Images of the Cathedral of Saints Peter and Paul by Domenico Trezzini.

Cathedral of Saints Peter and Paul--page 2 (of three pages)

Domenico Trezzini
1712-1733

The nave
Like the plan of western European churches, the interior is divided into three aisles with faux marble piers with gilded Corinthian capitals. Painted mouldings on the ceilings seem to extend the space. The dome is visible in the east end in the bay right above the iconostasis.

The ceiling and dome from a side aisle

The central section of the grand iconostasis, by Ivan Zarudnyi
Brumfield says that this work "bears a closer resemblance to the triumphal arches erected to celebrate events of state--particularly Peter's victories--than to the elaborate icon screens of the late seventeenth century. Yet the craftsmanship of the latter was readily adaptable to the demands of the baroque style, of which this iconostasis is the most accomplished example" (211).

Continue to page 3.

Works Consulted or Quoted:
William Craft Brumfield. A History of Russian Architecture. Seattle: University of Washington P, 2004.
George Heard Hamilton. The Art and Architecture of Russia. New Haven: Yale UP, 1983.

Click here to return to index of art historical sites.

Click here to return to index of artists and architects.

Click here to return to chronological index.

Click here to see the home page of Bluffton University.

© 2018 Mary Ann Sullivan. I have photographed (on site), scanned, and manipulated all the images on these pages. Please feel free to use them for personal or educational purposes. They are not available for commercial purposes.

The nave Like the plan of western European churches, the interior is divided into three aisles with faux marble piers with gilded Corinthian capitals. Painted mouldings on the ceilings seem to extend the space. The dome is visible in the east end in the bay right above the iconostasis.


The ceiling and dome from a side aisle

The central section of the grand iconostasis, by Ivan Zarudnyi Brumfield says that this work "bears a closer resemblance to the triumphal arches erected to celebrate events of state--particularly Peter's victories--than to the elaborate icon screens of the late seventeenth century. Yet the craftsmanship of the latter was readily adaptable to the demands of the baroque style, of which this iconostasis is the most accomplished example" (211).