History of the Parish
The October Revolution of 1917, the Civil War of 1917–1922, and Bolshevik persecutions for political convictions and religious faith forced many subjects of the crumbling Russian Empire to seek refuge in various parts of the world, many landing here in the United States of America.
Numerous such immigrants arrived in the rapidly developing industrial city of Los Angeles, California. They took on various jobs to make a living. A former tsarist officer became a doorman, a university professor worked as a taxi driver or a factory laborer, a music teacher found employment as a seamstress or a caregiver. Not everyone could work in their trained profession, yet hospitable Los Angeles provided them with shelter and sustenance and opportunity.
No believer is unfamiliar with the words of Christ the Savior: "Man shall not live by bread alone, but by every word that proceeds from the mouth of God" (Matt. 4:4). No matter the difficulties an Orthodox Christian faces, he always seeks the church, where the Word of God is proclaimed, where the Divine Liturgy is celebrated, and where the central Mystery—the Holy Eucharist—is offered.
At the beginning of the 20th century, Russian Orthodox churches on the West Coast of the United States existed only in two cities—Seattle and San Francisco—along with a small wooden church located 80 km from San Francisco in the historic fortified settlement of Fort Ross. Initially, the new immigrants attended Orthodox churches of other ethnic communities, though few in number then. Even so, they longed to hear the Gospel, the hymns, and the prayers in the familiar manner of their childhood.
In Los Angeles, Russian immigrants initially participated in services at the Serbian church. Occasionally, at the initiative of E. A. Beglyarova, secretary of the Russian department of the International Institute, they gathered at the Christian Youth Club. It was there, in the autumn of 1922, that the idea of establishing their own parish arose among the Russian-speaking immigrants. To make this idea a reality, an organizing committee was formed in November. Professor V. L. Maleev was elected as its chairman. This committee became the foundation of the future parish, focusing first on finding a priest and a potential place for worship.
The first spiritual leader of the new Orthodox community in 1923 was the priest, Father Pavel Razumov, who had recently arrived from China.
With the gracious permission of the head of the Episcopal Church of Los Angeles, Bishop William Stevens, the first Divine Liturgy was celebrated in February 1923 in the vacant building of an Episcopal church on Wilson Street. The basement of the church was actually a spacious hall, which the newly formed parish used for gatherings and fellowship.
Through the dedicated efforts of Fr. Pavel's wife, Anna Razumova, the Ladies' Committee was formed—the precursor of what would become the Sisterhood of the Holy Trinity. To this day, the sisterhood continues the original mission of the Ladies' Committee: maintaining order and cleanliness in the church, acquiring icons and vestments, and ensuring the beauty of the services and the adornment of the temple, and preparing fellowship meals for parishioners and visitors. Thus, around the Episcopal church and its adjoining hall—granted in perpetual free use to the Russian community—the parish's spiritual and cultural life began to take shape.
The impetus for building a church of their own came from a generous financial collection after the Paschal service on April 27, 1924. The funds raised were sufficient for the first payment toward the purchase of two plots of land on credit in a then-new district near Ramona Boulevard in east Los Angeles. Some thought it was too far for most parishioners, yet they agreed that purchasing the land could serve as a form of savings for the future. And so it proved to be.
By 1927, the debt for both plots had been paid off. The proceeds from their sale were used at the end of 1927 to acquire land on Micheltorena Street—a location that three years earlier had seemed beyond the parish's reach. That same year, Alexander Tolubeyev, an art director working at several Hollywood studios, was elected chairman of the church construction committee.
Using his own sketch of a church set design for the Hollywood silent-film Cossacks, he proposed a plan for the future church in the style of 13th–14th century Pskov architecture in Russia.
On July 22, 1928, the church was solemnly consecrated in honor of the Icon of the Mother of God "Rescuer of the Perishing." The consecration service was performed by Metropolitan Platon (Rozhdestvensky) of New York, with Bishop Alexis (Panteleyev) of San Francisco concelebrating.
The first rector of the parish was Archpriest Mikhail Lototsky. At that time also, the sisterhood, then still known as the "Women's Aid Society," received its official designation and status.
About the Icon of the Mother of God, "Rescuer of the Perishing"
One may ask, why name a church after an icon named 'Rescuer of the Perishing'? There are no reliable historical records regarding the origin of the icon known as "Rescuer of the Perishing." However, several wonderworking icons bearing this title are known, through which the Mother of God has manifested Her mercy to those standing on the threshold of spiritual or physical ruin.
The name of this icon, "Rescuer of the Perishing," is rooted in an ancient account, The Repentance of Theophilus, the Steward of the Church in the City of Adana. The narrative, dating back to the fourth century, tells of a monastic steward named Theophilus, who, having been slandered and unjustly dismissed from his position, murmured against the Lord and, in his despair, entered into a pact with the devil, signing a covenant with him. However, overcome with remorse for his apostasy, Theophilus unceasingly entreated the Mother of God for forgiveness, calling upon Her as "Rescuer of the Perishing." His fervent supplications were heard: the Most Holy Theotokos, declaring his sins forgiven, restored the signed covenant to him.
This account became known in Russia in the 17th century, and in the following century, several wonderworking icons of the Theotokos bearing the title "Rescuer of the Perishing" were glorified.
The icon of the Mother of God, "Rescuer of the Perishing," painted by the first parishioners of Holy Virgin Cathedral in Los Angeles, follows the model of the wonderworking image from the Church of the Nativity of Christ in Palashi, Moscow. This icon, executed in oil in the traditions of Western European painting, dates to 1802. A distinctive feature of the Moscow image is that the hair of the Mother of God is uncovered and falls freely over Her shoulders. The Divine Infant presses His cheek to that of the Mother of God, while Her hands form a protective embrace around Him, Her fingers tightly interlocked.
This icon originally belonged to a noble Moscow family. Its last owner was widowed, left alone with three daughters, and soon found himself on the verge of destitution. In his despair, he offered fervent prayers before this sacred image, and the Theotokos granted him deliverance from poverty and despair. His daughters, too, found their lives providentially arranged. In gratitude, following a vision in his sleep, the man donated the icon to his parish church, the Church of the Nativity of Christ in Palashi. From that time, those who had lost hope and fallen into despair began to come before this wonderworking icon in prayer.
A similar occurrence took place after the Revolution when a woman, left alone with three small children after her priest-husband was arrested, found miraculous help from this icon. Overcome with thoughts of ending her life, she cried out in despair before the image of "Rescuer of the Perishing," begging the Theotokos for deliverance. At that moment, she was stopped by the gaze of the Mother of God from the icon. The next day, she found a bundle of gold coins in her bag, providing the means for her and her children to survive.
In 1812, during the ravages of Moscow by the French, the Palashi Church was looted, and the sacred icon was found desecrated and broken into three pieces among the profaned church treasures. Yet, when it was recovered, many miraculous signs and healings took place, and the icon was later restored. Brides sought the intercessions of the Theotokos before this icon, praying for a blessed and salvific marriage. Those struggling with drunkenness, perishing in poverty, or suffering from illness turned to Her for aid. Mothers pleaded before Her for their wayward and lost children.
Following the Communist Revolution, the parishioners miraculously managed to save the icon's rich riza (an ornamental metal crown added to an icon): they gathered their own valuables and, offering them as a ransom, prevented its confiscation. However, in 1935, the Church of the Nativity in Palashi was closed, and an attempt was made to transfer the icon to the Church of St. Pimen. Yet, despite all efforts, the horse harnessed to the cart carrying the icon refused to move. It was then decided to take the icon to the Church of the Resurrection on Malaya Bronnaya, and this time, the transport proceeded without hindrance. However, this church, too, was soon condemned to destruction. Ultimately, the icon found its resting place in the Church of the Resurrection of the Word on Uspensky Vrazhek in Moscow.
In 1981, a new miracle was revealed: a fire broke out due to a candle left unintentionally burning, damaging the icon's case, yet the icon itself remained unharmed.
As is evident from the preserved accounts concerning the icon of "Rescuer of the Perishing," prayers before it are particularly offered for healing from ailments, deliverance in hopeless situations, protection in times of calamity, and rescue from the power of sin. A fitting icon for a people caught up in the tragedy of the 1917 Revolution.
Back to Los Angeles
Lacking the means and opportunity to commission the making of church furnishings and liturgical items, the parishioners relied on their own efforts. Candle stands, lecterns, icon frames, and the first iconostasis (which, many years later, was gifted to a missionary parish elsewhere) were all crafted by hand. Eight icons for the iconostasis, as well as several icons for the adornment of the church, were painted free of charge by General A. L. Schultz, who was not only an energetic fundraiser for the construction of the church but also served as its warden for many years. Another iconographer was V. F. Ulyanov, who had lived in Los Angeles since the early 1920s. He worked in Hollywood designing costumes for films and painted murals in hotels and theaters, including the renowned Grauman's Chinese Theatre. Ulyanov painted the two principal icons of the Savior and the Mother of God, as well as the well-known icon of the Resurrection of Christ, which for many years hung in the High Place of the altar and is now preserved in the church museum.
In 1931, during the height of the Great Depression, the parish community was placed under the pastoral care of the priest, Father Paul Limarov.
The Great Depression ended a period of relative financial stability for the parish. Of the 134 registered parishioners, only 34 were able to make regular contributions. At the same time, monthly payments were required to pay off the debt incurred for the construction of the church. In the early 1930s, Princess L. V. Golitsyna provided invaluable assistance to the parish. It was she who proposed organizing charitable evenings and concerts to raise funds. Artists of the Hollywood community—musicians, singers, painters, and actors of Russian descent, whose roots traced back to the fallen Russian Empire—generously offered their talents in support of the church.
In the autumn of 1935, Protopriest Father Paul Limarov was transferred to another parish. He was succeeded by Father Peter Popov, who tragically perished in an automobile accident in November of that same year. At the end of November, a new rector, Father Gregory Prozorov, arrived from San Francisco.
With the end of the Great Depression, the financial situation of the parish improved, as reflected in a brief report by Fr. Gregory Prozorov at the general parish meeting in June 1944: "The time of intense labor is behind us; everything has been paid off, and we have no debts." However, he cautioned that the financial stability achieved should not be taken for granted. Foreseeing the difficulties of the postwar years, he proposed establishing a mutual aid fund for parishioners and outlined steps for its creation.
During Fr. Gregory Prozorov's tenure, the parish acquired two adjoining lots, and in 1939, construction of the parish house, designed by A. A. Tolubeyev and L. G. Vazian, was completed.
The number of regular parishioners grew. Among them was the renowned composer Sergei Rachmaninoff, who had lived in Los Angeles since 1942. Shortly before his repose, Fr. Gregory administered the Holy Mysteries to him, and on March 30, 1943, he presided at the funeral service in the church.
By that time, under Fr. Gregory's initiative and according to the plans of L. G. Vazian, the church building had been expanded. An area was provided for the choir just to the right of the iconostasis, and the storage rooms near the temporary narthex were converted into a small adjoining area for memorial services. In this space, a large Crucifix was placed, with a memorial table at its base and a lectern upon which lay a book inscribed with the names of departed members of the parish community—a tradition that continues to this day.
From 1946 to 1947, the parish was shepherded by the renowned preacher, writer, and poet, Archimandrite John (Shakhovskoy).
At the urging and with the direct involvement of Archimandrite John, throughout his time in Los Angeles, a collection of goods and foodstuffs was organized at the parish house and in the homes of parishioners to be sent to displaced persons in Europe, including refugees from the Soviet Union. In 1947, Archimandrite John was consecrated Bishop of Brooklyn, and in 1950, he returned to the Western American Diocese as its ruling hierarch.
From 1947 to 1957, the parish was under the pastoral care of one of the most distinguished clergymen of the American Metropolia, Protopresbyter Alexander Kukulevsky. (The Metropolia was the Russian Church in exile in America in the early years).
Under his leadership, great attention was given to assisting new postwar émigrés arriving from Europe. Two houses were purchased to provide temporary housing for newly arrived families. Fr. Alexander sought to engage Russian youth, many of whom had forgotten their native language and were unfamiliar with Church Slavonic. He was the first to begin delivering his homilies in English in addition to Russian.
In 1957, Father Dimitri Gizetti was appointed rector.
By this time, numerous Russian-speaking émigrés from Europe and China filled the church during Great Lent. However, following Pascha, the demands of daily life, the struggle for livelihood, and the challenges of adapting to a new environment left the parish sparsely attended on other than major holidays. The noticeable absence of children was of particular concern. In an effort to revitalize parish life and foster a sense of community, special attention was given to developing the parish school, caring for the sick and those in difficult circumstances, and launching the publication of the "Parish Bulletin" to keep parishioners informed.
With hard work, the parish began to rebound. During Fr. Dimitri Gizetti's fruitful ministry, the parish school flourished, and as the church community grew, the time had come to undertake a major renovation of the church. According to the plans of engineer B. A. Filippov, the church was significantly enlarged while preserving its original Pskov-style architecture. On February 21, 1960, the newly renovated church was solemnly consecrated by Bishop John (Shakhovskoy) of San Francisco, the former rector of the parish.
With the expansion of the church space, a new opportunity arose for its further beautification: a large number of old heirloom icons were donated, along with an impressive Tikhvin Icon of the Mother of God, painted in 1914 by iconographers of the St. Elias Skete on Mount Athos and originally intended for the Russian Imperial family. Additionally, a magnificent folding icon of the Entry of the Theotokos into the Temple, of exquisite Moscow workmanship, was brought from China. Alongside the icons adorning the wall above the arch of the Royal Doors (Christ with Attendant Saints, painted by the specially commissioned E. Lyzlova), these gifts imparted a unique and comforting character to the newly renovated Church of the Holy Virgin. This interior became a cherished memory for many over the years, captured in their personal photographs across several generations of parishioners.
The growth of the church community necessitated the expansion of facilities for parish life. In 1962, new construction began, lasting two years. The result was a spacious building housing church hall, parish office, and kitchen, while still incorporating elements of Pskov church architecture. The area on the southern side of the new building was designated a parking lot—an invaluable addition in a vast metropolis famous for its car culture.
The 1960s witnessed a significant influx of English-speaking parishioners, leading to the introduction of regular services in English. The first priest assigned to minister to English-speaking faithful was Hieromonk Hilary (Madison) in 1962.
In 1965, Vera Alexeyevna Jones, a devoted parishioner, reposed in the Lord, bequeathing her estate to the church. These funds formed the foundation of a charitable endowment named in her honor, which continues to this day. In accordance with her wishes, the Vera Alexeyevna Jones SOS Fund supports parish educational, cultural, and charitable initiatives.
During the rectorship of Archpriest Dimitry Gizzetti in 1971, a spacious two-story parish school building and a bell tower were constructed, designed by architect S. N. Kozhin. At ground level of the bell tower, a chapel was dedicated to St. Herman of Alaska—perhaps the first chapel in his honor after his canonization. For the festive consecration and opening, Archbishop John (Shahovskoy), in his new clerical status, presided. At the beginning of 1974, newly cast, beautiful bells, made in Europe, were blessed and installed in the belfry of the bell tower.
During the first decade of Fr. Dimitry Gizzetti's pastoral service, the church and its surrounding courtyard took on a form that remained largely unchanged for the next sixty years, even up to its current centennial celebration.
By Holy Pascha of 1971, at the request of Archbishop John (Shahovskoy), the Holy Synod of the Orthodox Church in America decreed the renaming of the Church of the Icon of the Mother of God "Rescuer of the Perishing" to be that of a cathedral.
In 1980, Father Stephen Fitzgerald became the cathedral's next rector. Parish activities included the establishment of the "Spiritual Books for Russia" ministry, which sent much religious literature to the Soviet Union. In 1981, the "L.O.V.E.S" Society (Los Angeles Orthodox Visiting Elderly and Sick) was founded to care for elderly parishioners, especially those residing far from the church.
In 1983, the parish celebrated the 60th anniversary of its first Divine Liturgy, which had been served in 1923 at the Episcopal church on Wilson Street. The celebrations were led by the Primate of the Orthodox Church in America, Metropolitan Theodosius (Lazor), who was assisted at the Divine Liturgy by Bishop Basil (Rodzianko) of San Francisco.
In 1987, Fr. Stephen Fitzgerald was tonsured a monk with the name Tikhon and was consecrated Bishop of San Francisco and the Diocese of the West.
Even after his episcopal consecration, Bishop Tikhon retained pastoral oversight of the Holy Virgin Cathedral, residing at its rectory. He placed great emphasis on the equal use of Church Slavonic and English in worship, striving to ensure that both Russian- and English-speaking parishioners felt united as one community.
In 1997, through the efforts of Bishop Tikhon and the faithful, a Pskov-style iconostasis was installed inside the cathedral, significantly transforming its interior.
Upon his retirement in 2005, Bishop Tikhon continued to provide spiritual guidance to clergy and laity alike until his repose in January 2023.
Subsequent rectors included Fr. Michael Senyo (2005–2010), Fr. John Strickland (2010–2012), and Fr. Nicholas Boldyrev (2012–2015), who continued the tradition of bilingual worship and the unity of Russian- and English-speaking parishioners.
On October 1, 2015, Archpriest Nazari Polataiko celebrated his first service as the new rector of the cathedral.
In 2018, the St. Herman of Alaska Chapel was converted into a baptistery and was rededicated in the name of the same saint by Archbishop Benjamin (Peterson) of San Francisco and the West.
Under the spiritual and administrative leadership of Archpriest Nazari, the Holy Virgin Cathedral continues to preserve its century-old heritage. In a spirit of missionary Christian service, the community strives to respond to the challenges of the modern age within its humble means. On feast days and Sundays, services are conducted in both Church Slavonic and English, with equal attention given to each language. On weekdays, the primary liturgical language is determined by the majority of those present. Following a longstanding tradition dating back to the mid-20th century, sermons are delivered in both English and Russian. The community remains united despite cultural and linguistic diversity of its members.
The number of parishioners has grown significantly. Each year, many people from all walks of life, seeking the ancient faith, become catechumens (student candidates) engaged in instructional meetings, carefully preparing for Holy Baptism.
Within the last few years, the parish established the St. Ksenia of Petersburg Society, dedicated to assisting and ministering to the homeless.
As we approach the 100th anniversary, the Sisterhood of the cathedral faithfully continues its varied duties, the Vera Jones SOS Fund continues to support parish educational and outreach initiatives, the parish Sunday school, theater studio, and children's choir remain vibrantly active, and a professional quality choir has been established to meet the needs of bilingual services. The publication of the parish bulletin has been revived in both languages. Liturgical texts with parallel Church Slavonic and English have been prepared for bilingual use. The tradition of charitable concerts has been restored, including our annual Slavic festival, celebrating Russian culture, and a music festival dedicated to the memory of composer Sergei Rachmaninoff.
Over the decade of Fr. Nazari's rectorship, the cathedral's interior has been transformed. The walls have gradually been adorned with many new lectern icons and frescoes in the traditional style, painted by parishioner Marina Smetanina. In 2024, a long-planned project for a gateway tower at the church entrance was realized, completing the exterior of the cathedral. Originally part of the 1960s expansion plan, it took sixty years for the Holy Virgin Cathedral to attain the vision imagined by generations of parishioners.
The construction of the gateway tower, coinciding with the 100th anniversary of the Russian Orthodox Cathedral of the Icon of the Mother of God "Rescuer of the Perishing," serves as a symbol of the culmination of an eventful chapter—not just of a building, but of the people. People of different decades and eras, journeying toward God as one great parish community. Another cross now stands over the city, a reminder of the Cross of the Lord, which, in the words of Archbishop John (Shahovskoy), is "the ladder set from earth to Paradise."