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The Museum Collections

Introduction
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
    V.Numismatics
    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 2)

        In 1768 and in 1769 a famous court master K.I. Elers made a silver plate with the scene “The Miracle of Iona” and a silver jug with the head of an eagle on the lid. G.I. Serebryannikov used baroque shapes in the gilded cover of 1741 for the early 18th century Gospel. The whole surface of the obverse was covered with a thick floral pattern. The cover of the small Pontifical Service Book, donated by Metropolitan Platon in 1789, is decorated with a light refine filigree pattern of interweaving sprouts and flowers.

    Plate. 1768. St. Petersburg. Work of K.I. Elers. Made by the order of Platon Levshin
    Plate. 1768. St. Petersburg. Work of K.I. Elers. Made by the order of Platon Levshin     		Jug. 1769. Work of K.I. Elers. Made by the order of Platon Levshin
    Jug. 1769. Work of K.I. Elers. Made by the order of Platon Levshin     		Gospel cover. 1741. Moscow. Work of G.I. Serebryanikov
    Gospel cover. 1741. Moscow. Work of G.I. Serebryanikov     		Cover of the Pontifical Service Book. Second half of the 18th century.
    Cover of the Pontifical Service Book. Second half of the 18th century.

        The Museum collection comprises various liturgical crosses of different size and shape. One of the best specimens of “prayer” or “blessing” crosses belonged to Metropolitan Platon Levshin. The christcross with an attachable handle is carved in wood in rococo style and framed in a silver filigree case. The liturgical cross with eight ends, donated to the Trinity-St. Sergius Lavra by widowed landlady Ivanovskaya, was regilded and fixed on the silver crosier of Metropolitan Filaret in the 19th century.

        The goblet, made by a Moscow craftsman, has numerous analogues in European art. It is made of coconut, framed in silver and decorated with gilding, chasing and carving. The remarkable holy water basin (used as a tureen) was made by P.T. Vorobei. The elaborate baroque or more balanced ornamental compositions, combination of gilded and white silver and fine chasing are characteristic of many 18th century works.

    Prayer cross. Late 18th century. Moscow
    Prayer cross. Late 18th century. Moscow    		 Church service cross. Early 18th century. Moscow
    Church service cross. Early 18th century. Moscow    		 Goblet. 1796. Moscow. Donated by Metropolitan Filaret (Drozdov)
    Goblet. 1796. Moscow. Donated by Metropolitan Filaret (Drozdov)    		 Holy water basin. 1765. Moscow. Work of P.T. Vorobei. Donated to the Trinity-St. Sergius Monastery by I.Ya. Khlebnikova
    Holy water basin. 1765. Moscow. Work of P.T. Vorobei. Donated to the Trinity-St. Sergius Monastery by I.Ya. Khlebnikova

        Among the royal presents of the 19th century there is the salt-cellar, donated “to the coffin of St. Sergius” by Grand Princess Elena Pavlovna in 1833. Enameled plaques in combination with strasses and precious stones were traditional decorations of silver church vessels. They were used in the chalice decorated with chasing in high relief and sculptural casting that was made by E.A. Antipiev.

        In the Lavra archive documents a group of royal donations was recorded. It included a number of gold icon-lamps, precious chalices and a luxurious topaz cross “covered with two rows of diamond sparkles”. Most beautiful were coronation presents of Emperor Alexander II and Empress Maria Feodorovna. The fancy candlestick, made in 1856 by I. Nordberg, is distinguished by elaborate chasing.

    Salt-cellar. Moscow. Craftsman N.V. 1833. Donated in 1833 by Grand Princess Elena Pavlovna.
    Salt-cellar. Moscow. Craftsman N.V. 1833. Donated in 1833 by Grand Princess Elena Pavlovna.    		 Chalice. 1832. Moscow. Craftsman E.A. Antipjev and monogram scribe “M.O.”. Donated in 1835 by Alexandra Matveyevna Alexeyeva, the wife of a Moscow priest.
    Chalice. 1832. Moscow. Craftsman E.A. Antipjev and monogram scribe “M.O.”. Donated in 1835 by Alexandra Matveyevna Alexeyeva, the wife of a Moscow priest.    		 Candlestick. St. Petersburg. 1857. Work of I. Nordberg. Donated by V.P. Pismenskaya in 1859
    Mitre. Second half of the 16th – 1868. Moscow. The TrinitySt. Sergius Lavra.     		Candlestick. St. Petersburg. 1857. Work of I. Nordberg. Donated by V.P. Pismenskaya in 1859
    Candlestick. St. Petersburg. 1857. Work of I.Nordberg. Donated by V.P. Pismenskaya in 1859




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