the same time, the economic decline associated with the Lithuanian invasion delayed further construction work for more than two decades. The 1640s saw a short period of new growth of the monastery, which caused a revival of stone construction. Following this, a gradual decline of the entire monastery economy began.

Ferapontov Monastery.

In 1798, the Ferapontov Monastery was abolished by decree of the Synod. In 1904, the monastery was restored as a convent, and was closed again in 1924. From the same year, a museum was located in the monuments of the Ferapontov Monastery, which later became a branch Kirillo-Belozersky Historical, Architectural and Art Museum-Reserve . In 2000, the monastery ensemble with paintings by Dionysius from 1502 was included in the UNESCO World Heritage List.

Ferapontov Monastery architectural ensemble.

The architectural ensemble of the monastery was formed in the period from the end of the 15th to the 17th centuries. The core of the architectural ensemble of the Ferapontov Monastery is the Cathedral of the Nativity of the Virgin Mary, built in 1490. This is the first stone building of the monastery and one of the first stone buildings in Belozerye. The murals of the Cathedral of the Nativity of the Virgin are of particular significance for Russian and world culture. According to the text of the chronicle on the slope of the northern door, it was painted by Dionysius and his sons from August 6 to September 8, 1502. This is the only completely preserved painting by an outstanding representative of the Moscow icon painting school, the main artist of the country at the turn of the 15th-16th centuries - Dionysius.

Ferapontov Monastery.

In the 1530s, Rostov craftsmen, forming the front courtyard of the monastery, built the Church of the Annunciation with a refectory. It is a unique architectural monument of the first third of the 16th century. The church was built with the contribution of the Grand Duke Vasily III to commemorate the birth of the heir, the future Tsar Ivan the Terrible, begged for in the Kirillovsky and Ferapontov monasteries. In the tier of the belfry there was a cache and a book depository where handwritten monastery books were kept.

Ferapontov Monastery. Treasury chamber.

In the 1530s, the Treasury Chamber of the monastery was built. It is one of the most ancient stone civil monuments architecture XVI century from those preserved in the North of Russia and was intended for storing monastic documents. The architecture is simple and monumental - massive walls, small window openings without frames.

Ferapontov monastery, Martinian church.

In 1641, the Martinian Church was built. The porch was added to it in the middle of the 19th century. The gate churches of the Epiphany and Ferapont above the Holy Gate were built in 1650. The churches were built above the two-span main entrance to the monastery. Together with the State Chamber adjoining from the south, they form the main facade of the Ferapontov Monastery.

Ferapontov Monastery

From the cathedral church to the refectory there are covered two-tiered passages with a bell tower built into the center. The bell tower was built in the 1680s. A three-tier, hipped roof of a very rare type with a square bell plan and a tetrahedral tent. There are 17 ringing bells on the tier. The unique mechanism of the 1638 combat clock has been preserved in the tent. In the 19th century, during the parish period, the monastery was surrounded by a stone fence.