The Moscow Patriarchate has set the schedule for moving the celebrated Trinity icon, created by Andrei Rublev, to its final resting place at the Trinity-Sergius Lavra. In discussions surrounding this topic, officials from the Moscow Patriarchate clarified details with TASS through Abbess Ksenia (Chernega), who heads the legal department.
According to official statements, the arrangement aligns with a directive from the Patriarch, and follows a bilateral agreement signed in December 2023 between the Lavra and the courtyard of the Cathedral of Christ the Savior. The icon will remain temporarily at the Cathedral of Christ the Savior until June 23 this year, which coincides with the Feast of the Holy Trinity. On that date, the transfer will be completed, and the icon will depart for the Lavra.
Chernega noted that the move is tied to a free-use arrangement under an agreement reached on July 12, 2023, between the Lavra and the Tretyakov Gallery. This cooperation facilitated the icon’s stay at the CCC under specific terms and for a defined period, setting the stage for the anticipated relocation to the Lavra.
Earlier in May 2023, a notable decision directed by Vladimir Putin involved transferring the Trinity icon to the Russian Orthodox Church. The icon was exhibited at the Cathedral of Christ the Savior during the Trinity feast on June 4 and subsequently sent to the restoration workshops of the Grabar Center for conservation work. Officials anticipated that, approximately a year later, the piece would be relocated to the Trinity-Sergius Lavra.
Representatives from the Grabar Restoration Center provided updates regarding the condition and handling of the Rublev icon during its journey to the Cathedral of Christ the Savior. Their assessments addressed transportation-related considerations and the ongoing care required to preserve the artwork’s integrity throughout the transfer process.
In related commentary, art critics previously offered perspectives on the transfer to the Cathedral of Christ the Savior, highlighting questions about curatorial choices and the broader implications for how the icon would be displayed within the capital’s sacred spaces. The discussions reflect a balance between reverence for the icon’s historical significance and practical concerns about preservation, access, and public engagement.