ICONOSTASIS
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The iconostasis on display in the Church of the Twelve Apostles originates from the non-extant Ascension Cathedral of the Ascension Convent. It was transferred to the Kremlin Museums in 1929 and placed in the Church in 1930. As the dimensions of the two churches were different, the composition of the iconostasis was slightly changed. The side icons, as well as the Forefathers and the Prophets tiers, were removed. This iconostasis belongs to metrical movable-frame iconostases, widespread in Russia in the second half of the 17th century. The frame and the iconostasis were made simultaneously. Silver cover of the Holy Doors was made of silver donated by Tsarina Natalia Kirillovna, the second wife of Tsar Alexey Mikhailovich. All the work was finished in 1679.
This iconostasis is a remarkable monument of Church reform that took place in the second half of the 17th century, related to the name of Patriarch Nikon. It reflects the changes that happened in church practice, as well as it reflects western tendencies that were actively acquired and implemented by Russian masters in their works. It was for the first time that the tier of the Passion of Christ appeared and a sculptural calvary crowned the iconostasis. The calvary was implemented by South Russian craftsmen, while the Passion of Christ tier originated in monastery’s iconostases due to decision of the Church Council in 1667.
The frame of the iconostasis is decorated with high relief carving. The panels are covered with the same carving. The leitmotif of the carvings is a vine, its leaves and bunches, as well as acanthus’s leaves, fruits and flowers. The carving style of columns, cartouches, straps, beads, profiles of corbels maintains the same from top to bottom. The manner of the iconostasis’ carving and the combinations of the details are close to works by Klim Mikhailov. The manner of painting icons, the compositional organization of icons in Local, Festive, Deisis and Passion tiers allow consider them as works made by royal icon-painters. The engravings from the Piscator Bible served as a model for painting several icons.