On 17 July 2025, the presentation of the restoration project took place in the Assumption Cathedral. The restoration of the icon “The Last Judgement ” that was exposed in the southern iconostasis of the cathedral for decades continued for almost 9 years. The icon was covered with restoration lacquer of the 1920s – time, when the art piece was for the first time cleared up from the later painting layers and oil varnish.

In 2016, the workshops of the Moscow Kremlin Museums began the wide-scale scientific restoration of the painting involving all modern methods of research. Leading artist-restorer Larisa Gushchina had been uncovering the icon, carefully preserving the remains of the author’s painting. Accomplished work and research provided a rich material for further study of the monument. Thus, during infrared and X-ray spectrum tests, the unknown fragments of the author’s painting, concealed by later renovations, were discovered.

General Director of the Moscow Kremlin Museums Elena Gagarina, master-level artist-restorer Elena Yudina, and senior scientific researcher, conservator of the Assumption Cathedral Alexey Barkov partook in the presentation.

“We succeeded in specifying the age determination and obtaining absolutely new data on this icon. It was created in the late 14th – early 15th century – the Renaissance of the Old Russian painted art, time of Andrey Rublev, as well as of Greek masters who often came to Rus and worked on icon-painting and wall-painting in cathedrals,” noted Elena Gagarina.

Nowadays, the researchers from the Moscow Kremlin Museums can confirm that the image from the Assumption Cathedral is one of the earliest examples of the Old Russian icon-painting that addresses the theme of “The Last Judgement” preserved till present. Besides, the icon must have been one of the key iconographic prototypes of the analogous scene in the 1408 wall-painting of the Assumption Cathedral in Vladimir.

“Circa 100 years have passed since the previous restoration, and the oil varnish has dramatically darkened over these years. It was difficult to judge the condition of the original painting as the thick dark surface layer hid it. After the icon was uncovered, the colouring of the author’s painting also revealed – it is vivid and festive. Numerous fine details are now clear,” said restorer Elena Yudina.

“Apparition of this ancient monument from the darkened oil varnish is without doubt a great event not only for the museum, but first of all for the Russian culture,” summed up the conservator of the Assumption Cathedral Alexey Barkov.

Note: The plot of the icon goes back to the number of texts from the Old and New Testaments. The culmination of human history – the end of times and the second advent of the Saviour during which the last judgement of mankind is to be held – is represented here in a symbolic way. The apparition of Christ in glory with Our Lady and John the Baptist attending and also twelve apostles sitting on thrones with the heavenly host surrounding them, is depicted in the upper part of the icon. In its centre is the judgement itself – weighing human sins on the scales in the hand of God. At each side of it are the righteous and the sinners going to the judgment. Several scenes occupy the lower part. At the left top is prophet Daniel's vision of the coming total resurrection with angels with trumpets and a symbolic image of earth and sea returning bodies of the perished. At the right side is the image of the nethermost fire in the centre of which Satan is sitting with Judah on the knees. Lower are the circles of hell with sinners’ torments. The right side at the bottom displays the righteous men going to the gates of Eden. The Eden itself is depicted in the form of a sphere that consists of several circles with Our Lady on the throne in the centre and angels attending.