Detail of Church of the Resurrection on the Blood


The Church of the Resurrection (Savior on Spilled Blood) in Saint Petersburg was built on the site of the assassination in March 13, 1881, of Tsar Alexander II, known as the “Tsar Liberator” for his emancipation of the serfs in 1861. The idea for this memorial arose in 1883 on the initiative of Archimandrite Ignatii (Malyshev), with a plan by the architect Alfred Parland. Because of extensive use of decorative arts (including the creation of huge mosaics) on both the interior and exterior, the church was not completed until 1907. Although the Muscovite style is incongruous in the Petersburg setting, the church—now restored as a museum—has become one of the city’s most popular monuments. Seen in this photograph, taken around 1905, is a south view of the apse. To the right is a large ornamental iron fence, also designed by Parland. The image is by Russian photographer Sergei Mikhailovich Prokudin-Gorskii (1863–1944), who used a special color photography process to create a visual record of the Russian Empire in the early 20th century. Some of Prokudin-Gorskii’s photographs date from about 1905, but the bulk of his work is from between 1909 and 1915, when, with the support of Tsar Nicholas II and the Ministry of Transportation, he undertook extended trips through many parts of the empire.

Date Created

Subject Date

Title in Original Language

Деталь храма [Воскресения на Крови]

Type of Item

Physical Description

Glass negative (presented as a digital color composite)


  • Prokudin-Gorskii’s photographic work survives primarily in two forms: 1,901 black-and-white triple-frame glass plate negatives, made with color separation filters, which Prokudin-Gorskii used to make color prints and lantern slides; and 12 albums of sepia-tone prints, made from the glass negatives, which Prokudin-Gorskii compiled as a record of his travels and studies. The Library of Congress purchased the glass plate negatives and the albums from the Prokudin-Gorskii family in 1948. In 2004, the Library of Congress had digital color composites made from all the surviving glass negatives using a software algorithm to automatically align the color components. As with most historical photographs, title and subject identifications are corrected and enhanced through new research. Current information on the collection is at

Last updated: September 23, 2016