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From the center of the Kremlin rises the
Bell Tower of Ivan
Velikii (Ivan the Great), a beautiful white edifice of stone and brick that
dominated all of Moscow for centuries. Its construction was begun during the
reign of Fedor Ivanovich, but was terminated in 1600 by Boris Godunov. The
first three receding stories are octagonal and not highly decorated; then there
is a large band of decorative ogee-shaped kokoshniki continuing up into a
cylindrical drum, topped by a gilded cupola and a large Russian cross. Just
beneath the cupola there are three bands of large old Slavic letters, an
inscription that tell us that the Tower 's construction was terminated during
the reign of Tsar Boris Godunov. Its first floor houses the Church of Saint
John Climacus, while the upper floors were used for the bells. A staircase
inside the tower leads to the top gallery just under the cupola. Before the
revolution people were permitted to ascend to the gallery, where they could
enjoy a magnificent view of the entire city, an extraordinarily colorful
picture of endless buildings painted in various pastel colors, over which more
than a thousand churches with their multiple cupolas of all shapes and colors
were scattered like jewels. Those who saw this splendid sight say the
imagination could not surpass it. After seeing the same picture, Madame de
Stael exclaimed: "There is the Tatar's Rome!" The location chosen for
the tower could not be better. Here once stood the first wooden and then stone
Church of Saint John Climacus, built by Ivan Kalita in 1329. Later on the top
of this church was built a bell tower, whose bells were intended to serve for
the services in the Cathedral of the Assumption, which never had its own tower
or bells, the latter being an important part of the orthodox mass. After almost
two centuries the church became unsafe and Vassilii III decided to build a new
one on the same spot. The builder was Italian architect called by the Russians
Von (the ) Friazin ("Friazin" a name reserved at that time for all
Italians, though originally used for the Genovese). This church was closed in
1508. Then in 1532 another "Friazin," Petrok (Pietro) the Short
(malii), was commissioned by Vassilii III to build the Church of the
Resurrection next door. It was renamed the Cathedral of the Nativity in 1543.
This is the oldest part of the entire ensemble of the present Tower of Ivan the
Great, in three parts. In 1624 Patriarch Filatet (Philaret), father of the
reigning tsar, Mikhail Romanov, rebuilt the Cathedral, turning it into a four
story structure with a belfry in the middle, crowned by a golden cupola and a
cross, and added another chapel-tower surmounted by a tent-shaped spire in the
middle, which was terminated by a small cupola and a cross, and had four Gothic
turrets at each corner. His intention was to use both structures to house the
bells for the nearby Kremlin's three main cathedrals: Of the Assumption,
Annunciation and Archangel Mikhail. In 1812, before he retreated, Napoleon blew
up the chapel and good part of the Cathedral of the Nativity. They were rebuilt
in 1818-1819 by architect Giliardi, who made them taller than they were before
and added some Gothic elements. The chapel-tower continued to be known as
Philaret's, but the Cathedral was again renamed, and became known as the Church
of Saint Nicolas of Gastun. The Church of Saint John Climacus in the Tower of
Ivan the Great and the tower itself were spared from destruction because French
soldiers had thought the large cross on the top was made of gold, and attempted
to take it down. Then came the great fire which spread throughout Moscow, and
they were forced to leave the Kremlin without destroying the tower.
In each of the three towers there were usually thirty-four bells of various
sizes, ranging from the two smallest, made of silver, to the largest, which was
named Uspenskii (Assumption). The latter was cast in 1819 by Yakov Zvialov and
Rusilov (some information says by Bogdanov) and weighs 64 tons, making it the
heaviest mounted bell in the world. This colossus was made of broken bells
recovered after the great fire and French retreat from Moscow in 1812. A relief
on it shows Alexander I, his mother and wife and his two brothers, Constantine
and Nicolas. In accordance with tradition, it was rung not more than twelve
times a year, usually on the most important holidays. Since the revolution they
have all hung motionless and silent, depriving the people of the splendid
musical experience that these unique musical instruments could offer to them.
The author , historian Segei Vasilievich Maksimov (1831-1901) wrote that the
old saying "Kutit' vo vsyu Ivanovskuyu," meant that on special
occasions such as Easter, the bells would be heard in joyous harmonious glory.
The Bolshevik leaders, who made the Kremlin their new home, could not adjust
their ears to the peals of the bells.
Several foreigners who visited Moscow before 1917 were carried away both by the
exquisite tone of the Kremlin bells and by the spectacle that Moscow offered on
important holidays, particularly on Easter eve. On that day the entire Kremlin
was illuminated and Moscow was practically flooded with lights. Hundreds of
churches around the Kremlin and as far as the eye could see offered a dazzling
spectacle with their vari-colored cupolas. At midnight the gigantic Uspenskii
bell pealed forth to announce that "Christ is Risen," instantly
joined by thousands of bells in Moscow and by hundreds of thousands throughout
Russia in a most grandiose hymn to God. At this moment a procession came out of
each church to make a tour around it. Bishops and priests were dressed in their
vestments embroidered with gold and pearls. They carried their crosses, icons
and holy books, and were followed by the faithful, each with a lighted candle
in his hands, and all singing holy songs. It was in order of their musical
performance that he bells were hung in the Towers of Ivan the Great, the same
way as with the instruments of a symphony orchestra or singers of a chorus.
Their ringing usually started with the deepest bass of the colossus or with the
"Treble" voice of the tiniest, and then all were gradually introduced
, at precise intervals, blending their chimes into a glorious concert.
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