St. Nicholas' Church (Niguliste kirik) is a medieval church in Tallinn. The church is dedicated to Saint Nicholas, the patron of the fishermen and sailors. It was founded and built around 1230-1275 by Westphalian merchants, who came from Gotland in the 13th century. While the city was still unfortified, the church had heavy bars for closing the entrances, loopholes and hiding places for refugees. When the fortifications around Tallinn were finished in the 14th century (the town wall enclosed the church and the settlement in 1310), the St. Nicholas' Church lost its defensive function and became a typical medieval parish church. There are only a few parts of the original church that have been preserved through the present.
In 1405–1420 St. Nicholas' church obtained its current appearance, when the central aisle was built higher than side aisles and the church was redesigned as a full basilica. In 1515 the tower was built higher and covered with late-Gothic spire. In late 17th century the tower was strengthened and secured. The spire was replaced with a Baroque spire with airy galleries, which was raised higher stage by stage through several centuries. The tower is now 105 metres high.
Saint Nicholas was the only church in Tallinn which remained untouched by iconoclasm brought by the Protestant Reformation in 1523 (or 1524). The head of the congregation poured molten lead into the locks of the church, and the raging hordes could not get in.
The church was partially destroyed in Soviet Bombing of Tallinn in World War II. After restoration it is in use as an art museum and concert hall. Most famous of the artworks is a painting Danse Macabre (Dance of Death) by the Lübeck master Bernt Notke, which depicts the transience of life, the skeletal figures of Death taking along the mighty as well as the feeble ones. Only the initial fragment of the original 30 metres (98.4 ft) wide painting (accomplished at the end of the 15th century) can be seen in the St Nicholas' Church.
The Trinity Lavra of St. Sergius is a world famous spiritual centre of the Russian Orthodox Church and a popular site of pilgrimage and tourism. It is the most important working Russian monastery and a residence of the Patriarch. This religious and military complex represents an epitome of the growth of Russian architecture and contains some of that architecture’s finest expressions. It exerted a profound influence on architecture in Russia and other parts of Eastern Europe.
The Trinity Lavra of St. Sergius, was founded in 1337 by the monk Sergius of Radonezh. Sergius achieved great prestige as the spiritual adviser of Dmitri Donskoi, Great Prince of Moscow, who received his blessing to the battle of Kulikov of 1380. The monastery started as a little wooden church on Makovets Hill, and then developed and grew stronger through the ages.
Over the centuries a unique ensemble of more than 50 buildings and constructions of different dates were established. The whole complex was erected according to the architectural concept of the main church, the Trinity Cathedral (1422), where the relics of St. Sergius may be seen.
In 1476 Pskovian masters built a brick belfry east of the cathedral dedicated to the Descent of the Holy Spirit on the Apostles. The church combines unique features of early Muscovite and Pskovian architecture. A remarkable feature of this church is a bell tower under its dome without internal interconnection between the belfry and the cathedral itself.
The Cathedral of the Assumption, echoing the Cathedral of the Assumption in the Moscow Kremlin, was erected between 1559 and 1585. The frescoes of the Assumption Cathedral were painted in 1684. At the north-western corner of the Cathedral, on the site of the western porch, in 1780 a vault containing burials of Tsar Boris Godunov and his family was built.
In the 16th century the monastery was surrounded by 6 meters high and 3,5 meters thick defensive walls, which proved their worth during the 16-month siege by Polish-Lithuanian invaders during the Time of Trouble. They were later strengthened and expanded.
After the Upheaval of the 17th century a large-scale building programme was launched. At this time new buildings were erected in the north-western part of the monastery, including infirmaries topped with a tented church dedicated to Saints Zosima and Sawatiy of Solovki (1635-1637). Few such churches are still preserved, so this tented church with a unique tiled roof is an important contribution to the Lavra.
In the late 17th century a number of new buildings in Naryshkin (Moscow) Baroque style were added to the monastery.
Following a devastating fire in 1746, when most of the wooden buildings and structures were destroyed, a major reconstruction campaign was launched, during which the appearance of many of the buildings was changed to a more monumental style. At this time one of the tallest Russian belfries (88 meters high) was built.
In the late 18th century, when many church lands were secularized, the chaotic planning of the settlements and suburbs around the monastery was replaced by a regular layout of the streets and quarters. The town of Sergiev Posad was surrounded by traditional ramparts and walls. In the vicinity of the monastery a number of buildings belonging to it were erected: a stable yard, hotels, a hospice, a poorhouse, as well as guest and merchant houses. Major highways leading to the monastery were straightened and marked by establishing entry squares, the overall urban development being oriented towards the centrepiece - the Ensemble of the Trinity Sergius Lavra.
In 1993, the Trinity Lavra was inscribed on the UNESCO World Heritage List.