What the barma and the postnik built. Postnik "Barma" and St. Basil the Blessed

Barma

Barma is a Russian architect of the 16th century. He worked as part of the Pskov artel of architects on the construction of churches in Moscow. The Russian chronicle of the 17th century says: “... God gave him (Ivan the Terrible) two Russian masters according to Postnik and Barma and was wiser and more convenient for such a wonderful deed.” The names of the masters of ancient architecture of Barma and Postnik are mentioned together in the annals. According to some researchers, we can talk about one person. Barma and Postnik are the authors of an outstanding work of Russian architecture of the 16th century - the Church of the Intercession "on the moat" on Red Square in Moscow, in honor of the capture of Kazan on 10/2/1552. But the people called it the temple of St. Basil the Blessed, in memory of the holy fool Basil, who won the love of the people. The temple was built in years.

Ivan the Terrible ordered to build eight (according to the number of saints) stone thrones on the site of the wooden cathedral. But it was not possible to place seven aisles around the central one without violating the laws of elementary symmetry. Therefore, Barma and Postnik dared to disobey the royal decree and founded nine churches. This temple-monument has a festive, jubilant look, bold in composition, bizarre in appearance, almost a sculptural work with a minimum internal area. Contemporaries-foreigners noted that it was built "rather as if for decoration than for prayer." Ancient architects under the guidance of Barma and Postnik created a monument to the glory and triumph of Rus'. This is the highest point in the development of Russian architecture of the XVI century. The cathedral embodied the full power of the Russian architectural genius and the national school of architecture of the ancient Russian state.

Bibliography

Brunov, Old Russian architecture / . - M.: State. Publishing house on construction and architecture, 1953.
About the Pskov builders Barma and Posnikov, their work in Moscow. Kazan, in the Moscow region. Photos of temples. Voronin, N. Barma's fabulous creation / N. Voronin // Komsomolskaya Pravda February.
About St. Basil's Cathedral in Moscow, built by the Pskov architect Barma. The creation of Pskov Barma. - Pskovskaya PravdaFebruary.
About St. Basil's Cathedral and the article dedicated to it by I. Voronin in the newspaper "Komsomolskaya Pravda". Artemov, V. Barma and Posnik / V. Artemov // History No. 29. - P. 14-16.
On the construction of St. Basil's Cathedral. Litvinova, architects / . - M.: Rosmen, 20s. : ill. - (Great Russians). - S. 23-25.
On the work of architects Barma and Postnik. Lyakhova, and Postnik / // Lyakhova architects: The history of Russian architecture in the biographies of its creators.- Chelyabinsk: Arkaim, 200 pp.: Ill.- P. 52-54.

Postnik Ivan Yakovlevich (Posnik Ivan)

Postnik is a Pskov architect of the middle of the 16th century, a builder of churches and city walls. He took part in the construction of the Intercession Cathedral on Red Square. The names of the masters of ancient architecture of Barma and Postnik are mentioned together in the annals. According to some researchers, we can talk about one person. The names of Postnik (Posnik Ivan) are associated with Postnik Yakovlev. Postnik and Barma are the authors of an outstanding work of Russian architecture of the 16th century - the Church of the Intercession "on the moat" on Red Square in Moscow, in honor of the capture of Kazan on October 2, 1552, but the people called it St. Basil's Cathedral, in memory of the holy fool Vasily, who won popular love. The temple was built in years. The Russian chronicle of the 17th century says: “... God gave him (Ivan the Terrible) two Russian masters according to Postnik and Barma and was wiser and more convenient for such a wonderful deed.” Ivan the Terrible ordered to build eight (according to the number of saints) stone thrones on the site of the wooden cathedral. But it was not possible to place seven aisles around the central one without violating the laws of elementary symmetry, so Postnik and Barma dared to disobey the royal decree and founded nine churches. They created a monument to the glory and triumph of Rus'. This temple-monument has a festive, jubilant look, bold in composition, bizarre in appearance, almost a sculptural work with a minimum internal area. Contemporaries-foreigners noted that it was built "rather as if for decoration than for prayer." The cathedral embodied the full power of the Russian architectural genius and the national school of architecture of the ancient Russian state.

Bibliography

Romanov, Novgorod and Moscow in their cultural and artistic relationships / // Proceedings of the Russian Academy of the History of Material Culture. T. 4.- L., 1925.-S. 209-241.
About the work of the Pskov architect Postnik Yakovlev. Voronin, on the history of Russian architecture of the 16th-17th centuries. / .- M.; L.: OGIZ, 1934.- S. 21.
About Posnik Yakovlev, bricklayer Ivashka Shiryaev "with comrades", their work in Kazan and Moscow. Brunov, Old Russian architecture / .- M .: State. Publishing house on construction and architecture, 19 pp. - pp. 34-48.
About the architects Barma and Postnik, who built St. Basil's Cathedral. Lobachev, V. Imaginary tragedy and the real secret of Ivan Postnik: a foreigner or a Russian? / V. Lobachev // Science and religion.- 1993.- No. 11.- P. 2
Brief biographical data based on chronicle materials about Ivan Postnik. Lyakhova, and Postnik / // Lyakhova architects: The history of Russian architecture in the biographies of its creators.- Chelyabinsk: Arkaim, 200 pp.: Ill.- P. 52-54.

Culture of the Pskov land: [Electronic resource]. Issue. 1.: Masters of Pskov architecture / Pskov. region universal scientific b-ka. ; comp. ch. librarian Butuk T. D . - Electron. Dan. and progr. (700MB). - Pskov: POUNB, 20electron. opt. disc (CD-ROM).

Most people know this cathedral not by its official name - Pokrovsky Cathedral, but by the name of St. Basil the Blessed buried in it. This temple has become a symbol of Rus', the personification of its spirit, although it cannot be called typical and traditional. And it still remains a mystery who built this amazing structure.

Its appearance is known to all more or less educated inhabitants of the planet, even those who have never been to Russia. The Assumption or Archangel Cathedrals may not be recognized, the Bolshoi Theater may be confused with the Pushkin Museum, and St. Basil's will be identified immediately. It is an internationally recognized symbol of our country, like the Eiffel Tower - a symbol of France, the Parthenon - Greece, the Colosseum - Italy, and the Statue of Liberty - America. The exact name of the Intercession Cathedral itself may not be known, but the words Moscow and Russia, looking at it, will certainly be pronounced. As well as the name of Red Square, which, thanks to the temple standing on it, received the unspoken status of the main one in the country.

Who can violate the royal decrees, if not the autocrat himself!

The Church of the Intercession of the Mother of God, which is on the Moat, and this is how this cathedral is officially called, was built about half a century later than the famous Kremlin cathedrals - the Assumption, Arkhangelsk and Annunciation. The reason for the creation was quite significant - the capture of Kazan and the annexation of the Volga region to the Muscovite state. It was an event of great importance. Firstly, the capture of the Volga region greatly increased the territory of the country and brought Russia to the rank of the largest countries in Europe, while simultaneously opening the way to the east. And secondly, the capture of Kazan was the most important symbolic act: for three hundred years our ancestors carried tribute there, and now Kazan itself has become a subject of the Russian Tsar! Agree, an event of such magnitude should have found a monumental reflection, and since other forms of triumphs (gates, monuments, etc.) were not accepted at that time, they decided to build a temple. IN official name the cathedral has the word "votive" - ​​the fact is that even before the Volga campaign, Ivan IV promised to thank the Almighty by building big temple(that is, he made a vow) and kept his word.

Plan of the Kremlin, engraving by Kilian, 1610

Image: Vladislav Osipov / Photobank Lori

Why was it decided to build not in the Kremlin, but outside its walls? There was not much free space in the Kremlin, but there were plenty of new large cathedrals. The temple was not conceived as the main or cathedral, therefore it could well be somewhat distant from the center. In addition, it became possible to erect it in a very convenient place - a large trading area behind the "Alevizov" moat, between Ilyinka and Varvarka. Previously, it was forbidden to build here for reasons of fortification - in front of the Kremlin walls there should have been a free, fireable space. But in 1538, the construction of the powerful Kitai-Gorod wall was completed, so that the eastern part of the Kremlin fortifications (now additionally covered by Kitai-Gorod) somewhat lost its defensive function, and it was decided to ignore the ban. After all, who should violate the royal decrees if not the autocrat himself!

According to tradition, it is believed that the temple was originally wooden. According to one version, several wooden churches, and then one stone cathedral was built in their place. These "legends" agree with reality rather weakly and have only indirect confirmation, even hints.

Since the architect was entrusted with the construction of such a significant object on Red Square, it means that he was well known. But then there must be evidence of his early buildings that made him famous. We do not observe anything of the kind, although it is obvious that an experienced, mature master worked on the Pokrovsky Cathedral. The second question is also natural: where did this amazing master (or masters) disappear after the construction of the Intercession Church? What did he build next? There is no exact answer either. Apparently, this mysterious circumstance gave rise to a huge number of later legends, the most famous of which says that the formidable king blinded the craftsmen so that they could not create anything of equal size. But this, of course, is only a legend: Ivan IV, of course, he was still a "murderer", but still, not to such an extent ...

So, in everything connected with the Intercession Cathedral, there are much more legends than accurate data. The main reason is the lack of contemporary written sources, which either did not exist or died. This is due to regular fires, and Ivan’s difficult relationship with the church (and the chronicle was mostly conducted in monasteries), and the “oprichnina”, when the royal court with the office left the Kremlin, and the subsequent turmoil of the Time of Troubles. In a sense, we can say that the construction of the Intercession Cathedral became a symbol of the highest rise of Muscovite Rus', it seemed to crown the century-long cycle of the creation of the state and the early stage of the reign of Ivan IV. Perhaps this explains the inimitable grandeur of the temple: it was built, as it were, at a peak, followed by a decline, and then a shift in cultural emphasis. It is clear that during the period of internal strife and Troubles there was no time for large-scale construction.

Cathedral construction. Miniature of the Front Chronicle

Image: en.wikipedia.org

We have almost no written data on modern construction. Neither in regard to precise indications of the orders of the king related to the construction, nor in relation to the authorship of the cathedral. There are only indirect references in texts that are not directly related to the cathedral. For example, in the "Tale of the transfer of the miraculous image of Nicholas the Wonderworker" or in the text of the "Russian Chronicler from the beginning of the Russian land to the accession to the throne of Tsar Alexei Mikhailovich." These monuments are quite late, not earlier than the 17th century. The first one contains the following phrase: after the capture of the city of Kazan, the tsar (Ivan IV) “soon put up wooden churches, seven thrones, which were around the big throne, a stone church, near the bridge of the Frolovsky gates over a moat. And then God granted him two Russian masters, according to the words of Postnik and Barma, and more wisdom and convenience for such a wonderful deed.

This was written at least a hundred years later than the construction of the cathedral and is apparently based on folk tradition. The researchers were surprised that the first of the architects (Postnik) was named after him, the second (Barma) - with a nickname. By the way, “according to the advertisement” in the tradition of that time means “by nickname”, and not by name. The meaning and possible origin of the nickname "Barma" are interpreted by experts ambiguously. It may be associated with the name of a part of the solemn attire of kings and higher clergy, descending from the headdress to the shoulders. Such barmas were usually richly decorated, so that the nickname could indicate the artistic abilities of its owner. Another option is associated with an outdated linguistic characteristic of incomprehensible, slurred speech. To this day, similar words have survived to mutter or mumble. It can be assumed that the bearer of the nickname had defects in diction or a special way of speaking, say, some kind of dialect.

But back to the sources. In the author of the second chronicle mentioned above, we find a more surprising statement: “In the same year (7068-1560), by the order of the tsar and sovereign and Grand Duke Ivan, they were conceived to make a votive church, which was promised in the capture of the Kazan Trinity and the Intercession and seven aisles, hedgehog is named on the moat, and the master was Barma and his comrades.

Note that Postnik no longer smells ...

And yet, a genuine royal decree of December 15, 1555, sent to Novgorod to the clerks Fedor Eremeev and Kazarin Dubrovsky, has come down to us, in which the sovereign commanded “the Pskov deacon Shershn Bilibin, and the Pskov elders Bogdan Kovyrin, and Semyon Mizinov, and with them the church and to the town master Postnik Yakovlev and the Pskovian mason Ivashka Shiryai and comrades, by spring, in the new city of Kazan, make stone in Kazan, choose two hundred people of Pskov masons, stencilers and breakers, how many people will come in handy.

Plan of the second floor of the Intercession Cathedral

Image: en.wikipedia.org

Postnik Yakovlev pops up here, but there is no Barma. But after all, we can talk about one person - Postnik, nicknamed "Barma". Then the alternation in the mention of his name and nickname can be allowed. There is also a clear indication of the Pskov origin of the master and his work in Kazan. This may be the answer to many questions.

The last documentary evidence refers to 1633. This is an entry in the manuscript of the Sudebnik of 1550, which indicates where this document was kept by “solicitor and servant of the Moscow services of the Druzhina Tarutyev’s son Postnikov, according to Barma.” That is, Druzhina was the son of Tarutia and, obviously, the grandson of Postnik, nicknamed (rekl) "Barma". And everything seems to coincide in time. Another confirmation that Postnik and Barma are, respectively, the name and nickname of one person. Today, this version is considered the most probable. As well as the fact that after working in Moscow, Postnik Yakovlev, nicknamed Barma, was sent to Kazan, where he built a fortress and cathedrals. There are no exact data, but according to the artistic handwriting, architectural historians tend to consider him the works of the Annunciation Collection and the Spassky Church of the Kazan Kremlin, as well as the Assumption and St. Nicholas Churches in Sviyazhsk. This is a city founded by Ivan IV as an outpost for the capture of Kazan.

He denounced thieves and embezzlers, shared meager alms with the suffering, healed the bodies and souls of people. They say that Ivan the Terrible himself was afraid of him.

But back to the Intercession Cathedral. According to the initial plan, it was supposed to include several (seemingly eight) aisles, each of which symbolized major events Kazan battle and thanked the patron saint of a particular day. On the day of commemoration of Alexander Svirsky and the Three Patriarchs of Constantinople (September 12, according to a new style), a victory was won over the army of Tsarevich Yepanchi, who was hurrying from the Crimea to help the Tatars. On the day of Gregory, the Enlightener of Greater Armenia, (October 13, according to a new style), the Ar tower exploded. Well, on the day of Cyprian and Justina (October 15, according to a new style), the last assault on Kazan began. Three more chapels, for similar reasons, are dedicated to Nikolai Velikoretsky, Varlaam Khutynsky and the feast of the Lord's Entry into Jerusalem. The central altar is named after the Intercession of the Mother of God, for on her day - October 14, there was the main assault on Kazan.

The architect (with a certain degree of convention, we will still call him Postnik Barma, the son of Yakov) decided to unite all the limits in one building, while maintaining the relative independence of each church. This is how this amazing shape turned out - one central dome, four smaller domes on the cardinal points and four more diagonally. It could have been clutter and chaos, but thanks to the amazing proportions, a real masterpiece came out. The temple turned out to be elegant, light, at the same time intricate and complex. It bears clear features of wooden architecture, echoing the motifs of the carved churches of the Russian north. If all the cathedrals of the Kremlin are cross-domed, then the Intercession Church was created in a new hipped style. We know only two earlier similar stone structures (in Kolomenskoye and Aleksandrova Sloboda), but they are not comparable in scale to the Intercession Cathedral. This new style will be decisive for many years to come, but it will not be possible to create something more majestic than the Pokrovsky Cathedral. He remained the standard of tent architecture.

The cathedral was built of brick, which made it possible to richly decorate facades, drums and even domes. Initially, it was two-tone red and white, the modern bright color appeared later, at the end of the 17th (according to another version, in the 18th century, under Catherine) century, when the temple was being repaired after a fire. At the same time, the galleries, or “gullbishche”, were covered and glazed, a porch appeared, and the bell tower was connected to the main building.

Presumably created in - years, together with the architect Postnik, St. Basil's Cathedral, or the Intercession Cathedral "what is on the moat", on Red Square in Moscow. According to the chronicle, it was "a wise Russian master and convenient for such a wonderful deed."

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Notes

Links

• Barma- article from the Great Soviet Encyclopedia.
• // Russian biographical dictionary: in 25 volumes. - St. Petersburg. -M., 1896-1918.

An excerpt characterizing Barma, Ivan

Five minutes later, Danilo and Uvarka were standing in Nikolai's large office. Despite the fact that Danilo was not large in stature, seeing him in the room gave the impression like that like when you see a horse or a bear on the floor between the furniture and the conditions of human life. Danilo himself felt this and, as usual, stood at the very door, trying to speak more quietly, not to move, so as not to somehow break the master's chambers, and trying to express everything as soon as possible and go out into the open, from under the ceiling to the sky.
Having finished the questions and forced out Danila’s consciousness that the dogs were okay (Danila himself wanted to go), Nikolai ordered to saddle. But as soon as Danila wanted to go out, Natasha entered the room with quick steps, not yet combed and not dressed, in a large, nanny's scarf. Petya ran in with her.
- You are going? - said Natasha, - I knew it! Sonya said that you would not go. I knew that today was such a day that it was impossible not to go.
“Let’s go,” Nikolai answered reluctantly, who today, since he intended to undertake a serious hunt, did not want to take Natasha and Petya. - We are going, but only for the wolves: you will be bored.
“You know that this is my greatest pleasure,” said Natasha.
- This is bad - he rides himself, ordered to saddle, but he didn’t say anything to us.
- All obstacles to the Russians are in vain, let's go! Petya shouted.
“But you shouldn’t be: mother said you shouldn’t,” said Nikolai, turning to Natasha.
“No, I will go, I will certainly go,” Natasha said decisively. - Danila, tell us to saddle, and Mikhail to ride with my pack, - she turned to the huntsman.
And so it seemed indecent and hard for Danila to be in the room, but it seemed impossible for him to have any business with the young lady. He lowered his eyes and hurried out, as if it did not concern him, trying somehow not to inadvertently harm the young lady.

The ancient Russian culture is rich in masters, whose original talent was embodied in wonderful works of literature, painting, and architecture. But too few names have been preserved for us ancient history.

The development of Russian architecture in the 16th century reflected the nationwide upsurge associated with the successful struggle for the unity of the entire Russian land, with the growth of national self-consciousness. The massive growth of cities and fortresses throughout the state, extensive intra-city construction contributed to the numerical and qualitative growth of building artels. The craft of the builder becomes honorary, the personality of the architect is formed. They are called "sovereign masters", the most prominent ones are even mentioned in chronicles. In the 16th century there are more than ten of them. Among them there are more legendary names that still conceal a mystery. Such masters include the authors of an outstanding work of Russian architecture of the 16th century - the Church of the Intercession "on the moat" (St. Basil the Blessed).

These are masters Barma and Postnik. Here is how a Russian chronicler in the 17th century reports about them: "... God gave him (Ivan the Terrible) the gift of two Russian masters on the river of Postnik and Barma and was wise and convenient to such a wonderful deed." Both of these names are found in chronicle sources in different interpretations. There is a mention of only one name of Barma. And in one of the ancient documents, the name of the Pskov "city and church master" Postnik Yakovlev, sent by Ivan the Terrible in 1555, along with other Pskov builders to Kazan, is named - "the new city of Kazan to do." There is also such annalistic news, where the name Postnik and the nickname Barma are combined in one person - "Postnikov's son, according to Barma."

When comparing various written sources and on the basis of studying the surviving buildings, almost all researchers agree that the architect Postnik Yakovlev, the head of construction work in Kazan and one of the authors of the Intercession Cathedral in Moscow, is one and the same person. On the second question - is he the sole author famous temple or with the co-author - master Barma - opinions differ. The most common and well-established point of view is the one that recognizes the authorship of two architects. The construction of the temple, begun jointly in 1555, a year after Postnik's departure for Kazan, continued for four years under the leadership of Barma. It is possible that the main compositional and artistic solution also belongs to the latter. Like it or not, it is currently difficult to say with great certainty. All researchers agree on only one opinion - the work created by Barma and Postnik in the middle of the 16th century is greatest creation.

Its origin is associated with heroic events in Russian history - the victory of Russian troops in 1552 near Kazan. A triumphal meeting was arranged for the army returning from Kazan, which resulted in folk holiday. The author of "The Tale of the Capture of Kazan" describes with admiration the people's rejoicing. The solemn procession of the Russian troops led by Tsar Ivan the Terrible is depicted on the icon "The Church Militant". And in the center of the ancient capital, near the walls of the Kremlin on Red Square, a temple was erected, the equal of which, neither before nor after it, was created on Russian soil. He was supposed to glorify the victory of Russian weapons and perpetuate the memory of all those who died on the battlefields.

All this determined the character of the architecture of the temple. The unusual composition was caused by a specific task set before the architects - to build eight churches in the name of the saints, on the days of the celebration of which the main events of the Kazan campaign took place. But already at the laying of the temple, the architects made their own changes in order to achieve greater organicity and perfection of the composition. Eight churches, located around the ninth, central, are placed on a high basement. A few decades later, on the eastern side, the tenth chapel was added over the grave of the holy fool Basil the Blessed, revered by the people. The central church is dedicated to the Feast of the Intercession, which coincided with the capture of Kazan. Temples-chapels, located on the cardinal points, have the form of octagonal pillars. They are considerably taller than the four others placed between them. These are cubic-shaped buildings with a pillarless interior space. They are in many ways reminiscent of small town churches, which were being built in abundance in Moscow at that time. The peculiarity of the last four is that the two eastern aisles do not have altar ledges - apses, and the other two, near the western wall adjacent to the central Church of the Intercession, have a diagonal bevel. A distinctive feature of the plan of the Intercession Church is the elongation of the internal volume along the west-east axis. The harmonious composition of the entire group of churches, their high-rise subordination to each other create a complex, but surprisingly organic architectural ensemble. Outside, all churches, with the exception of the central one, are crowned with rows of kokoshniks running up to the bases of elongated drums. Sometimes kokoshniks alternate with an architectural decorative form resembling pediments. The central church is covered with a high faceted tent, on the star-shaped base of which eight decorative cupolas were originally placed, as if repeating the general architectural composition. All churches are richly and fancifully decorated. The integrity of the decorative decoration is achieved through the use of a single set of elements characteristic of the brick architecture of the 16th century.

Initially, in terms of color, the cathedral was simpler - white details stood out on the red-brick walls. The motley coloring of the domes and the painting of the facades appeared in the 17th-18th centuries; at the same time, covered outdoor galleries surrounding the cathedral and a hipped bell tower were built.

The interior of the temple is unusual. A small interior space, the absence of altars in some aisles testify to the secondary importance of its church purpose. Attention is drawn to the arches of the aisles, lined with small bricks; some of them are decorated with unusual masonry in the form of spiral stars. Along the perimeter of the base of the tent, there is an inscription made of tiled slabs, telling about the creation of the temple. The entire bright appearance of the monument confirms the assumption that all the attention of the architects was focused on the external forms of the building, on conspicuous constructive innovations, on the rich sculptural masses and the picturesque facade.

The town-planning significance of this temple is great. It was taken from the territory of the sovereign's court beyond the walls of the Kremlin to the trading square. Both in size and architectural forms, the temple dominated the entire space of the square and the adjacent areas of Kitai-Gorod and Zamoskvorechye.

The architecture of the Pokrovsky Cathedral stands alone among the monuments of the 16th century. In terms of the complexity of the composition, the artistic processing of facades and interiors, the church is close to the Church of John the Baptist in Dyakovo near Kolomenskoye, built presumably in 1547-1553 (or 1554). This gave grounds for some researchers to attribute the authorship of the building to the builders of the Intercession Cathedral.

As already mentioned, Postnik Yakovlev in 1556, among the numerous artel of Pskov builders, was sent to Kazan by order of Ivan the Terrible to build new fortress walls. His name is later repeatedly mentioned in the Kazan scribe books. Therefore, it can be assumed that he was the head of construction work. In addition to buildings in Kazan, Pskov craftsmen are also credited with the creation of two churches in Sviyazhsk due to their close resemblance to them. These are two temples in the Assumption Monastery - the cathedral and the Nikolskaya refectory church. Both buildings were significantly rebuilt in subsequent eras. But even now, in them, as well as in the Church of the Annunciation in the Kazan Kremlin, one can see clearly expressed features of the Pskov architectural school of the 16th century: the completion of the main volume of the building with an eight-slope covering with three-part division of facades ending in multi-bladed arches, characteristic decorative motifs from curbs, runners, arched rods on apses, brows over slit-like windows.

The significance of the buildings created by the Russian masters Barma and Postnik, and especially the most beautiful of them - the Pokrovsky Cathedral in Moscow, cannot be overestimated. First of all, it lies in the fact that they affirm the talent and great skill of the architects of the national architectural school of the ancient Russian state.

- No one can build such a temple better than Barma and Postnik! Golovan exclaimed with conviction.

Rozmysl was released, and he went to his own place, thinking that it would be good to work on the new construction as an assistant to Barma and Postnik.

Barma and Postnik

Klobukov reported to the tsar what the search had led to. Macarius remembered the name of Barma, praised the Dyakovo church; although the metropolitan had not seen it for many years, the recollection of the majestic building remained with him firmly.

“Yes, such an architect will be able to accomplish a great deed…” Macarius said thoughtfully.

The king indicated: to find Barma and Postnik. It was decided to inspect the Dyakovo temple later, in the presence of the builder himself.

Before Klobukov a new task arose, to hastily find architects. And where to look for them? Rus' is vast, and no one knows in which region Barma and Postnik are building.

But the king was in a hurry, and messengers galloped to all the governors with orders:

“If in the area that you, boyar, rule, the famous architects Barma and Postnik are found, without delaying a single day, send them to Moscow under strict supervision, and if you, boyar, show negligence in that sovereign’s business, then the answer is you will be asked in all severity ... "

On the ground, the royal order caused quite a stir. Other governors imagined that Postnik and Barma would run away if they found out that they were being sought, and therefore the search was carried out secretly. Others reasoned more sensibly: if the architects are called famous, then they are waiting for the royal favor, and they must be sought out publicly. Biryuchi went around towns and villages, loudly promising a reward to anyone who would bring to the attention of the authorities about the whereabouts of Postnik and Barma.

A trace of architects was found near Yaroslavl, in the Tolgsky monastery; there they repaired the monastery walls.

The delighted viceroy sent a whole detachment led by the bailiff to fetch the architects. The order was as follows: immediately pick up Postnik and Barma and take them to Moscow under strict supervision.

The governor so long inspired the bailiff with the importance of the royal business entrusted to him, that he wanted to shackle the architects hand and foot, fearing their malicious escape. The faster tried to convince him for a long time that they were not going to run away, and thrust a generous offering; then the bailiff treated the builders more gently: he seated each in a separate cart and surrounded the archers with a dense ring.

So Postnik and Barma were taken to Moscow and settled in the hut of the Ambassadorial Department. Ivan Timofeevich Klobukov visited the architects on the day they arrived and had a long conversation with them.

The architects spoke sparingly about their lives.

- What a lot to talk about! wondered Barma, a stocky old man with a curly gray head. - We went around Rus', built. I worked there for a year, there for another, from place to place, from city to city, from village to village - I looked at myself, and old age approached, and my head was in silver ... So I lived a century as a bean, I did not have time to marry at work. Here I say to Postnik: “Hey, boy, before it’s too late, start a family, otherwise you will be left alone, like me!” So he has no time and no time ...

Postnik, a fair-haired, powerfully built man, already living his fourth decade, smiled good-naturedly:

- Brides will not come for me: I have been wandering from a young age with a mentor, I have not yet made a nest. Now I need to go to my homeland, to Pskov, to build a house there - maybe then I will become a family man ...

But Barma and Postnik spoke a lot and willingly about their construction projects. Barma told in detail how he built a temple in Dyakovo for the Grand Duke Vasily Ivanovich. Vasily Ivanovich, although he was burdened with state affairs, was still very interested in construction, and often visited Dyakovo. And when the temple was built, he generously rewarded Barma and wanted to donate stone chambers in Moscow.

“My will is dear to me, sir,” Barma answered then, “and these chambers will be to me like an iron cage to a bird ...

And the architect again went to wander around Rus'. Attracted by his fame, the Pskovite Ivan Yakovlev, nicknamed Postnik, came to him as a student, and since then for many years they have been inseparable. Postnik did not leave his old mentor, even though he had long since caught up with him in skill.

Klobukov did not hide from the architects for what purpose they were brought to Moscow and what hopes were placed on them, but he asked not to tell anyone about the royal plans.

Klobukov was satisfied with the conversation with the architects and reported their arrival to the tsar. The reception took place two days later.

At the side of the king sat the metropolitan in a simple, not magnificent cassock; Klobukov stood behind him, stroking his bushy red beard and making reassuring signs to Postnik.

“Here we are, your servants, my lord!” Barma said. - He demanded us in front of his bright eyes?

“I welcome you on your arrival,” the king replied. - How does the earth wear you, old man?

- As I served your father, Grand Duke Vasily Ivanovich, so I can still serve your royal majesty! Barma's voice was calm and joyful.

- I'll have tea, Timofeevich told you why we called you. After a long discussion, we decided to build a wonderful temple in Moscow in memory of the great Kazan campaign ...

- Heard, sir!

- Such a monument should be erected, so that it would stand for centuries, reminded of the unknown warriors who laid down their lives for the Russian, Christian cause! - The king's voice thundered, his cheeks burned.

“A great deed, sir!” agreed Barma.

- Not everything is said yet! interrupted the king. - It is necessary to build such a temple, which has not happened in Rus' since the beginning of time, and so that foreigners, looking at it, would be amazed and say: “The Russians know how to build!” That's what we keep in mind with the reverend master! Do you understand this, architects?

The Metropolitan nodded his full agreement with the tsar. Klobukov smiled encouragingly from behind the tsar's back.

- Glad to hear such speeches, sir! Barma said.

– Why are you silent, Postnik?

“I am in the rank of learned ones, sovereign,” Postnik replied modestly. “It is up to the mentor to decide, and I will not deviate from his will…”

“It seems, sir, that these are the masters we need,” Macarius said.

- Will you, Barma? Answer! - the king turned to the architect.

Barma bowed low:

- If it will not be hard work, great sovereign, wait until tomorrow. Tough answer. Let's take it - nowhere to back away!

“It’s a big deal, think about it,” Ivan Vasilyevich agreed.

The next day the conversation resumed.

“We are undertaking to build, sovereign,” said Barma, greeting the king. - How to refuse happiness!

– We do not dare to resist, – Postnik said his word.

- I pity you with fur coats from my shoulders! exclaimed the pleased king. - You will be close to me.

Barma boldly objected:

“We are not chasing after that, my lord! But we do not deny mercy, for if we are not in your honor, then the boyars will begin to interfere with us.

The king's face darkened, his eyes looked angrily:

- These boyars are for me! They sit in their yards, like catfish in the pools, thinking - I will not reach them. No, they’re naughty, Ivan of Moscow has long arms! .. And don’t be afraid of the boyars. But… work for me!

- We will not cope with the case - we will keep the answer! Barma said firmly. - Only you don’t put obstacles in our way: so that we are the masters of the business. Otherwise, if this day is like this, and tomorrow it’s different, then we won’t conceive ...

Barma's speech pleased the king:

“Vladyka, do you hear how he speaks? This is the Yermolinsky spirit in him! Remember, you told me about Yermolin and we wondered whether there are such masters today or not?

Macarius looked approvingly:

“He is right, my lord. To whom much is given, much is required. But in order to ask, one must give.

- You dare, you dare, Barma! Ivan Vasilyevich continued briskly. - For such impudent speeches, cut off the head or pardon? I will have mercy: you were not afraid of my wrath and spoke a direct word!

Barma said:

- Allow me, sovereign, to say: will we build from stone?

– What do you think?

“Wood is perishable, stone is eternal.

“We will build from stone,” the king decided.