The formation of this museum of the Moscow Kremlin was the longest, although the monument itself is small. The opening of the museum in 1965 preceded by many years of research and restoration. In the last period, more attention was paid to the discovery of the picturesque riches of the monument. The complexity and duration of these works is mainly due to the fact that this building has noticeably lost its original appearance over its long life. It suffered in the fires of fires, collapsed over time. As the old document testified, “a leak is flowing through the arches”, “the porch has fallen off with a stone and fell”, “the wall letter has become dilapidated and crumbled in places”. Alterations of the 17th-19th centuries made especially many distortions in the architecture of the building.
Meanwhile, this is one of the best buildings in Cathedral Square, the pearl of the Kremlin's monumental ensemble; it enters into it like a brilliantly executed miniature, and the opportunity to see and study this monument appeared due to the fact that Church of the Deposition of the Robe - this is one of the wonderful restoration discoveries of our time.
The construction of the monument dates back to 1484-1485. Its architects are nameless Pskov masters who were invited by Ivan III to the capital and took part in large construction works. The church was built in the northwestern corner of the square, behind the Assumption Cathedral, in the courtyard of the Metropolitan. It replaced the previous metropolitan church, which was damaged by fire, built in 1451.
Along with this, here in the temple, although official, but belonging to the palace of the highest church hierarch, on the pillars in solemn poses are depicted selected historical figures, including the Moscow metropolitans. On the southern pillar are princely figures. These are Vladimir Svyatoslavich of Kiev and his sons Boris and Gleb, Vladimir princes Andrei Bogolyubsky and George Vsevolodovich, Alexander Nevsky, Daniil of Moscow.
The "portrait" cycle is completed by the son of Ivan the Terrible - Tsarevich Dmitry Uglichsky. This gallery of persons expresses the idea of the continuity of power of the Moscow autocrats from the ancient rulers of Kiev and Vladimir. Moscow is shown as the heiress of the initial Russian cities. At the same time, including in the paintings of the princes along with portraits of the princes the images of the Moscow metropolitans, they sought to show that the supreme power in the Russian centralized state relies on an alliance with the supreme church authority.
At the museum "Church of the Deposition”There is another difference. In a small gallery of the building, adjacent to it from the north and west, exhibited works of old Russian wooden sculpture and small plastic. This is mainly the work of Moscow carvers, in the vast majority they relate to the XVII century.
The monuments presented in the museum are diverse; they differ in both manner and quality of execution. The works of the capital's masters, for example, tombstones of Moscow metropolitans, are adjacent to the products of provincial carvers.
«Church of the Deposition"- a museum of small but large content. Similar and unlike museums like him. It is quite distinctive, in its own way acquaints the visitor with the riches of ancient Russian art culture.