The Archangel Michael, a suitably war-like heavenly figure, was chosen as the patron saint of the rulers of Muscovy in the 14th century. The Cathedral that bears his name was erected between 1505 and 1508 - the culmination of a grandiose building project begun by Ivan the Great to reflect the growing power of the state, and provide a fitting resting place for Russian Royalty.
The cathedral was built under the guidance of Italian architect, Alevisio Novi, (Alionzo Lamberti da Montanyano). Novi created a highly original structure by superimposing elements of architectural styles of the Italian Renaissance onto the traditional Russian form of five domes and six pillars. The fasade is decorated with cornices, pilasters with capitals, a false arcade and many other decorative details unusual in Russian architecture, while inside, the enormous pillars dividing the interior into three naves emphasises the Russian origin of the building's structure.
Over the years the Archangel Cathedral has undergone several changes that have altered its initial appearance. Most significantly, two chapels were added to the sides of the cathedral in the late 1500s, and the central dome of the cathedral, which had previously been round, was replaced in the 18th century with a traditional onion-shaped dome.
The interior of the cathedral is dark and atmospheric, decorated with an abundance of rich, earthy colours. The cathedral's frescoes were painted between 1652 and 1666 by nearly one hundred artists under the direction of the famous icon painters Simon Ushakov, Stepan Rezanets and Fyodor Zubov. Starting with the central dome fresco of the holy trinity and extending to the main vault and west wall of the cathedral, the paintings tell the story of the reign of God from the Creation until the Last Judgement. The paintings on the southern and northern walls honour the Archangel Michael, depicting his heroic conduct in the war against Satan. Also on the southern wall is a painting depicting the victory of the Israelite troops, led by Gideon, over the Midian. The prominence of this theme can be attributed to the association of the Midian people with Muscovy's historic oppressors, the Tartars.
The iconostasis of the cathedral dates from 1813, after Napoleon's troops used its predecessor for firewood. Nearly all of the icons were painted much earlier, however, between 1679 and 1681. The oldest icon, depicting the Archangel Michael in full armour, is believed to date from the late 14th Century.
The Cathedral of the Archangel contains the tombs (46 altogether) of all the rulers of Muscovy and Russia from the 14th Century until Peter the Great moved the capital to St Petersburg. The one exception is Boris Gudonov, whose tomb is in the Trinity Monastery of St. Sergei. The Ryurik Dukes are buried along the walls of the Cathedral. The southern wall is where the Grand Dukes and their close relatives were buried. The northern wall is where dukes who had been sentenced to death for misconduct were buried. The vaults of the Romanovs are located in the central part of the Cathedral. There the founders of the Romanov line are at rest: Tsar Michael Fyodorovich, Tsar Alexei Mikhailovich, Tsar Fyodor Alexeyevich and Tsar Ivan Alexeyevich. In 1903, the tombs were covered with glass and copper cases for protection.
One of greatest treasures of the cathedral is the burial vault of Ivan the Terrible. Ivan was the first to take the title of Tsar and therefore merited a special burial chamber, the construction of which he oversaw himself. Nearby are the tombs of Ivan's sons, Ivan Ivanovich (killed by his father) and Fyodor Ivanovich (who succeeded his father.) Restoration work done in the 1950s uncovered 16th Century frescoes including the famous deathbed scene 'Farewell to the Family', depicting the death of a duke surrounded by his family and spirits from the afterlife.
The Cathedral of the Archangel was closed after the October revolution. Since 1955 it has been open to the public as a museum.References:
The Moszna Castle is one of the best known monuments in the western part of Upper Silesia. The history of this building begins in the 17th century, although much older cellars were found in the gardens during excavations carried out at the beginning of the 20th century. Some of the investigators, including H. Barthel, claimed that those cellars could have been remnants of a presumed Templar castle, but their theory has never been proved. After World War II, further excavations discovered a medieval palisade.
The central part of the castle is an old baroque palace which was partially destroyed by fire on the night of April 2, 1896 and was reconstructed in the same year in its original form by Franz Hubert von Tiele-Winckler. The reconstruction works involved an extension of the residence. The eastern Neogothic-styled wing of the building was built by 1900, along with an adjacent orangery. In 1912-1914, the western wing was built in the Neo-Renaissance style. The architectural form of the castle contains a wide variety of styles, thus it can be generally defined as eclectic.
The height of the building, as well as its numerous turrets and spires, give the impression of verticalism. The whole castle has exactly ninety-nine turrets. Inside, it contains 365 rooms. The castle was twice visited by the German Emperor Wilhelm II. His participation in hunting during his stay at the castle was documented in a hand-written chronicle in 1911 as well as in the following year. The castle in Moszna was the residence of a Silesian family Tiele-Winckler who were industrial magnates, from 1866 until the spring of 1945 when they were forced to move to Germany and the castle was occupied by the Red Army. The period of the Soviet control caused significant damage to the castle's internal fittings in comparison to the minor damage caused by WWII.
After World War II the castle did not have a permanent owner and was the home of various institutions until 1972 when it became a convalescent home. Later it became a Public Health Care Centre for Therapies of Neuroses. Nowadays it can be visited by tourists since the health institution has moved to another building in the neighbourhood. The castle also has a chapel which is used as a concert hall. Since 1998 the castle housed a gallery in which works of various artists are presented at regular exhibitions.
Apart from the castle itself, the entire complex includes a park which has no precise boundaries and includes nearby fields, meadows and a forest. Only the main axis of the park can be characterised as geometrical. Starting from the gate, it leads along the oak and then horse-chestnut avenues, towards the castle. Further on, the park passes into an avenue of lime trees with symmetrical canals running along both sides of the path, lined with a few varieties of rhododendrons. The axis of the park terminates at the base of a former monument of Hubert von Tiele-Winckler. On the eastern side of the avenue there is a pond with an islet referred to by the owners as Easter Island. The islet is planted with needle-leaved shrubs and can be reached by a Chinese-styled bridge. The garden, as part of the whole park complex was restored slightly earlier than the castle itself. Preserved documents of 1868 state that the improvement in the garden's aesthetic quality was undertaken by Hubert von Tiele-Winckler.