Kazan

It will show the cathedral as a place where the city’s defense continued through an investigation and a secret letter.

Here you will see how one builder's efforts and the support of several generations created a lasting congregation.

It will show how the terrain, rivers, and lack of a reliable base determined the town’s creation.

It will show you an entire city block where it was built and repeatedly raised above the damp ground.

It will show how ancient wall painting survived an attempt to replace it completely with new paintings.

It will explain why the return of the founder became more important than the loss of most of his remains.

The legend of the price of salvation will stand here beside an honest admission that the building’s original purpose is unknown.

It will show what remained of military production after the fire and the relocation of the workshops.

Here, an imperial repair, a treasure hunters’ tunnel, and stones from the ancient city in the foundation of a later church all come together.

It tells of an abbess who put all her resources into a shared church and did not live to see its first service.

This stop shows how conversion into a church both altered a medieval tomb and helped preserve it.

Here, the personal choice of a merchant’s son will grow into a system of education for hundreds of students.

It explains why an imperial apartment above the governor's quarters waited decades for its occupant.

The mansion shows how a private home became an address of remembrance for a poet who never lived here.

The family home reveals four years between turning away from an expected future and leaving to study painting.

The finale will bring together on one stage two moves, two companies, and a long struggle for workable space.

It connects the negotiations before the siege, the defense of the khanate citadel, and the return of a religious purpose in the new building.

Here, the poet's biography will be separated from the story of her final days in Yelabuga.

The house’s authentic layout restores the everyday scale of Tsvetaeva’s final days.

This stop turns the neighboring mosque and madrasa into the story of a dispute over a school and the right to run it.

This stop separates the known details of the Baghdad mission from the meeting place that researchers have still not identified.

This stop will show how private money turned the edge of the high riverbank into a public place.

The final point will return the archaeological finds to the exact place where a burned workshop was discovered beneath the future river terminal.

Connects a single court document with the layout of the uyezd administrative and prison courtyard.

The former living quarters, shops, and outbuildings help reveal the merchant estate as a single household.

This stop connects the modern waterfront with the return of the lake to the city and the theatre to its audiences.

Here you will learn why a nameless family burial vault displays the names of people buried elsewhere.

This stop connects the organization of the congregation with the daily routine of a vanished marketplace.

The former washhouse explains how spring water became a municipal service and everyday work.

It links the officials’ building with an attempt to turn a serf troupe into a city theater.

This small house shifts the conversation from parish schools to private work on the Tatar language.

It will explain how the town’s central place became a point of access to education.

It shows why the familiar straight entrance conceals the defensive design of the sixteenth-century gate.

Here, the scale of the city that gathered around one venerated icon will become clear.

Separates the fate of the Kazan regent from the legend that arose around a later tower.

It will reveal how an invisible route to water became the target of an underground attack.

Here, the conventional “khan's” name will encounter the anonymous burials of noble townspeople.

This will finish the route where the monastery enclosure separated the monastery courtyard from the town road to the water.

It examines what research confirms about the appearance of the oldest wooden church and what remains a matter of tradition.

Here you will learn why the new mosque was built separately from the medieval ruins and why space for study was included from the start.

The final stop makes it possible to distinguish medieval masonry from a merchant-funded reconstruction.