the Smolny Convent in Saint Petersburg
Imagine, at one time in the place of this beautiful cathedral there was... a warehouse of gum! Yeah-Yeah, during the reign of Peter the Great here was located the ‘Smolny yard’ where ropes for ships were made. Hence the name ‘Smolny’ comes from.
Later on this place appeared a palace for Empress Elizabeth. But a crazy idea came to her mind – rebuild it into the cathedral where she would like to spend peacefully the rest of her life. Architect Rastrelli created a magnificent project but there were not enough money and the cathedral building was not finished.
Later in its walls was settled a shelter for officers` widows.
That is the story! Smolny Convent – is а whole system which once was a warehouse, a palace, almost a monastery, an institute, and a shelter. A true master!
The Smolny Convent is more than just a church. It is an 18th-century architectural megaproject which was created by the great architect Francesco Rastrelli. His idea was so ambitious that it was intended to change the notion that an Orthodox church could be not only a sacred place, but also an architectural symbol of the state.
Rastrelli's main concept. He created a plan in the shape of a cross with a square base. There was an octagonal space in the center, as the "heart of the cathedral," around which everything else has been built. The building's corners are formed by powerful towers, which lend the cathedral strength and dynamism—as if the temple was about to soar. The cathedral's sectors are like zones in a megacomplex.
Northeast:
- The main tower with the principal staircase is the entry point to the "ceremonial world" of the spiritual space.
- Subsidiary spaces.
- The mezzanine above the main hall provides additional space for worship services.
Southeast:
- The sacristy is where the sacred relics were kept.
- Rooms for the church needs.
- A separate staircase for priests to move independently of the general flow.
Northwest:
- The sexton's office (bell-ringing office).
- Service rooms.
- Communication spaces that connect different areas of the cathedral.
- Four small corner churches, each with its own altar, iconostasisand mezzanine. They are like separate "spirituality capsules" within one enormous spiritual center.
The interior space as a Baroque symphony:
- The choir stalls along the church are not just music venues, but the acoustic system for the entire cathedral.
- Galleries connect the areas just as bridges in a heavenly city.
- Spaces for services and prayers are organized to ensure that the flow of people is smooth.
The 18th-century engineering that still amazes:
- The multi-tiered domes and arches create a sense of height and lightness.
- The load-bearing walls are reinforced—the church was conceived as a long-lasting monument.
- The buttresses can support enormous weight
- Acoustics, ventilation and natural light—everything was done thoughtfully, as if it was a modern project.
19th-century modifications. The design was refined in 1835–1836:
- Staircases were added to the towers.
- The sacristy was relocated.
- The sexton's location was changed.
Internal routes were simplified so that the space was made more comfortable.
Baroque design — the architecture that speaks:
- The facades are adorned with tiers of décor — the church seems to glow.
- Baroque elements add dynamism—nothing is static.
- The domes are artistically decorated so that the cathedral looks majestic from any point in the city.
Functionality:
- Separate paths for clergy and parishioners—the church functioned as a "spiritual airport."
- Special areas for prayer and services.
- Auxiliary rooms for organizing rites.
Engineering solutions:
- Ventilation functions without machinery.
- Natural light is directed toward the altar and domes.
- Special acoustics—the sound of the choir filled the entire space.
The main dream that never came true.
By the order of Empress Elizabeth Petrovna, Rastrelli conceived a gigantic bell tower which is approximately 140 meters high, taller than the Ivan the Great Bell Tower in Moscow.
This tower was supposed to become a symbol of St. Petersburg's power. But due to the death of the Empress and political problems, construction has been suspended and the dream remained on the drawing board.
The Smolny Cathedral project is an architectural utopia, combining spirituality with engineering and unrivaled baroque aesthetics. It was a manifesto-temple. A symbol of an era in which architecture spoke the language of power, faith and beauty.
Some aspects of the project:
- Stasov preserved the design of the cathedral's facades but added a balustrade to the upper cornice instead of a parapet.
- He laid out streets along the monastery walls, designed the square with new buildings and a fence, finished the facades and interiors of the Widows' House, and reconstructed the cathedral church.
- In 1834, Stasov designed the cathedral's interior in the forms of classicism, using the interior of the Church of St. Alexander Nevsky at the Educational Society, finished by G. Quarenghi, as a model.
- The walls, pylons, and Corinthian columns were faced with white stucco taking care not to obscure the internal structure of the building erected by Rastrelli.
- In the winter of 1834/1835, the iconostases, the crystal balustrade in front of the iconostasis, the tsar's place, the choir, and the iron staircases in the side domes were completed.
- The cathedral's facades were painted yellow, and the domes of the cathedral and the corner churches, according to Nicholas I's wish, were painted azure with gold stars.
The destiny of the Smolny Convent is really deplorable. After the October Revolution of 1917 this cathedral suffered the same fate as most Russian churches: stunning interior adornment, crystal balustrade in front of the altars, splendid preaching desk - all of it was broken, plundered and destroyed. In 1922 all precious staff was confiscated, in the spring of 1923 Cathedral was closed and used as the scenery warehouse. The building had not been heated for many years, had no electricity and running water, which led to gradual collapse. In 1972 a magnificent intricately carved iconostasis was taken down from the cathedral. Soon afterwards, in 1990, the building became home to a Concert and Exhibition Centre. The authorities decided to set up an exhibition of the Museum of the History of Leningrad, titled "Leningrad Today and Tomorrow," in the former Smolny Cathedral, which was entirely inappropriate in terms of spirit for the cathedral's interior. In 2003 the church received the status of a museum. In recent years the cathedral has been turned into a concert venue for performances of Russian spiritual music.
After the 1917 revolution and the Bolsheviks' rise to power, the state
took a sharp turn toward combating religion. Smolny Cathedral found itself at the very center
of these events—the nearby Smolny Institute became the headquarters of the new government, where Lenin worked.
The convent continued to hold services for some time, but in 1922 it suffered the fate
of many churches: under the pretext of helping the starving, all valuables were removed from the cathedral — icons, utensils, and jewels. And in 1923, it was closed to worshippers altogether.
By the 1930s, almost nothing remained of the cathedral's former grandeur. Its unique
architecture was appreciated, but seen as having only practical value. The interior decorations—iconostases, frescoes, mosaics—were destroyed or looted.
The building was turned into a warehouse where everything was stored, including military supplies during the Great Patriotic War. During the blockade, the cathedral miraculously escaped direct bomb hits, although it was damaged by shrapnel. Its basements were even converted into a bomb shelter for city officials, including Andrei Zhdanov. After the war, the building stood abandoned and slowly fell into ruin.
In 1950-1990s interest in architectural heritage in the USSR began to gradually return. In 1974, Smolny Cathedral was transferred to the care of the Society for the Protection of Monuments, and the first restoration began. The work was mainly carried out on the facade, and there was no talk of restoring the church's religious significance. Moreover, during the process, the iconostasis was dismantled and subsequently lost.
Smolny Convent was given a new lease of life in 1990 when a concert and exhibition
complex was opened there. This was an important step that returned Smolny Cathedral to the cultural space of the city and the country.
In the peaceful Smolny Passage, in the shadow of centuries-old trees, stands an imposing complex of buildings known as "Smolny-2." This isn't just an academic building but a unique intellectual hub housing three leading faculties of Saint Petersburg University: Sociology, International Relations and Political Science. A place where the present is analyzed to shape the future.
This ensemble with a rich history was originally the Imperial School House, later the Suvorov School — today it breathes with the energy of youth and ambition. Tall ceilings, wide corridors and classical facades create a special, inspiring atmosphere for academic studio. Here, the link of times is palpable: these walls once nurtured willpower and discipline, today they develop intelligence and critical thinking.
1. Faculty of International Relations (FIR)
The epicenter of diplomatic training. Those who study here will represent Russia's interests on the world stage in the future. The classrooms resonate with debates on geopolitics, explore the intricacies of international law and conduct negotiations in dozens of languages.
2. Faculty of Political Science
The laboratory of political analysis. The proximity to FIR is not a coincidence — it creates a powerful synergy. Political science students study domestic politics, electoral processes, party systems and social movements, providing a deep understanding of the country's political landscape.
3. Faculty of Sociology
The center for the study of society. While political scientists and international relations specialists work with systems and institutions, sociologists probe the very fabric of social life. They conduct surveys, analyse trends and study opinions and behaviors, providing invaluable empirical data to the other faculties.
Their coexistence under one roof is not merely a logistical matter. It is a consciously created environment for interdisciplinary dialogue. Together, in the library, student cafe or campus yard they generate joint projects, research groups and lively discussions that shape a holistic worldview.
The Smolny campus is a "brain center" in both literal and figurative senses. It is an isolated academic town away from the hustle of the metropolis, which prepares the elite of humanitarian thought.
Literary reflection:
The Widow's House in Anna Karenina by Leo Tolstoy. The text says that in the "Widow's House" one could meet acquaintances and a special religion was expressed there, which consisted in mass and vigil, as well as in studying Slavic texts with the priest.
The famous building, which today is associated with the Widow's House, was designed by architect Giacomo Quarenghi and was originally intended for an Orphanage. The Widow's House moved here only at the beginning of the 19th century, after the Orphanage was moved to Moscow.
The "Widow's Treasury" is a type of bank that, in the period from 1772 to 1860, provided a kind of life insurance for widows left without means of livelihood. In 1860, the widow's treasury was discontinued, and the widow's deposits were transferred to the State Bank, which was charged with paying them on the basis of the previous rules.
Tragic fate in the 20th century:
After the Great October Revolution, the top leadership of the Bolsheviks, including Lenin, Sverdlov, and others. They lived in the Widow's House for exactly 4 months, while the women were all evicted from the building.
With the advent of Soviet power, the Widow's House was closed. This happened in 1918. After the Great Patriotic War, the Widow's House was restored, and communal apartments were built and designed inside.
During its existence, the iconostasis has suffered greatly from the historical events that have taken place in Russia since the beginning of the 20th century. In 1875, it was the third and last work of the famous architect Maximilian Mesmacher, the author of the designs of many buildings in St. Petersburg. The new post-revolutionary realities caused significant damage to the preservation of the iconostasis, leaving only its frame for many years. However, in 1972, the year of the 50th anniversary of the formation of the Soviet Union, it was decided to completely demolish the iconostasis. Most likely, parts of it were completely destroyed, but scientists are not giving up hope in finding the lost work of art.
At the moment, the main searches have been completed, but experts are not losing hope in the search for fragments of the iconostasis.
It was here that the first finishing works of the entire monastery began: the ceiling lights were painted by artists C. Legrain and I. Gradizzi, the walls were decorated with chintz wallpaper, and elegant cornices and the monogram of the Empress appeared in the halls.
Later, these rooms were occupied by the head of the Educational Society and the boarders who dined at the same table with Catherine II. Plaster replicas of antique statues stood along the corridors, and the walls were decorated with "moral paintings" — picturesque copies of engravings from the "Charter of education of noble maidens." In the 19th century, graduates and residents of the Widow's House lived in the building, for whom separate apartments with balconies, views of the Neva River and even a personal carriage were created.
The eastern building has preserved the layout of the XVIII century and still retains traces of the imperial era, remaining a living reminder of the times when Smolny was not only a monastery, but also the heart of court life.
