Vedic Smolny Cathedral

2024 Author: Seth Attwood | [email protected]. Last modified: 2023-12-16 15:55

A careful study of the temples and churches of St. Petersburg allows us to draw a conclusion about their original non-Christian origin. Smolny Cathedral was no exception.

The cathedral itself is very beautiful and is one of the hallmarks of the city. Crowds of tourists roam around it, newlyweds love to do photo sessions with it in the background and inside the park.

In this article, I focus on a slightly different side, which almost no one thinks about.

The official history of the cathedral is well known. This is the Boroque style, this is the architect Rastrelli, this is the Empress Elizaveta Petrovna. And this is, of course, a Christian Orthodox church. But is it?

In my article on religion in part 4, dedicated to St. Isaac's Cathedral, I showed that the city on the Neva is very ancient. As a result of a global catastrophe (presumably 13-14 centuries) it was flooded, which actually saved it from ruin and plunder. The same cannot be said about ancient Rome and other ancient Athens, where only ruins are available to us today.

And the Smolny Cathedral is apparently also the legacy of a lost civilization, the legacy of a lost city. But first things first.

After a careful study of the temple complex (monastery), I got the impression that Rastrelli created the cathedral not just on the old foundation, but apparently the general architectural concept was also preserved. Many decorative elements have also been preserved. In particular, the elements made of granite give the impression that the hand of the restorers did not touch them at all. If the granite of the embankments, the granite of the houses and cathedrals of the city center has all the signs of late cleaning and polishing (18-19 centuries), then everything is different here. Granite looks very old and is very worn. Granite in a similar state can be found here and there in old parks in the outskirts of St. Petersburg, where the hands of restorers also did not reach.

Naturally, the lower tier of the cathedral and the entire complex sank deep into the ground.

We see that part of the cathedral that Rastrelli did not rebuild.

There used to be windows and doors here.

Here you can clearly see how the entrance was made from the window. Let's count the number of steps, there are 9 of them.

The same entrance from a different angle.

And here are the steps themselves. It is perfectly visible that this is a remake. They are adhered to the existing building envelope (cathedral box). The photo is not noticeable, but it can be seen alive that the granite is younger and apparently really dates from the Rastrelli era (mid-18th century).

And this is another entrance, the front one. The same. The steps are in the same way attached to the main frame of the building. Moreover, the laborers were apparently too lazy to dig up the sediment layer after the flood, and they stuck the steps on a certain hill (hill) from this part of the building. There are already only 8 steps. Perhaps this mound can be used to judge the direction of the flood. The deposited layer could remain in large quantities exclusively on the back side of the movement of water-mudflow masses. This means that the wave was coming from the opposite side. From the side of the modern Neva, strictly from east to west.

Now the cathedral is being restored and active restoration work is underway. They do not always work efficiently, from which pieces of plaster fall off and we see the limestone from which the walls of the old (ancient) building were made. A brick is visible above. Rastrelli was already shaping the pilasters with bricks.

In some places, the junction of the remake with the old one is clearly visible.

Bypassing the perimeter in the windows, the ancient arched vault is clearly visible. It was once the boundary between the first and second floors. The ground floor windows were once large and arched.

As I already wrote, large-scale restoration work is underway. Both inside and outside.

Decorative elements are now made of extruded polystyrene foam (dense foam). And for this, the paint on them holds disgustingly and frequent replacement is required.

Now let's move on to the main question. To whom the cathedral, or rather the temple, or rather the temple complex, was originally intended. Which God? As you know from my article on religion, most of the old temples were pagan. For example, officially the oldest church "Peter" in Krasnoe Selo is the former temple of the god of the young winter sun Kolyada, St. Isaac's Cathedral is the former temple of the god of the spring sun Yar (Yarila). Whose temple is this? Let's figure it out. First you need to understand that modern decoration does not fit into any canons at all. Even Christian ones. The domes are white, it is not clear what they mean, the crosses on the domes are also not very clear symbols, the concept of the temple complex also winds on some thoughts (the cross is strictly oriented to the cardinal points). And sheer contradictions. In general, something is wrong.

First, let's go inside the cathedral and see what the official history tells us. And already here some of the questions are removed and everything becomes clear. On the model of the cathedral, we see an ordinary temple of the Mother of God. White walls, blue domes with stars. That is, Rastrelli blinded everything correctly and fulfilled all the canons. And even the Vedic crosses on the domes on the model we see (see parts 1 and 2 of the article on religion). Under Rastrelli, the cathedral had a related function. On top of the blue domes, we see golden domes, that is, it was not only a temple of the Mother of God, but also the sun gods could be worshiped in it. And at the tips of the crosses is the sun. And for Christians, this is generally the height of convenience. All in one. From which I assume that Rastrelli had the task of making a Christian church. It is possible that this was the first Christian church in the city at that time (mid-18th century).

And this is an engraving inside the cathedral, in general, everything converges and is confirmed.

We figured out the era of Rastrelli. Let's dig deeper. To do this, we will leave the temple and carefully examine it from the outside.

Leaving the temple and raising our heads, we will see the "All-Seeing Eye". In St. Petersburg, it is everywhere, which is understandable, because the city is ancient Vedic. As I pointed out in part 1 of my article on religion, the All-Seeing Eye is not some kind of Masonic sign, as many people think, but the most ancient Vedic symbol of life. In Russian Vedism, he is associated with the supreme god, the creator of all that exists, Ra (Svarog). And it was put on almost all temples dedicated to the "cosmic" gods (Makosh, Mara, Kolyada, Yar, Horst). Thus, the circle of our searches is narrowed.

Now let's walk around the temple complex. Usually, minor parts of buildings are kept as close to the original as possible and can tell a lot. And here we are waiting for exactly what gives answers to all questions.

The first thing that catches your eye is the signs of the sun instead of crosses. They are on all four corner towers. Two have already been restored and painted in gold, one is undergoing work (the photo was above), and one is either white or gray (like the dome).

Passing along the walls, the bas-reliefs of a young woman draw attention to themselves. In Christianity, there is no such tradition and never was, it is an exclusively Vedic tradition. In Vedism, this could be identified either with the goddess Mara, or with the goddess Makosh. Mara is a goddess associated with the night luminary - the moon. But we do not see any symbols of the moon anywhere. On the contrary, only solar signs. And Makosh is just the goddess of space, the Mother of God who gave birth to her child - the Sun.

Now we have figured it out. This is the oldest temple complex dedicated to Makosha, Makosha the Mother of God, one of the highest and most revered goddesses in the hierarchical ladder of gods in Russian Vedism. It also turns out that Elizaveta Petrovna and Rastrelli have preserved the heritage of our ancestors as fully as possible for us, which cannot be said about the leadership of the modern Russian Orthodox Church, which repainted the temple for some reason, repainted the domes and changed the crosses on the main cathedral for some reason. And where is the Ministry of Culture? Where is the architectural supervision? Where is UNESCO? Unclear.