Kamenny Monastery is situated on a small eponymous island in the very centre of the Kubensky Lake. It is distinguished as the first stone monastery of the Russian North. Kamenny Island (literally, 'Stony Island') is very small, measuring just 120 metres by 70 metres. It is so named after stony ramparts set up by the monks around the island's perimeter in order to preclude its erosion. The lake is known for its inclement weather and frequent storms. It is believed that during one of such storms in 1269 Duke Gleb of Beloozero was cast ashore, where he found a small monastic community. The legends of the monks attribute the construction of the first timber cathedral on the isle to the funds subsequently provided by that monarch.
Under Dmitry Donskoy, the Kamenny Monastery was run by Dionisius, a Greek monk who introduced the coenobian rule of Mount Athos, whereby the brethren were closed alike, took their meals (usually limited to bread and scarce vegetables) in the refectory and were bound to possess no private property. Female animals were banned from the isle to avoid any impure thought on the part of the monks.
The monastery was quite rich, owning seven larger villages (selo), four average villages (seltso) and 98 small villages, in addition to two salt pans in Totma and two branches in Vologda. The monastic community reached its peak under Paisiy Yaroslavov, a former hegumen of the Trinity Lavra and one of the most influential clerics of the time. This starets authored The Tale of the Kamenny Monastery whose main themes are the history of this monastery and the struggle of its monks against paganism in the area.
In 1476 the monastery burnt down. Ivan III's brother Andrey Menshoy, who was the ruler of Vologda, commissioned a stone four-pillared cathedral to be built on the island. The two-storey two-domed edifice was constructed in 1481 by a team of masters from Rostov, who proceeded to erect very similar cathedrals in the Ferapontov Monastery (1490) and Kirillo-Belozersky Monastery (1497). Paisiy Yaroslavov mentions that he engaged the great artist Dionisius to paint a deesis for the cathedral. It is believed that Dionisius's works perished 185 years later, during a great fire, which resulted in the collapse of the domes.
In the 16th century, the Kamenny Monastery did not develop as quickly as the two last-mentioned abbeys, because of the limited territory that the tiny and remote island could afford. In the 1540s, the monks constructed a church-belltower of curious architecture and a refectory, after which the monastery gradually declined to obscurity. It was remembered in Moscow primarily as a place of exile, where the famous Old Believer, Ivan Neronov, was deported. On 24 July 1774 one of the exiles set the monastery on fire, whereupon the monks were transferred for 26 years to Vologda. When they finally returned to the island in 1801, the cathedral was restored with five domes instead of one. The only post-medieval buildings on the island were an inn and two lighthouses, built for the needs of the monastery in the 1870s.
The Soviet government closed down the Kamenny Monastery in 1925 and had its brethren evacuated from the island. The buildings were adapted to house a penal colony for minor delinquents. This establishment proved a failure and by 1937 the island had been deserted. The regional administration profited from the situation to blow up the oldest building of the Russian North in order to obtain brick required for construction of the local 'palace of culture', which eventually failed to materialise.
As of 2005, the only building marking the spot of the historic monastery is the church belltower from the 1540s, which is now being repaired by a team of enthusiasts from Vologda and Moscow. As the team is out of funds, the future of this medieval compound looks bleak.References:
The Cloth Hall in Kraków dates to the Renaissance and is one of the city's most recognizable icons. It is the central feature of the main market square in the Kraków Old Town (listed as a UNESCO World Heritage Site since 1978).
The hall was once a major centre of international trade. Traveling merchants met there to discuss business and to barter. During its golden age in the 15th century, the hall was the source of a variety of exotic imports from the east – spices, silk, leather and wax – while Kraków itself exported textiles, lead, and salt from the Wieliczka Salt Mine.
Kraków was Poland's capital city and was among the largest cities in Europe already from before the time of the Renaissance. However, its decline started with the move of the capital to Warsaw in the very end of the 16th century. The city's decline was hastened by wars and politics leading to the Partitions of Poland at the end of the 18th century. By the time of the architectural restoration proposed for the cloth hall in 1870 under Austrian rule, much of the historic city center was decrepit. A change in political and economic fortunes for the Kingdom of Galicia and Lodomeria ushered in a revival due to newly established Legislative Assembly or Sejm of the Land. The successful renovation of the Cloth Hall, based on design by Tomasz Pryliński and supervised by Mayor Mikołaj Zyblikiewicz, Sejm Marshal, was one of the most notable achievements of this period.
The hall has hosted many distinguished guests over the centuries and is still used to entertain monarchs and dignitaries, such as Charles, Prince of Wales and Emperor Akihito of Japan, who was welcomed here in 2002. In the past, balls were held here, most notably after Prince Józef Poniatowski had briefly liberated the city from the Austrians in 1809. Aside from its history and cultural value, the hall still is still used as a center of commerce.
On the upper floor of the hall is the Sukiennice Museum division of the National Museum, Kraków. It holds the largest permanent exhibit of the 19th-century Polish painting and sculpture, in four grand exhibition halls arranged by historical period and the theme extending into an entire artistic epoch. The museum was upgraded in 2010 with new technical equipment, storerooms, service spaces as well as improved thematic layout for the display.
The Gallery of 19th-Century Polish Art was a major cultural venue from the moment it opened on October 7, 1879. It features late Baroque, Rococo, and Classicist 18th-century portraits and battle scenes by Polish and foreign pre-Romantics.