The Museum      Main      Displays and Exhibitions       ollections       Monuments of Architecture       For Visitors       Contact Details

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

    The 18th early 20th Century Trinity Enamel

        Enamel means an alloy or shining stone. So they call painted enamel. In the first half of the 18th century, the Trinity-St. Sergius Monastery reached the peak of its prosperity. Enamel, encouraged by Peter the Great, was mastered by the Trinity craftsmen. Of numerous works of the 18th century Trinity masters there mainly survived enamel plaques that decorated precious works preserved in the Sacristy of the Sergiev Posad Museum-Preserve.

        Hieromonk Pavel Kazanovich played an important role in the formation of the unique art school in the Trinity-St. Sergius Monastery. He did not sign his works, but his hand can be traced in the composition The Trinity of Old Testament. Under his supervision the Trinity craftsmen went to St. Petersburg to study European painting and copied works of foreign artists. The cover for Gospel of 1757, decorated with enamel plaques, is a specimen of the Trinity enamel.

    The Trinity of Old Testament. 1751. Plaque from the Gospel cover. 1754. (Obverse)
    The Trinity of Old Testament. 1751. Plaque from the Gospel cover. 1754. (Obverse)
     .   . 1754 . ( )
    St. Mark the Evangelist. Plaque from the Gospel cover. 1754. (Obverse)
     .   . 1754 . ( )
    St. John the Evangelist. The plaque from the Gospel cover. 1754. (Obverse)
     .   . 1754 . ( )
    St. Luke the Evangelist. The plaque from the Gospel cover. 1754. (Obverse)


        The mid-18th century enamel painting decorated precious articles produced in the Monastery. Metropolitan Platon (Levshin) in every way supported the work of enamellers. By his order the Monastery art team was formed.
    The Virgin of Vladimir. The plaque from the Gospel cover. 1754. (Reverse).
    The Virgin of Vladimir. The plaque from the Gospel cover. 1754. (Reverse).
    King David. The plaque from the Gospel cover. 1754. (Reverse).
    King David. The plaque from the Gospel cover. 1754. (Reverse).
    King  Manasseh. The plaque from the Gospel cover. 1754. (Reverse).
    King Manasseh. The plaque from the Gospel cover. 1754. (Reverse).
    The Sacred Super. The plaque from the Gospel cover. 1754. (Reverse).
    The Sacred Super. The plaque from the Gospel cover. 1754. (Reverse).
        Since the late 18th century the Trinity enamel gradually faded away as to sell purchased goods proved to be more profitable than to produce. The Trinity Monastery began to buy a lot of enamel items from Rostov the Great. Still enamellers went on working. Among the specimens of the 19th century enamel there are icons different from Rostov works. They look like the Lavra lithographs. The enamel icon St. Seraphim of Sorov of the early 20th century is an interesting example in this respect.


    Praying for the Bowl.  1750s.  The plaque from the  mitre
    Praying for the Bowl. 1750s. The plaque from the mitre
    Carring the Cross. 1750s.  The plaque from the mitre
    Carring the Cross. 1750s. The plaque from the mitre
    Lametation. 1750s.  The plaque from the mitre
    Lametation. 1750s. The plaque from the mitre
    St. Seraphim of Sorov.  Early 20th century
    St. Seraphim of Sorov. Early 20th century
         Rambler's Top100
    © The Sergiev Posad State History and Art Museum-Preserve
    141310 Krasnaya Army Prospect, 144, Sergiev Posad, Moscow Region, Russia Tel.: (495) 786-27-08, (496) 540-63-58
    to order excursions- Tel. +7 49654 0-53-56