Teterinskoye. Uspenskaya Teterinskaya desert. Church of the Assumption of the Blessed Virgin.

This is photos from my today's short trip to Nerehta city. When I was near the Nerehta city I saw high bell tower. I was here a year ago and already paid attention to this structure. But the last time I could not get close to the bell tower itself. Today I decided to do it.

The church was built in 1724. In 1806 the refectory was rebuilt again, in 1820 a very high bell tower was built according to the project of the Italian architect from Turin G.Maricelli. The paintings were made by Yaroslavl masters in 1799. The iconostasis was rebuilt and completed with carvings in 1906.

G. Maricelli was very interesting person.

In documents and literature he is referred to as Yakov Yakovic, Ivan Ivanovich, Maricello, Maricello, and sometimes as "a German from Turin". There is a speech in all cases about Gaudenzio Maricelli, a native of the Swiss city of Tessin, who built in Russia throughout the Upper Volga up to Kazan.

The first news about the work of the architect in our region refers to the 1790s, when he designed and built for the owner of the Kostroma village of Perepelitsino A.Nechaev the Ascension Church 3. Unfortunately, the temple did not survive, and this does not allow one to see one of the artist's initial experiences on Russian soil.

By 1806, well-documented information about Maricelli was included. At this time he is "the architect of the landowner Maria Maria Titova" and runs the construction of the church of Archangel Michael in her village of Mikhailovskoye (near Furmanov). According to his "plans and templates" they collect here the iconostases designed for the temple 4.

In the guise of the St. Michael Church there is nothing original. This is an ordinary building for our places, the type and forms of which are worked out by generations of local builders. And its hip bell tower only emphasizes the tradition. Some interference in the usual forms is observed in the too elongated, irregular form of the tent and vertical belts on the northern and southern chetverik facades, leading to asymmetry in the decor.

The bell tower of the church of the village of Teterinsky, mentioned above, was completed by construction in 18205. In the first half of the XIX century the historian M.Diev was ordained in the church and fixed the authorship of the architect with an unusual surname. This is a four-tiered high (60 m) pillar with a greatly simplified, baroque appearance, devoid of magnificent details. The lower tiers are complicated in the plan, their corners are truncated and protrude in pairs of columns. Among the features of the belfry, we note the round in terms of the upper tier, the recessed edging of the arches of this tier and the presence of the balustrade.

The forms of this bell tower make you pay attention to the lost church of the village of Staraya Vichuga and its belfry (not preserved). The latter has the same lower layers, complicated in plan, the same balustrade, the same frames of arches. Only one difference: the Vichug pillar is more ornately decorated (capitals, rust, developed cornices). And this is not accidental: the belfry was built 19 years before the bell tower in Teterinskoye, when baroque in the Kostroma region has not yet completely lost its positions. 6

The question arises: did Maricelli imitate in his Teterinsky building the bell tower of another architect or is it his own child, but appeared in a different artistic era? The author is inclined to the fact that the two belfries were designed by the Swiss. And this is confirmed not only by the stylistic analysis, but also by the well-known very close relationship between Maricelli and Vichuga (contractors in the construction of the church in the village of Mikhailovskoye were mostly from this village)