On the eastern side of Cathedral Square stands the magnificent Ivan the Great Belltower, which, at a height of 81 metres, was the tallest building in all Russia for almost 400 years. It was the work of an Italian, Marco Bono, who was ordered by Ivan the Great to design a belltower for the Archangel, Assumption and Annunciation Cathedrals next to the 1329 Church of St. John Climacus-under-the Bells.
Between 1532 and 1543, architect Petrok Maliy built the four-storey Assumption Belfry, which stands next to the tower and houses the 64-ton Resurrection Bell, cast in the 19th Century. In 1624, the tent-roofed Filaret Tower was added.
In 1812, Napoleon's soldiers tore down many of the buildings of the Kremlin, and attempted to blow up the bell tower. Thankfully they failed, although the belfry and the Filaret Tower were badly damaged. They were restored in 1819 by the architect D.I. Gilardi.
There are 21 bells in the tower and belfry, of which the Assumption Bell, located in the central arch of the belfry, is the largest at 70 tons. It was always the first bell to ring on church holidays, a signal that started all the other church bells in Moscow. In 1918 the last Easter service in the Kremlin took place, and the bells of Ivan the Great did not ring again until 1992.
Wide scale restoration work was carried out in the 1950s, and an exhibition hall was created on the ground floor, which is still used for various temporary exhibitions.References:
The Holy Trinity Column in Olomouc is a Baroque monument built in 1716–1754 in honour of God. The main purpose was a spectacular celebration of Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way. The column is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage Sites list.
The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.
The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus’ earth life – his mother’s parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius, who came to Great Moravia to spread Christianity in 863, St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague and St. John of Nepomuk, whose following was very strong there as well.
In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas, in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano, who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university. Reliefs of all twelve apostles are placed among these sculptures.
The column also houses a small chapel inside with reliefs depicting Cain's offering from his crop, Abel's offering of firstlings of his flock, Noah's first burnt offering after the Flood, Abraham's offering of Isaac and of a lamb, and Jesus' death. The cities of Jerusalem and Olomouc can be seen in the background of the last mentioned relief.