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linked with the passage from the very beginning. Although the extant pas­

sage together with the porch attached to the belfry was built no t earlier than

the tu rn o f the XVIII century it accurately retraced the earlier one which

existed already in the XVII century. Its remains have been preserved in the]

lower storey.

The Ferapontov belfry is rather archaic. This archaism is felt not only in

the simplicity of its decor untypical to XVII century bell-towers, but also in

its very arrangement. The square plan o f its bell-tier and the four-slope

«shatyar» roof which looks a little crude are very rare. Nevertheless some of

its details, the profile of the cornices in particular, do not allow one to

attribute it to an earlier period.

The monastery initially included o ther buildings: a cook -house , some

cellars and cells. Some of them were of stone, but the majority was of wood,

They were all destroyed long ago. The monastery wall with four towers at its

corners was also of wood. It stood out a little from the treasure chamber on

the south. On the whole it coincided more or less with the extant one be­

longing to the period, when the monastery churches functioned as parish

ones. Its considerable part was rebuilt in 1870. The small amoun t o f surviv­

ing structures contributes to the fusing of Ferapontov churches with the

surrounding landscape.

Although Ferapontov monastery is uncomparably smaller than its mighty

neighbour, the architectural value of this ensemble is equally great. The

monumen ts of the two monasteries were created in the same historical ep­

och , they expressed similar artistic ideas and were often built by the same

masters. The severe grand fortress of Kirillo-Belozerski monastery and the

picturesque poetical ensemble of Ferapontovo are equally remarkable mon­

uments o f the high artistic and building culture of ancient Rus.