"Naryshkinsky Baroque" is a conditional term. This direction arose at the turn of the 17-18th centuries. Moscow "Naryshkin Baroque" - a bizarre and full of grace. According to many scholars of art history, it was not formed as an imitation of the West and a kind of “copying” of European architecture samples. This style is unique and original, it organically fit into the tradition of ancient architecture of Russia. And he is perceived as a primordially Russian phenomenon in architecture. The architectural "baroque" style of Western Europe brought into it only some, often almost elusive, elements.
The architects of that period embodied in their creations inner harmony, peace. "Naryshkinsky Baroque" is festive, airy. Buildings are distinguished by some delicate lightness. Moreover, in the Western European style there is more dynamics, the desire to cover as much space as possible. The West European trend was reflected mainly in the popularity of ornaments, rounded volumes.
Among other things, the Naryshkin Baroque embodies the contrast of two tones. The architects use a white-stone pattern on a red-brick background, they use polychrome tiles. For architectural monuments of that time, polygonal (polygonal) or oval windows, exceptional decorativeness, embodying the traditions of "grass ornament" and "Russian patterned" are very characteristic. This can be seen in the iconostases, departments, gilded lodges, painted in the appropriate solemnity.
The first temples in this style appeared in the estates of the closest relatives of Tsar Peter the Great through his mother. The uncle of the emperor, Lev Naryshkin, became the inspirer of church buildings. Manager of the Embassy Order, diplomat, boyar, he became a customer of the Church of the Intercession at Fili, the Savior in Ubory, the Trinity in Trinity-Lykov.
The most talented embodied the idea of "Naryshkin Baroque" nugget architect, a serf from the suburbs, Yakov Bukhvostov.
The most striking monument was the Church of the Sign of the Blessed Virgin Mary. It was erected at the end of 1680 - the beginning of 1690 in the Naryshkin estate. Like other buildings, the church is presented in the form of a bell tower. The amazing splendor of the white stone decoration of the building. The master architects created a delightful filigree drawing of openwork parapets and platbands on the windows. The fairytale lightness of the church is given by crosses, white stone and red brick of facades, the original design of the long-story building. In this building, the "Naryshkin Baroque" was embodied in all its glory. There is a symmetrical composition of structures, carved pediments, voluminous window and doorways. The temple looked very elegant and festive.
The interior of the building, unfortunately, has not been preserved. And after the closure in 1929, the building itself was slightly changed. Soviet leaders placed a canteen and a hospital in the church. In 1930, the wings were broken, and a new building was erected along the street to accommodate the expanding hospital. Subsequently, the church building suffered even more during the Great Patriotic War (a bomb exploded nearby).
Today the temple is returned to believers. However, the building requires serious restoration. It should be noted that the building is located in a unique place. The spirit of continuous history reigns here.
Archaeological excavations in these places indicate that it was here that the oprichnina court of Ivan the Terrible could be located. It is known that the state, including Moscow itself, was divided by the tsar into zemstvos and oprichnina. Grozny attributed the western territory of the city to his oprichnina possessions. The sovereign himself settled not far from the future Church of the Sign.
It should also be noted that the name of the temple and the name of several streets of Moscow originate. These include, in particular, Znamenka, as well as Znamensky Small and Big Lane.