At the time of Peter the Great, the tradition of decorating iconostases with sculptural imagery became widespread. Sculpture played an important role in the programs of iconostases, partly taking over the functions of icon images. Contrary to popular belief, the Synod’s decree of 1722, banning church sculpture, did not apply to iconostases. The situation changed radically during the reign of Elizabeth Petrovna (1741–1761). The Empress paid great attention to church canonical prescriptions. The use of sculpture in the capital’s temples was severely restricted. Moreover, many iconostases of the previous period underwent alterations. In this context, the statements about the influence of St. Petersburg architecture on the provincial iconostases of the mid‑18th century seem to be unfounded. On the contrary, Saint Petersburg iconostases of this time look stricter and more traditional, as compared to the monuments created in other regions of the country. We affirm that, in the province, decisive was not the Petersburg’s, but the Moscow’s influence, which formed thetype of the provincial baroque iconostasis. The situation changed again during the reign of Catherine II. The sculpture of Saint Petersburg iconostases became much more complicated; some forgotten motives of Peter’s time were revived. In the 1770s, the development of the baroque iconostasis in Saint Petersburg faded away due to the change of stylistic preferences in favor of classicism. However, in the province, the baroque traditionof using iconostasis sculpture lasted until the early 19th century. The use of sculpture in iconostases was finally forbidden by a Synod’s decree in 1835.