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The Museum Collections

I. History and Art Collection
1. Icons of the 14th – 19th centuries
  • icons of the 14th – 17th century
  • 2. Jewelry art of the 14th – 20th century
  • jewelry art of the 14th – 17th century
  • jewelry art of the 18th – 19th century
  • the european silver 14th - 19th centuries
  • 3. Small-size sculptures (works of metal, wood, bone)
    XI – the beginning of the XX century
  • Small-size sculptures 11th – 17th century
  • Small-size sculptures 18th – early 20th century
  • enamel of Troitza masters 15-8th – early 20th century
  • 5.Embroidery, lace, textiles of the 14th - early 20th century
  • icon and ornamental embroidery
  • gold and silver lace
  • 6.Painting of the 18th – 21st centuries
  • painting of the 18th – 19th centuris
  • painting of the 20th – 21st centuris
  • II.Manuscripts and old printed books of the 14th – 17th century
    IV.Lithography of the 18th – 19th century
    VI.Medals of the 18th - early 20th century
    VIII.Archeology collection

    IX. Russian folk and applied and decorative art of the 17th – 21st c.
    1. Artistic wood
  • folk carved and painted wood
  • wooden toys
  • house carving of Sergiev Posad
  • Khokhloma and Gorodets painting
  • 2. Artistic textiles
  • embroidery and weaving
  • printed textiles and lace
  • Russian shawls
  • folk costumes
  • folk garments
  • printed cotton kerchiefs
  • Rus Eng

    Jewelry Art of the 18th – 19th centuries (page 1)

        The rapid raise of jewelry art in the 18th century was, to a certain extent, connected with engaging of the large group of European jewelers and organization of lapidary factories. Six gold plaques with images of saints, covered with diamonds and rubies, are remarkable. They were donations to the Trinity-St. Sergius Monastery. Two plaques were used as main parts for precious panagias. One of them has survived in its original appearance: the cross with the Crucifixion and studs with diamonds were fixed on the quadrangular plaque with the enameled images of the Evangelists. The precious panagia was presented by Empress Anna Ioannovna to her confessor Archimandrite Varlaam (Vysotsky). It reminds a European heraldic shield. Its central part is an ivory plaque with the scene of the Sacred Supper under the central amber.

        Catherine II granted Archbishop Platon with the dignity of Metropolitan of Moscow and Koluga for his 50th birthday and the Trinity authorities marked the event presenting him a panagia with the engraved date and initials “PMM” on the reverse. The Byzantine cameo of the 12th century from the Monastery treasures was used as the central part of the panagia. The ancient cameo was framed in a gold filigree pattern and colored stones – the materials and technique, greatly appreciated in the vanished Byzantine culture. The interest in rare stones is reflected in the diamond panagia – a personal property of the Moscow Metropolitan.
    Panagia. The Crucifixion and Evangelists. First Three decades of the 18th century. The enameled plaque was donated in 1730 by Empress Anna Ioannovna Panagia. The Sacred Supper. St. Petersburg (?). First  three decades of the 18th century. Presented in 1734 to the Trinity-Monastery Archimandrite Varlaam (Vysotsky) by Empress Anna Ioannovna Panagia. The Crucifixion. Moscow or St. Petersburg. 1784. Belonged to Metropolitan Platon (Levshin) of Moscow and Kolomna Panagia. The Virgin in Prayer. Moscow. Work of I.P. Krag. 1787. Belonged to Metropolitan Platon (Levshin) of Moscow and Kolomna
        A number of items from the 18th century Monastery collection belonged to Metropolitan Platon of Moscow and Kolomna. Some of them were presented to him by Empress Catherine II. The salt-cellar (Incense-box), made by A.I. Ratkov was one of her gifts. The reliquary of mysterious origin was made like a casket and subsequently readjusted for the new function. The only analogy is preserved in Pavlovsk Palace that used to be Maria Feodorovna’s residence.

        The precious article could have been a personal present of Empress who paid him respect more than once. Whatever the origin of the casket was, it is quite a “royal” object, decorated with intricate filigree, enamel and precious stones. The chalice of an unusual shape and material from the Museum collection was made of plumbic cut glass and decorated with gilding, chasing and engraving.
    Pectoral cross. Crucifixion. Mid-19th century. The Trinity-St. Sergius Lavra Salt-Cellar (incense box). Moscow. Work of  I.A. Ratkov. 1787. Presented by Empress Catherine II to Metropolitan Platon (Levshin) of Moscow and Kolomna Reliquary. Russia. Late 17th – first half of the 18th century. Donated in 1789 by Metropolitan Platon (Levshin) of Moscow and Kolomna Chalice. Russia. Late 18th – early 19th century. Donated by Metropolitan Platon (Levshin) of Moscow and Kolomna

        In the 18th century, chasing remained a traditional technique in decoration of book covers, icon mountings, liturgical and secular vessels. The large Gospel of 1689, was decorated with most complicated gilded cover in 1754. It is embellished with numerous chased baroque cartouches. This cover was produced by a silversmith and enameller of the Trinity-St. Sergius Lavra.

        The enameled plaques with the series of Passions, made by the same craftsman, are included in the system of decoration of the mid-18th century mitre and chalice of 1788. Several splendid precious works are connected with the names of famous Moscow and St. Petersburg silversmiths G.I. Serebryannikov, P.T. Vorobei, K.I. Elers, A.I. Ratkov. Various materials and techniques were used. The mitre of 1788, for example, was made of velvet and decorated with pearls, precious stones, silver, gold, spun gold, embroidery, stringing, chasing, carving, cutting, painted enamel.
    Gospel cover. 1754. The Trinity-St. Sergius Lavra. Silver, chasing, gilding, enamel Gospel cover. Reverse. 1754. The Trinity-St. Sergius Lavra. Silver, chasing, gilding, enamel. Mitre. Mid-18th century Chalice. 1788. Moscow. Work of S.M. Kuzov. Donated  in 1789 by Count Sheremetiev A.V.

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