Let's continue with the most modest temple in today's selection - Transfiguration Cathedral in Tsalenjikha, Georgia, also called Cathedral of Christ the Saviour.
Quite modest in its decorations and size, interesting from the first glance only by its gallery - it seems that the temple does not deserve the title of a cathedral, and to some extent it is true - in fact, it was once the court church of the famous princes Dadiani, the ruins of whose palace are still near the temple.
It also served as a burial vault of this family, but the most interesting thing is hidden inside it - the temple belongs to the few Georgian temples painted in the Byzantine style of Palaeologan Renaissance - the oldest frescoes here are made by the master Manuel Eugenikos, who was invited by the Dadiani from Constantinople itself.
Quite modest in its decorations and size, interesting from the first glance only by its gallery - it seems that the temple does not deserve the title of a cathedral, and to some extent it is true - in fact, it was once the court church of the famous princes Dadiani, the ruins of whose palace are still near the temple.
It also served as a burial vault of this family, but the most interesting thing is hidden inside it - the temple belongs to the few Georgian temples painted in the Byzantine style of Palaeologan Renaissance - the oldest frescoes here are made by the master Manuel Eugenikos, who was invited by the Dadiani from Constantinople itself.
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Finally, let us conclude today with a temple that is itself undergoing a transformation - the Cathedral of Perm, recently returned to the Church.
In some ways, the cathedral was lucky - during the Soviet years it was home to the Perm Art Gallery, whose staff managed to protect many parts of the building, including the iconostasis of the upper church - as well as saving dozens of pieces of church art from around the region, famous for its wooden sculpture.
Now, however, with the protection of the church no longer required, it is logical that its revival has begun - during which, I hope, the unique marble iconostasis of the lower church will also be recreated. The gallery has moved to a new building specially equipped for it.
In some ways, the cathedral was lucky - during the Soviet years it was home to the Perm Art Gallery, whose staff managed to protect many parts of the building, including the iconostasis of the upper church - as well as saving dozens of pieces of church art from around the region, famous for its wooden sculpture.
Now, however, with the protection of the church no longer required, it is logical that its revival has begun - during which, I hope, the unique marble iconostasis of the lower church will also be recreated. The gallery has moved to a new building specially equipped for it.
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The recently restored (some photos are still from the reconstruction period) Studza family estate in Cărligi, Romania. Although the manor looks like a typical XIX century neo-Romanian fantasy based on Wallachian architecture, the manor dates back to the XVII century - so the stylisation as an old manor, although a bit out of keeping with the region - it is located in the former Principality of Moldavia after all - is still quite appropriate.
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The watchtower of the Torgovishche village fort near Kungur, now relocated to the Khokhlovka Museum of Wooden Architecture.
In fact, this is a replica of the original XVII century tower - the original tower burned down in the early XX century, but the villagers restored the historical monument, albeit not with absolute accuracy.
In fact, this is a replica of the original XVII century tower - the original tower burned down in the early XX century, but the villagers restored the historical monument, albeit not with absolute accuracy.
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A very interesting Middle Byzantine fresco from the original building of the Basilica of Saint Susanna in Rome.
In addition to some pre-Romanesque features, here we see a motif popular in Byzantine and early post-Byzantine art in Italy - the depiction of saints in the clothes of the Byzantine aristocracy, with the Theotokos appropriately depicted in the Empress' attire.
In addition to some pre-Romanesque features, here we see a motif popular in Byzantine and early post-Byzantine art in Italy - the depiction of saints in the clothes of the Byzantine aristocracy, with the Theotokos appropriately depicted in the Empress' attire.
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