Architecture at the End of the Earth: Photographing the Russian North by William Craft Brumfield (review)

The rich yet imperiled architectural heritage of the Russian North is beautifully presented in this large-format book by the leading English-language historian of Russian architecture, William Brumfield. The result of decades of exploration in often difficult-to-reach areas near the White Sea, the book provides an elegiac journey through the outstanding architectural monuments of the Russian North, particularly churches. Brumfield hopes to bring the world’s attention to these unique structures, which are under threat from the harsh climate, lightning strikes, improper restoration, and simple neglect.

The book is structured as a series of essays richly illustrated by Brumfield’s own photographs. The introduction provides an overview of the history and architecture of the Russian North, with a special focus on the extraordinary wooden structures that have done much to create an image of what is classically “Russian.” The regional identity of the Russian North is expressed in these buildings, and even more so when they are in their original context in villages and towns. For this reason, Brumfield does not include photographs of structures found in open-air museums. The craftsmanship of this vernacular architecture is quite impressive and shows a mastery in the use of wood in creating tall buildings that dominate the area around them and provide a focal point for everyday life.

The five chapters in the body of the text provide a travel account and short history of the architectural heritage of particular regions within the Russian North. Especially striking are those churches which, by some miracle, preserved their iconostases and frescos. The publication of such materials will help to deepen our understanding of the broader picture of Russian art, as well as of the regional contribution by the Russian North. There are tragedies found in this history, such as the destruction by fire, seemingly from a lightning strike, of the extraordinary iconostasis and painted ceiling (nebo or “heaven,” which is characteristic of the Russian North) of the Church of the Intercession at Liadiny. This makes Brumfield’s extensive documentation of the church all the more important. The destruction was especially heartbreaking given that a restoration had recently been completed. In other cases, the captions to photographs of wooden or stone churches note that they had later collapsed.

One of the strengths of the book is that it conveys a real sense of place. Some of the villages are remote and have lost a substantial amount of population over the years, but Brumfield shows how there is still a sense of pride and a regionally distinct way of life. This can be seen in the vernacular wooden architecture. One form of domestic building that is expressive of the Russian North is the house with an attached barn, which would be useful during the harsh winters. Wooden houses are usually one story, with an attic, as heating a two-story house by traditional means would be difficult. Brumfield notes that many people have moved away from using wooden houses, resulting in the loss of a distinctive regional profile. However, some of the more remote villages, such as Kimzha, still present a traditional and cohesive architecture ensemble.

It is interesting to note that the Baroque style acquired such deep roots in Russian vernacular architecture. Originally an imported style, over the course of centuries it became an expression of Russian national and regional identity. This is particularly evident in the “Totma baroque” style and the larger, related “Stroganov style” of Baroque buildings constructed by that family in the region.

The conclusion notes that the future of the architecture of the Russian North is uncertain. Museums, particularly the Kargopol Museum, are carrying out crucial work in preserving these structures in an appropriate manner, but the needs are far greater than the financial resources available to meet them. An undertone in the book is that the Russian Orthodox Church does not always restore churches in a historically accurate...