| Museum display |
| Architecture and painting |
| History |
 Saints and sacred objects |
 Living antiquity |
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The architecture of the Cathedral of the Protecting Veil is absolutely unique.
The cathedral is an ensemble of nine separate pillar-like churches built on a single foundation (crypt).
The churches are joined together by two galleries — an inner gallery, going around the central church, and an outer roundabout gallery, which goes around all the nine churches.
Adjoining the cathedral on its western side are two festive-looking porches with white-stone staircases.
On its northwestern side, the Church of St. Vasily the Blessed is annexed to the cathedral.
On the southeast of the cathedral is a 16th-century tented roof bell tower.
The cathedral is an ensemble of nine separate pillar-like churches built on a single foundation (crypt).
The churches are joined together by two galleries — an inner gallery, going around the central church, and an outer roundabout gallery, which goes around all the nine churches.
Adjoining the cathedral on its western side are two festive-looking porches with white-stone staircases.
On its northwestern side, the Church of St. Vasily the Blessed is annexed to the cathedral.
On the southeast of the cathedral is a 16th-century tented roof bell tower.
In the Cathedral of the Protecting Veil, fine samples of icon-painting and monumental painting reflecting different periods of its existence over its more than four century long history have survived.
Here one can see 16th-century frescoes, 17th-century tempera painting, 18th-19th-century monumental oil painting, and also rare monuments of Russian icon-painting.
The basic concept of the monument’s painted decor took shape in the 17th century. The image of grapevine blossoming with fanciful flowers on the walls and vaults of the galleries emphasizes the splendor and grandeur of the architecture of the Cathedral of the Protecting Veil as an epitome of the Heavenly City of Jerusalem.
The 18th-19th-century monumental painting, while executed in the style of the new times, continued the cathedral’s program of painting that had previously been formed.
The cathedral’s painting and decor to be seen today is the result of research and restoration efforts of several generations of museum staff and experts in most varied fields.
Here one can see 16th-century frescoes, 17th-century tempera painting, 18th-19th-century monumental oil painting, and also rare monuments of Russian icon-painting.
The basic concept of the monument’s painted decor took shape in the 17th century. The image of grapevine blossoming with fanciful flowers on the walls and vaults of the galleries emphasizes the splendor and grandeur of the architecture of the Cathedral of the Protecting Veil as an epitome of the Heavenly City of Jerusalem.
The 18th-19th-century monumental painting, while executed in the style of the new times, continued the cathedral’s program of painting that had previously been formed.
The cathedral’s painting and decor to be seen today is the result of research and restoration efforts of several generations of museum staff and experts in most varied fields.