The first reference about the Cathedral is located in the biography of its founder, Grand Duke Vsevolod III - "Big Nest", baptised with the name Demetrios. It is written there that he founded on his princely court an "excellent church", dedicated to the Saint Martyr Demetrios of Thesaloniki. The prince decorated it with icons and frescoes. "He brought sepulchral board of the Saint Martyr of Demetrios from Saloniki, peace unceasingly sharpening, and the shirt of the same Martyr. He placed this relic in that church on treatment to feeble patient.
It is evident that the Cathedral was built somewhere between 1192-1197. It is a comparatively small temple with four pillars, three apses and one dome.
The Cathedral was damaged by fires several times in the sixteenth and eighteenth centuries. Finally, as the result of restoration in 1837-1839, the Cathedral was deprived of its important features - the staircase towers and galleries.
The proportions of the Cathedral are stately and courageous. The external walls approximately are divided into three horizontal parts. The largest lower part is almost completely deprived of the adornments. The semi-columns of the decorative arcade band seem to hang down like heavy plaited cords with the massive brackets of the carved consoles. Even from a short distance the large amount of carving on the band makes it look like a broad horizontal ribbon running round the body of the Cathedral. The middle part - above the decorative arcade band - is richly covered with adornments. This part contains long, narrow windows, leaving large space for the multiplicity of carvings, the thread on the stone, which occupies the whole section. The building crowned by a huge dome, which forms the third horizontal part, shorter than the upper section of the walls. This gradual reduction in height gives the impression that the building moving slowly upwards, and enhances the bold, yet slender lines. Also the walls are divided vertically into three broad sections by severe pilasters.
The whole building is rounded off quietly by the gently curving form of the helmet-shaped golden dome, which is topped by a large old open-work cross made of gilded copper with a weather vane in the form of a copper dove.

The exquisite thread on the stone, which decorates its walls is the distinctive special feature of the Cathedral. But many of the original sculptures have subsequently been replaced by new ones or rearranged in a different order.

In this connection a word should be said about the old sections of the building which were torn down by Nicholas l's "restorers" and which we know only from old drawings. The Cathedral was originally surrounded on three sides by covered galleries which reached up to the decorative arcade band. The western third of its side walls was entirely covered by adjoining structures which led to the choir-gallery. Symmetrical staircase towers stood on either side of the west wall, like fortified towers guarding the main entrance. This impression was reinforced by the gilded tent-shaped roofs which originally crowned them. These towers were very similar to the large ones on the corners of the galleries in the Cathedral of Saint Sophia in Kiev, which the prince and his architects were still undoubtedly striving to rival. The eastern section of these adjoining structures served as a passage to the arched apertures leading to the choir-gallery. The structures were also decorated with stone carving. To the north and south of the Cathedral there was a new network of covered passages linking it up with the other palace buildings among which the royal Cathedral had pride of place. The roof which was later added to the galleries caused a considerable amount of damage to the decorative arcade band, in particular the carved figures of saints between its columns. The upper windows were partially blocked up and partially widened. Only recently have experts succeeded in reconstructing a picture of the original building and established the fact that the Cathedral was once part of a large architectural ensemble.
The Cathedral was built in a manner which may strike us as somewhat strange today. First of all the main body of the Cathedral was erected, as we see it today, with all its outer walls carefully decorated in spite of the fact that the decorative arcade band would obviously be covered by the galleries, and the carving on the western sections of the side walls would be concealed by the towers, which were an integral part of the original design, providing a link with the choir-gallery. The reason for this is evidently to be found in the mediaeval practice, accepted by the guilds, of decorating each section of a building even if it was to be concealed by adjoining structures. We shall see another example of this in Bogolyubovo.
The removal of the ancient galleries and towers by Nicholas First's "restorers" considerably weakened the main body of the Cathedral. Ominous cracks appeared in its vaulted ceiling, supporting arches, and the pillars supporting the choir-gallery and the west wall. The building was saved only after many years of restoration work carried out by Alexander Stoletov, a native of Vladimir.
The sculptured adornments of the north, south and west walls differs from that of the east wall where it is more modest, consisting only of the decorative arcade band along the top of the apses partitioned by slender semi-columns. Instead of the figures of saints the band contains flat, ornamental reliefs. Let us mention the main groups of later sculptures straightaway. There are comparatively few of them. They include, for example, the Epiphany composition on the west zakomara of the south wall. Most of the figures of saints on the decorative arcade band belong to the later period. They stand out from the older ones either by their low relief (on the west wall) or by their somewhat crude simplicity (on the north wall).
The central zakomaras of the north, south and west walls each contain a beautifully carved figure of the prophet David. The position and size of this figure indicates that it was of major importance in the overall decoration of the facade. Around and below it are separate sculptures which bear no relation to the figure of David. Rows of carved foliage alternate with rows of sculptured monsters, wild beasts, birds, galloping horsemen, saints and angels.
It is interesting that of the 566 sculptures on the three walls, excluding the decorative arcade band, only 46 depict Christian subjects. The latter are lost in a host of fantastic, mythical forms. The large majority of the sculptures (470) depict plants, birds and animals. There are several sculptures showing beasts and griffins in combat, hunting scenes, and so on. Consequently the Cathedral's sculptures cannot be interpreted solely by reference to Church liturgy and biblical texts.
Many different theories have been advanced in this connection. It has been suggested, for example, that the sculptures were intended to illustrate Psalm 148 which calls on "all creatures to praise the Lord". But the sculptures include too many frightening predatory beasts of prey, mounted warriors and scenes of battle and bloodshed to fit in with the words of the psalm.
Other scholars have advanced the theory that the sculptures represent a "gathering of all creatures" and depict the beasts as God "created" them. Yet we find swarms of hideous monsters among them which are hardly flattering to the divine intention.
Another theory is that this stone riddle expresses views about the creation of the world of the type found in apocryphal literature, such as the Book of the Dove, but it is most unlikely that this would have been allowed on the walls of the royal Cathedral. The building stood behind the citadel walls and its intricate ornamentation was not intended for the public eye.
This world of wild beasts and strange monsters, such as winged lions and two-headed creatures, which no doubt fascinated the townspeople, was particularly familiar and comprehensible to the feudal nobility. In early Russian literature the heroic princes were often compared to lions, panthers, crocodiles and eagles, and there were many precious objects to be found in the Churches and rich households decorated with fantastic animals, the work of both Russian and foreign craftsmen, as well as rich apparel made of cloth from Byzantine and the east and embroidered with strange beasts.
The Cathedral must have looked like a powerful ruler clad in sumptuous apparel decorated with mythical creatures.
The stately rhythm of the Cathedral's architecture differs from the soaring quality of the original Cathedral of the Assumption (1158-1160). In the Cathedral of Saint Demetrios we see a slow, majestic "ascent", like the great Vsevolod himself in his heavy, sumptuous robes mounting the steps to his throne. This analogy was reinforced by the Cathedral's stone ornament. The main purpose of the ornamentation was to emphasises the power and majesty of the ruler. First and foremost, it reflects the tastes of the feudal nobility, cleverly fused with elements of Church symbolism. It is highly probable that the religious chronicler neglected to record the construction of Vsevolod III's royal Cathedral precisely because the secular element appeared so strongly in its ornamentation and the exuberant sculpture distinguished the building so sharply from the severe Episcopal Cathedral of the Assumption.
Only in the carvings of the decorative arcade band did the religious theme appear in full force. Between its small columns there was a whole gallery of sculptured saints, whose picturesque prototype is to be found in the band of frescoes on the outer walls of the original Cathedral of the Assumption. Unfortunately most of the earlier figures have been replaced by later ones. The only original ones that have survived completely intact are to be found on the western section of the north front. They stand out by virtue of their superior design and execution. Their heads are in the typical parabola shape, and the carving of the robes and other details is severe and uniform. Among these figures are the royal princes Boris and Gleb who were killed by their brother Svyatopolk and later glorified as Saints. It is quite possible that the figures on the decorative arcade band formed a Deesis tier in which Russian saints and the patron saints of the Vladimir dynasty occupied a prominent position.
There are two large sculptural compositions particularly worthy of note. The first is to be found on the eastern zakomara of the south wall and shows scene "Alexander the Great ascending into heaven" from popular middle age`s tale "Alexandria". Alexander is sitting in a wicker chariot to which winged griffins are harnessed. In his raised hands he is holding lion cubs, a bait for the griffins, who are straining after them and thus carrying the emperor up to heaven. Above Alexander's head there are two beautifully carved birds in flight who are watching the scene with amazement. Probably in early times this fantastic theme was understood as a symbol glorifying a mighty ruler's power and, as such, fitted in well with the general intention of Vsevolod's Cathedral.
In the east zakomara of the north wall, which faced the town, the sculptors have immortalised Vsevolod III himself, seated on his throne with his new-born son Dimitri on his knee and surrounded by his many other sons who are bowing to their lord and father "Big the Nest".
The two contrasting styles of carving, which we first saw in the Cathedral of the Assumption of 1158-1160, are much more evident in the sculptured adornments of the Saint Demetrios Cathedral. The high relief carving is remarkable for its plasticity and is clearly the work of craftsmen who were past masters at the art of carving in stone and were aware of the material's plastic potential. The other type of carving, which is particularly abundant in the west section of the south wall, is in extremely low relief with a wealth of ornamental detail. This is obviously the work of craftsmen who were more used to working in wood than stone. One gets the feeling that they were haunted by the fear of breaking through the wood with their chisel and this is why their carving is almost graphic in quality. This latter style is felt in all the Cathedral's carving, which is highly ornamental in character. The Russian craftsmen drew their subject matter from precious objects belonging to the Church and the nobility. They were able to interpret and mould these motifs in their own way, because the world of strange beasts and monsters was also an integral part of Russian myths and folk tales. This explains why the Cathedral's mass of carved ornament was infused with strong poetic feeling and genuine inspiration giving it a magical quality. Due to the ornamental nature of the carving, the wild beasts and monsters cease to be frightening and appear rather as engaging, intricate motifs in a stone tapestry. The arrangement of the carving in lines is strongly reminiscent of folk art; we find the same principle of linear arrangement of figures and patterns in embroidery, weaving and the wood carving on peasants' huts. At the same time, instead of concealing the masonry, it emphasises each line of blocks and accentuates the formidable massive quality of the royal Cathedral.
The close link between the Cathedral's architecture and carving, the linear arrangement and ornamental quality, are characteristic of the building's adornments and in sharp contrast with Romanesque sculpture where three-dimensional carving predominates, usually without any particular overall design, and where the figures of wild beasts are cruel and ferocious. Certain stylistic features of the Vladimir sculptures show that the craftsmen refashioned their "models" to create a beautiful, specifically Russian type of exterior ornamental sculpture. The Cathedral's ornament was an amplification and reinforcement of the theme of Vsevolod III's power and the might of the Vladimir lands, already expressed in the architecture of the building.

The Cathedral's interior is equally impressive. Unfortunately the Cathedral has been locked for the visitors for a long time. Religious services in it also does not can be. This is one of the few monuments of cult in Vladimir, that do not yet belong to the Church and are not used by it.
However I can tell about that as interior of the Cathedral. Stripped of its later wall paintings, which had become very dark, the white majestic interior of the Cathedral produces particularly strong impression its greatness. In spite of its limited area it gives an impression of spaciousness. All the divisions and openings are unusually powerful. The broad, measured rhythm of the flattened arches lends a solemn stillness to the light airy interior. At the level of the choir-gallery it was intersected by squared wooden beams which were probably decorated with carving just as impressive as that of the exterior, and possibly painted. As in the Cathedral of the Assumption, the imposts of the arches supporting the powerful drum of the dome and the vaulting of the choir-gallery are decorated with pairs of lions couchant. Here, however, they are carved in the flatter, more ornamental manner typical of the carving on the exterior.
In the masonry of the north wall under the vault of the nave we find a block of stone with a finely carved intricate pattern, evidently rejected as defective by the builders, which may have been intended for the parapet of the choir-gallery or as adornments for the altar screen.
The interior of the Cathedral is particularly beautiful when seen from the choir-gallery. Here on the side walls there are clear traces of the arched stone openings, now blocked up, which used to lead into the choir-gallery.
Under the vaulting above the gallery there are remains of a rare twelfth-century fresco, discovered in 1918, which originally formed part of the Last Judgement in the west end of the Cathedral.
The central vault of the gallery shows the main scene of the judgement with the twelve apostles sitting on their thrones and a host of angelic warriors behind them.
On the corner, Southwest vault we can see the righteous entering paradise, led by the apostle Peter and accompanied by trumpeting angels, and then paradise itself with the Virgin Mary seated on a throne and the figures of Abraham, Isaac and Jacob under a wondrous canopy of foliage. The style of the painting shows it to be the work of a remarkably skilled Greek master and a talented Russian painter. The former painted the figures of the apostles and angels on the south vault. The apostles are depicted talking to each other in natural poses. Their graceful figures are clad in robes which fall in elaborate folds. The painter has endowed each of their severe, beautiful faces with individual, portrait-like features which make them seem very alive. The angels on the south curve are equally graceful and beautiful. The Russian painter adds his own characteristic touch to the lessons of the Greek master. His angels on the north curve are more human and simple, and their contemplative, rounded faces seem to radiate human warmth. His typical, graphic, almost ornamental manner of painting faces is particularly evident in the row of figures in the corner vault, where there is no trace of Byzantine severity. This penchant for ornamentation links the work of this painter with that of the sculptors who decorated the Cathedral's exterior in the same flat, ornamental style. His paintings show an urge towards realistic representation combined with a love of the fantastic. He has put a great deal of imagination and poetic feeling into his representation of the trees and plants of paradise, dressed his female saints in Russian costume, given his angels typically Russian faces, and added explanatory inscriptions in Russian.
The painting is endowed with particular charm and dignity by its subtle colouring based on gentle halftones. Pale blues, light greens and bluish greys are skilfully blended with light browns, mauves and greenish yellows. One can just imagine the impression which the paintings made when the whole interior shimmered with the pearly tints of these subtle shades. After long-term restoration of the Cathedral dome, exterior of a cathedral is again accessible to a review since a summer of 2003. But the interior of the cathedral demands still restoration.