Published: November 14, 2013

Russian architecture of the 18th century (except Moscow), projects of residential and public buildings

The 18th century in the architecture of Russia is very significant. Three directions can be distinguished in it, which are gradually replacing each other, this is, and classicism. During this period of time, many new cities appeared, new buildings that are recognized as historical monuments and which can still be seen today.

The painting "View of St. Petersburg on the day of the celebration of the 100th anniversary of the city" work Benjamin Patersen. Canvas, oil. 66.5x100 cm. Sweden. Around 1803

The main construction takes place in St. Petersburg. This was due to the beginning of the Northern War against Sweden, which began in order to liberate the Neva banks. At that time, many military structures were built, and the main one was the Peter and Paul Fortress. Closer to the south, facing the fortress, the Admiralty was built - a shipyard-fortress, not only engineers worked on their creation, but Peter the Great himself. At first, the settlements were built as peasant huts and city mansions, they were rarely painted like a brick. To better understand how it looked, you can look at the log house of Peter the Great on the Neva.

The Peter and Paul Cathedral was built in 1712-1733 (architect Domenico Trezzini) on the site of the wooden church of the same name (1703-1704).

Wooden Peter and Paul Cathedral, old garvure

Although people were forced to move to St. Petersburg, the construction was still very slow. Then the architects were given special tasks: the city had to become modern, and be not only architecturally designed, but also be comfortable in its layout.

The 18th century began with great transformations, the culprit of which was Peter the Great. During this time, socio-economic and architectural changes have taken place in many Russian cities. At this time, industry began to actively develop, workers' settlements, public buildings appeared. Until that time, special attention was paid to churches and royal residences, but now more attention is paid to the appearance of ordinary buildings, theaters, embankments, schools and hospitals. They forgot about wood as a building material and replaced it with brick. To begin with, this material was used only in the capital, and in other cities of Russia neither brick nor stone was visible.

Peter the Great founded a special commission, which will now design not only the capital, but all major cities. Church building goes to the side, leaving room for civil structures. Now the main emphasis is not on the appearance of houses, but on the general view of the city, houses stretch along the streets with single facades, buildings are made less dense in order to protect against the danger of fires, for an aesthetic purpose, street roads are equipped with lanterns, streets are planted. All this was clearly influenced by the West and Perth the First, which issued many decrees regarding urban planning, which reached the scale of the revolution. In a short time, Russia has come close to Europe in terms of urban development.

The main event in the history of architecture is the construction of St. Petersburg. After that, other cities began to actively change, Peter the Great invites architects from the West, and Russian masters go to Europe for an internship.

After some time, architects from various schools gathered in the capital, new buildings combined Russian traditions, Italian, Dutch, French and so on. Also, the architecture of St. Petersburg becomes special due to the use of new building materials, the houses were either brick or hut type, the plaster was used in two colors: red (brown) and white.

In 1710, by decree of Peter the Great, the construction of the Gulf of Finland began, and famous palace and park ensembles appeared in Peterhof. In 1725, the two-story Nagorny Palace appeared, later it was rebuilt and expanded, the work was supervised by Rastrelli himself. At the same time, a small palace for Peter was built on the shore of the bay, it consisted of a front hall and several other rooms, it was the Monplaisir Palace.

Peterhof - view of the park from the side of the palace, 1907, old postcard

Visitors Rastrelli, Schedel, Leblon, Trezzini and others promise to make a great contribution to architecture. It is worth noting that when they just started creating in Russia, they clearly followed their previous experience, created according to the European analogue, but after some time, they were influenced by Russian culture and this greatly affected their work.

The first third of the 18th century was marked as the Baroque period. The buildings of this time were distinguished by a combination of incongruous, contrast and pomposity, reality and illusion. In 1703-1704. construction began in St. Petersburg Peter and Paul Fortress and the Admiralty. Peter had high hopes for the architects and very strictly monitors the performance of the work. The resulting style with luxurious palaces, churches, museums and theaters was called Russian Baroque (Baroque of the Petrine era).

Panoramic view of the Spit of Vasilyevsky Island in St. Petersburg, made by J.A. Atkinson in the period 1805-1807. Signature (English, French): "Sheet 4. Exchange and warehouse. New exchange. Fortress of St. Peter and St. Paul".

During this time, the Peter and Paul Palace, the Summer Palace, the Kunstkamera, the building of the Twelve Collegia, and the Menshikov Palace were built. A large number of churches appeared in Moscow, all of them were decorated with baroque elements. A rather important object at that time was the Peter and Paul Cathedral in Kazan.

By the middle of the 18th century, Russia had lost Peter the Great, which was a great loss for the state and for all people, but as regards urban planning and architecture, there were no significant changes after his departure. The country had very strong masters, because many of them were trained abroad, the most famous and in demand at that time were Blank, Michurin, Usov, Zemtsov, etc. Buildings in the rococo style begin to appear, that is, combining baroque and classicism at the same time. Buildings become more confident, elegant. Rococo is manifested not only in external details, but also in the interior. Outside, as well as inside, the buildings are pompous, but at the same time strict.

At this time, Elizabeth, the daughter of Peter, just began to rule, and she assigns a lot of work to Rastrelli the younger. He grew up in the conditions of Russian culture, therefore, in the works, brilliance and luxury were noted along with the Russian character. Together with Kvasov, Chevakinsky and Ukhtomsky they created monuments of Russian architecture. Rastrelli created domed compositions throughout Russia, and not limited to Moscow or St. Petersburg, they increasingly replaced spire-like details. Russian history remembers nothing like such chic and bulky Russian ensembles. But, despite the large number of fans of Rastrelli, his style was quickly replaced by the next - classicism. During this period, the plan of St. Petersburg completely changed and Moscow was re-planned.

The last third of the 18th century is occupied by a new direction in architecture - Russian classicism. By the end of the century, classicism had become a stable trend in art. It is characterized by strict forms with antique elements, the absence of unnecessary details, luxury, rationality of designs. Most of these buildings can be seen in Moscow, but this does not mean that they were not in other cities. The most striking examples for Moscow were the Razumovsky Palace, the Golitsyn House, the Tsaritsyn Complex, the Senate Building and the Pashkov House. In St. Petersburg, it is worth noting the Academy of Sciences, the Hermitage Theater, the Hermitage itself, the Marble Palace, the Tauride Palace. The most famous architects of that time were Ukhtomsky, Bazhenov and Kazakov.

The Marble Palace was built in 1768-1785 according to the design of architect Antonio Rinaldi in the style of classicism by order of Empress Catherine for her favorite Count G. G. Orlov. The Marble Palace is the first building in St. Petersburg, the facades of which are lined with natural stone. Lithograph by Joseph Charlemagne (1782-1861)

Classicism is a style that develops by borrowing the forms, patterns and compositions of the ancient world and the time of the Italian Renaissance. Buildings with regular shapes and areas appear, logical, symmetrical, rational, there is rigor and harmony in everything, the order tectonic system is actively used. Many customers could not afford more baroque houses, now came the period of peasants and merchants with less economic opportunities.

Due to the economic and social situation in the country, the internal and external markets began to actively develop in order to expand the industrial and handicraft economy. There was a need for state and private buildings: chambers of commerce, guest houses, markets, fairs, warehouses. Buildings unique for that period also appeared: banks and stock exchanges.

Public buildings began to appear in all cities: schools, gymnasiums, institutes, hospitals, prisons, barracks, boarding houses and libraries. Cities grew rapidly, so there was no more funding for baroque houses and there were not enough craftsmen for this.

In 1762, they founded a commission on stone construction in St. Petersburg and Moscow. It was created to regulate and care for urban planning. The commission existed until 1796, it included Kvasov, Starov, Lem and other great architects. Land and water highways, borders between cities, trading floors and office buildings became the main factors. The city had a clear rectangular layout. The height of the streets had clear limits, there were patterns that had to be followed, the houses had to stand at a minimum distance from each other. Architectural solutions were enlivened by curly window frames.

In the provincial cities of Russia, buildings were not built higher than 1-2 floors, while in St. Petersburg one could see both 3 and 4-story buildings. Kvasov developed a project, according to which the territory of the Fontanka embankment was ennobled, and soon it turned into an arc-forming highway.

The most striking example of classicism can be called "Houses of Pleasure" in Oranienbaum, now it no longer exists, so you can only see it on the pages of books and textbooks. Kokorin worked on this building, and Vista at that time built the Boat House in the Peter and Paul Fortress.

As for the provincial cities, the art of the 18th century left its mark on Tsarskoye Selo, Yaroslavl, Kostroma, Nizhny Novgorod, Arkhangelsk, Odoev Bogoroditsky and others. After this period, Petrozavodsk, Yekaterinburg, Taganrog, etc. attention was paid to industry and the economy of the entire state.

On this topic:

"Architecture of Russia of the XVIII century" - "Centrnauchfilm" (00:26:26 color) Director - A. Zineman

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Plan:

1. Introduction
2.) Main body.
I.) Architecture of the first half of the 18th century: Baroque
II.) Baroque architecture of the middle of the 18th century
III.) Prerequisites for the emergence and development of classicism
IV.) Early Classicist architecture (1760-1780)
V.) Strict Classicist architecture (1780-1800)
3.) Conclusion
4.) List of used literature

1. Introduction.
For many centuries of Russian history, wood has remained the main material in the construction of buildings and structures. It was in wooden architecture that many construction and compositional techniques were developed that corresponded to the natural and climatic conditions and artistic tastes of the people, which later influenced the formation of stone architecture.
Frequent fires hastened the replacement of wood by stone in critical urban structures such as city walls, towers and temples. The wooden walls of the Novgorod brainchild with an earthen rampart and a moat are mentioned around 1044, and the first information about the stone fence dates back to 1302. some differences in architecture in certain parts of Russia, it had a number of common features, determined by the same conditions of development. This allows us to talk about Russian architecture in general and its artistic manifestation in different regions of the country throughout the history of the people.
Architecture is a phenomenon derived from a specific functional need, depending both on construction and technical capabilities (building materials and structures) and on aesthetic ideas determined by the artistic views and tastes of the people, their creative ideas.
When perceiving the works of Russian architecture, regardless of the time of their construction and size, the proportionality of the relationship between a person and a building can be clearly seen. A peasant hut, a city dwelling house, a church or other building - they are all of a human scale, which gives Russian architecture a humanistic character.

2.) Main body.
I.) Architecture of the first half of the 18th century: baroque.
The seventeenth century marks the end of the 700-year period of ancient Russian stone construction, which has written more than one remarkable page in the annals of world architecture. The sprouts of new monetary and trade relations and a rational worldview are breaking through the ossified forms of pre-domestic life and the scholastic* dogmas of theology. The sound views of the service nobility and the economically prosperous merchants affect many aspects of public life and its material shell - architecture. Trade is expanding, especially at the end of the 17th century, with Germany, Flanders, and England. Cultural ties with Poland and Holland are becoming closer. The joint creative work of Russian, Ukrainian and Belarusian craftsmen contributed to the expansion of horizons and the penetration into art and architecture of elements of Western European artistic culture. The historical unity of the three fraternal peoples, largely based on common architectural trends, mutually enriched their skills. Life urgently demanded the construction of guest yards, office buildings, industrial enterprises, posed ever new practical tasks, obligated architects to look for technical and artistic solutions. The centralization of state power was accompanied by regulation in the field of construction. Architectural and technical documentation is being normalized. Design and reporting materials are being improved and large-scale drawings are being mastered, architectural and construction details are being unified.
The end of the 17th century is a link between the ancient Russian architecture and the architecture of the 17th century, the time that paved the way for a new artistic worldview, contributing to the creative perception of the order tectonic system and the formation of masters of architecture for the transition to regular civil construction.
At the beginning of the 17th century, St. Petersburg became the main construction center. In 1700, Russia launched the Northern War against Sweden in order to liberate Russian lands and return the Neva coast to Russia. On May 1, 1703, Russian troops entered the Nienschanz fortress (at the confluence of the Okhta and Neva rivers). The main task of the northern war was solved by the capture of the fortress. Access to the Baltic Sea was opened for Russia. It was only necessary to secure and secure it. At the branching of the Neva into three branches, on a small Hare Island about 750 by 350 meters long and wide, on May 27, 1703, according to the drawing of Peter I and military engineers, a fortress of a new bastion type, the Peter and Paul Fortress, was laid. In order to cover the mouth of the Neva from the sea, in 1703 the construction of the Kronshlot (Kronstadt) naval base was started on Kotlin Island. On the southern bank of the Neva, almost opposite the Peter and Paul Fortress, in 1704, according to the drawing of Peter I, a shipbuilding shipyard-fortress - the Admiralty - was laid. Under the protection of three interacting fortresses, the construction of St. Petersburg began, which in 1712 became the new capital of Russia, proclaimed an empire in 1721.
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* Scholasticism (from the Greek scholastikos - school, scientist), a type of religious philosophy, characterized by a combination of theological and dogmatic premises with a rationalistic methodology and an interest in formal logical problems.

State and cultural transformations in the Petrine period brought to life industrial and public buildings and structures - fortifications, shipyards, factories, industrial and guest yards, colleges, hospitals, educational and museum premises, theaters and residential buildings. The development of St. Petersburg was carried out mainly along the banks of the Neva, its branches and channels, due to the strong waterlogging of soils and access to waterways.
The placement of city-forming structures was carried out according to the instructions of Peter I himself. Initially, the settlements were grouped according to tradition as settlements. They were built in the form of peasant huts or city choirs with facades, sometimes
painted like brickwork. The only example of the early period is the later recreated log house of Peter I on the banks of the Neva on the Petrograd side, painted "brick-like" on the outside.
From 1710, only brick houses were built. Despite the compulsory measures of resettlement in St. Petersburg, construction was carried out slowly. The ideological and political importance of the rapid construction of the capital put forward responsible tasks for architecture. The city had to be created on the basis of advanced urban planning principles, ensuring its prestigious and representative character not only in its external architectural and artistic appearance, but also in its planning structure. There was a lack of qualified architects. And in 1709, the Chancellery was established, which was in charge of all construction affairs. When it is created a school for the initial study of architecture. It was expected that the students of this school should have gained deeper knowledge in architectural teams in the process of practical cooperation of experienced architects. However, the school and the teams could not provide for the expanding metropolitan construction. Peter I invites experienced architects from Western countries, which made it possible to involve them almost immediately in the construction of the city. They also select talented young people and send them to study engineering and architectural arts in Western European countries.
In 1710, the following were invited to the new capital: the Italians N. Michetti, G. Chiaveri, K. B. Rastrelli, the Frenchman J. B. Leblon, the Germans G. Matornovi, I. Shendel, A. Schluter, the Dutchman G. Van Boles. They had to not only build, but also train Russian architects from the students who worked with them. Italians arrived from Moscow - M. Fontana and fortification engineer and architect Domenico Trezzini. Gifted Russian architects I.P. Zarudny, D.V. Aksamitov, P. Potapov, M. I. Chochlakov, Ya. G. Bukhvostov, G. Ustinov and others successfully worked in Moscow. At the same time, the art of architecture was comprehended by those sent abroad, who later became major architects: Ivan Korobov, Mordvinov and Ivan Michurin, Pyotr Eropkin, Timofey Usov and others. Thus, architects of different national schools worked in the new capital, but they worked differently than in their homeland, obeying the tastes and requirements of customers, as well as adapting to the specific conditions of the city under construction. As a result of their activities, the architecture of St. Petersburg of that time became a kind of fusion of primordially Russian artistic traditions and formal elements brought from Western European countries.

Russian, Italian, Dutch, German and French architects erected mansions, palaces, temples and state buildings in the Russian capital, the architecture of which had common artistic features that determined the architectural style, usually called the Russian Baroque of the 18th century or Petrovsky Baroque.
The whole variety of individual creative views of various architects was mitigated in practice under the influence of two main factors: firstly, the influence of centuries-old Russian traditions, the bearers and conductors of which were the performers of architectural designs - numerous carpenters, masons, plasterers, sculptors and other construction masters. Secondly, the role of customers, and above all of Peter I himself, who extremely carefully and demandingly considered all the design proposals of architects, rejecting those that did not correspond, from his point of view, to the appearance of the capital, or making significant and sometimes decisive changes. Often he himself indicated where, what and how to build, becoming an architect. On his initiative, general plans for St. Petersburg were developed. The artistic commonality of the St. Petersburg buildings of the time of Peter the Great is also explained by the peculiarities of building materials. Houses in the capital were built of hut type and brick, plastered in two colors (walls - red, light brown or green, and shoulder blades, pilasters, architraves, rustication at the corners - white). In order to attract masons to St. Petersburg, Peter I issued a decree in 1714 prohibiting the construction of stone and brick throughout Russia, except for the capital. Features of the architectural style can be clearly seen when considering the surviving architectural works of that time, such as "Monplaisir" and "Hermitage" in Petegof, the building of the Kunstkamera and the Twelve Colleges in St. Petersburg, etc.
At the direction of Peter I, Domenico Trezzini (1670-1734) for the first time in Russian architecture developed in 1714 exemplary projects of residential buildings intended for developers of different incomes: one-story small ones for the poorest population, more for the nobles. The French architect J. B. Leblon (1679-1719) developed a project for a two-story house "for the eminent". "Exemplary project" resembles the well-preserved summer palace of Peter I, which was built by D. Trezzini in 1710-1714 in the summer garden.
Despite the simplicity of the "exemplary" projects of residential buildings, they all differ in the nature of the facades with rhythmically placed openings, framed by architraves of restrained outlines and figured gates on the side. In contrast to the medieval development of Russian cities, where residential buildings stood behind fences in the depths of plots, all houses in the capital had to face the red lines * of streets and embankments, forming the front of their development and thereby giving the city an organized look. This town-planning innovation was also reflected in the development of Moscow. Along with residential buildings in St. Petersburg and its suburbs, palaces were built with representative facades and vast, richly decorated front rooms.
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* Conditional border in urban planning, separating carriageway streets from the building area

In combination with architecture, decorative sculpture begins to be used, and in interiors - picturesque decoration. Country and suburban residences with gardens are being created. The largest public buildings that have survived to this day, created by D. Trezzini, are the Peter and Paul Cathedral and the building of the Twelve Collegia. Peter and Paul Cathedral (1712-1733) clearly looms from under the vault of the Petrovsky Gates. The dynamic silhouette of the cathedral's bell tower, crowned with a high gilded spire and a weather vane in the form of an angel, rises 122 meters from the walls of the fortress, becoming one of the most expressive dominants in the panorama of the city on the Neva. The cathedral marked a complete retreat from the compositional tradition of Russian temple building. The cathedral for Russia was an innovative phenomenon. According to its plan and appearance, it does not look like Orthodox, cross-domed five-domed or hipped churches. The cathedral is a rectangular building elongated from west to east. The inner space of the cathedral is divided by powerful pylons * into three almost equal and identical in height (16 meters) spans. This type is called hall, in contrast to temples, in which, with the same plan, the middle span is higher and often wider than the side ones. The planned and silhouette composition of the cathedral was based on the structure of the Baltic Lutheran churches of the hall type with a bell tower completed with a spire. It was he who was to become a symbol of the establishment of Russia at the mouth of the Neva and a symbol of the creative power of the Russian people. The spire, the prominent completion of church bell towers for Peter's Petersburg, was a typical phenomenon that determined the silhouette character of the city's development in the first third of the 18th century. The interior decoration should also be noted - a wooden carved gilded baroque iconostasis. The iconostasis was made under the guidance of the architect and artist I.P. Zarudny (1722-1727) by an artel of Moscow masters.
On the Vasilyevsky Island the political center of the capital was formed and, according to the project of D. Trezzini, the building of twelve collegiums was erected (10 collegiums - government bodies; the senate and the synod). The three-story building, 400 meters long, consists of twelve identical buildings with separate roofs and porticos, connected at the ends. All buildings are united by an open arcade** with a long corridor on the second floor. According to the tradition of Peter the Great's time, the building was painted in two colors: brick red and white. The original interior decoration in the form of stucco decoration has been preserved only in the Petrovsky Hall. The palace of A.D. Menshikov (1710-1720) should be noted as an architectural value of that time. The three-tier order system of the facade with tiered rhythmic rows of pilasters was based on the artistic principles of Italian Renaissance architecture. The most remarkable architectural heritage is the front rooms, lined with Dutch tiles and the main staircase with columns and pilasters of the Baroque order.
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* Pylon (from the Greek pylon, literal gate, entrance), massive pillars that serve as a support for ceilings or stand on the sides of entrances or entrances.
** Arcade (French arcade), a series of identical arches supported by columns or pillars.

The use of orders in the architecture of St. Petersburg was a continuation of the traditions embodied in many buildings in Moscow of an earlier time. A special place in the panorama of the banks of the Neva is occupied by the original silhouette of the building of the Kunstkamera. The two wings of the three-story building on the ground floor are united by a four-tiered tower. The corners of the projections* and fractures of the tower walls, combined with the two-tone coloring of the façade, give the building an elegant look. The silhouette of the tower clearly shows the continuity of the traditional stepped multi-tiered buildings of Moscow at the beginning of the 18th century. After the fire during the restoration, the facade was simplified.
In 1710, Peter I issued a decree obliging him to build up the southern coast of the Gulf of Finland. Palace and park ensembles are being built in Peterhof. By 1725, a two-story Nagorny Palace was erected. Subsequently, the palace underwent restructuring and was expanded in the middle of the 18th century. Architect Rastrelli.
In the same period, a small palace was built near the bay, consisting of several rooms for Peter I and the main hall - the Monplaisir Palace. The pavilion for privacy "Hermitage" and a small two-story palace "Marley" were built.
In addition to St. Petersburg, construction was carried out in Moscow and other cities Russian Empire. As a result of a fire in Moscow in 1699, it was forbidden to build wooden buildings on fires.
At the same time, the formal artistic convergence of the architecture of stone buildings in Moscow with Western European architecture, which began at the end of the 17th century, became even more noticeable at the beginning of the 18th century. An example of this is: the palace of F.Ya. Lefort on the Yauza (1697-1699); Old Mint (1697); Church of the Assumption on Pokrovka (1695-1699); Church of the Sign in Dubrovitsy (1690-1704). This indicates that domestic architects knew the order tectonic system and could skillfully combine order and other elements with Russian traditional techniques. An example of such a combination is the Lefortovo Palace in the German Quarter, built by one of the Moscow architects. The facades of the palaces are divided by the measured rhythm of the pilasters of the great Corinthian order. On the sides of the entrance arch, their rhythm changes and they form a pilaster portico with a pediment. The planned system at the same time is a composition of a closed square, adopted in Russia for trading and other yards.
In the 18th century, the order system became a common decorative technique for giving various buildings an elegant look.
This is evidenced by the artistic solution of the main entrance to the courtyard.
Arsenal (1702-1736) in the Kremlin, which is a skillful transformation of orders combined with an abundance of decorative relief details. Remarkable in architecture and artistic significance in Moscow architecture is the Church of the Archangel Gabriel (1701-1707), created by the architect I.P. Zarudny (1670-1727). The architect showed great skill in using order systems. The bearing part of the volumes of the church was designed using a large order, which combines elegant compositions of porticos at the entrance of two light columns.
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* Rizalit (from Italian. risalita - ledge), part of the building, protruding beyond the main. facade line; usually arranged symmetrically in Rel. to the central axis of the façade.

Corinthian order supporting a decoratively designed entablature with a balustrade. The order in the building expresses the tectonics of the exposition.
A new direction in the church architecture of Moscow, clearly expressed in the architecture of the Church of the Archangel Gabriel (Menshikov Tower), consisting in harmonious combination traditional Russian three-dimensional composition with formal elements of the new style, left an interesting example in Moscow - the Church of John the Warrior (1709-1713) on Yakimanka.
The architects I.A. Mordvinov and I.F. Michurin (1700-1763) were sent from St. Petersburg to Moscow. white city in connection with the relocation of the royal court to Moscow and the construction of palaces of the court nobility along the banks of the Yauza. Michurin in 1734-1739 drew up a plan of Moscow, which is a significant urban planning document of Moscow in the 18th century. It depicted the building of the city of that time. Other cities of Russia continued to develop. An interesting example of the durability of national architectural traditions in the province is the Peter and Paul Cathedral in Kazan (1726).

II.) Baroque architecture of the middle of the 18th century.
During the described period, V.N. Tatishchev and M.V. Lomonosov laid the foundations of Russian historical science. Russian science and culture of a high level, not inferior to the European one. Thanks to this, in 1755 the first university was opened in Russia, and in St. Petersburg the Academy of Arts, which played a large role in the development of art and architecture of classicism.
Russia in the middle of the 18th century became one of the most developed European countries. All this determined the solemn and decorative appearance of palaces and temples, the main types of monumental buildings in Russia during this period. The most outstanding architects of that time are the students of I.K. Korobov-S.I. Chevakinsky and D.V. Ukhtomsky. The largest architect of the middle of the 18th century is F. B. Rastrelli. At the same time, many unknown serf architects, painters, sculptors, carvers and other masters of applied art worked.
In the middle of the 18th century, the Baroque style in Russia had pronounced original features due to the continuity of the decorative compositional techniques of Russian architecture of the early 18th century. It is impossible not to emphasize the specific national feature of baroque architecture in the middle of the 18th century - the polychromy of facades, the walls of which are painted in blue, red, yellow and green colors. Complementing this are beams of columns, pilasters, framed windows. A characteristic feature of architectural works is that groups of buildings or buildings often form a closed architectural ensemble, which reveals itself only upon penetration into it. In the palace and church premises, along with the stucco decoration of the walls and ceilings, multi-colored patterned floors made of different types of wood were made. Plafond painting creates the illusion of the infinity of the rising hall, which is emphasized by figures of different proportions hovering in the sky, clearly separating them from the viewer in different distances. The walls of the front rooms were framed with complex profiled gilded rods. Interesting methods of planning halls. In palaces, they are arranged according to the principle that the doors of the passage halls are on a common axis, and their width is illusoryly increased.
Imperial and estate palaces were created in unity with gardens and parks, which are characterized by a regular planning system with straight alleys, trimmed woody vegetation and ornamental flower beds. In this section, special mention should be made of the creations of the chief architect Rastrelli Francesco Bartolomeo (1700-1771), whose work reached its apogee in 1740-1750. The main works include: the ensemble of the Smolny Monastery in St. Petersburg; palaces in Courland (Latvia), in Rundava and Mitava (Jelgava); the palaces of the Elizabethan nobles M.I. Vorontsov and S.G. Stroganov in St. Petersburg; imperial palaces- Winter in the capital, Bolshoi (Ekaterininsky) in Tsarskoye Selo (Pushkin), the Grand Palace in Peterhof, St. Andrew's Church and the Mariinsky Palace in Kyiv. All of them characterize the Baroque style of the middle of the 18th century in Russia. Simultaneously with F.B. Rastrelli, the architect Chevakinsky S.I. worked. (1713-1770). The most remarkable creation of Chevakinsky S.I. surviving to this day was the design and construction of a huge two-story St. Nicholas Naval Cathedral (1753-1762) in St. Petersburg. Chevakinsky's student was the future architect V.I. Bazhenov.
The largest representative of the Moscow baroque of the middle of the 18th century was the architect Ukhtomsky D.V. (1719-1774). His work unfolded under the influence of artistic views and works of F. B. Rastrelli, in particular in Moscow and the Moscow region: the palaces in the Kremlin, Annegof and Perov. Only one work of Ukhtomsky has survived to this day - a five-tiered bell tower in the Trinity-Sergius Lavra in Zagorsk.

III.) Prerequisites for the emergence and development of classicism.
In the 1760s, a change in the architectural and artistic style took place in Russia. Decorative baroque, which reached its climax in the work of the greatest representative of this trend - the architect F.B. Rastrelli, gave way to classicism, which quickly established itself in St. Petersburg and Moscow, and then spread throughout the country. Classicism (from Latin - exemplary) is an artistic style that develops through the creative borrowing of forms, compositions and samples of art from the ancient world and the Italian Renaissance.
Classicism architecture is characterized by geometrically correct plans, logic and balance of symmetrical compositions, strict harmony of proportions and extensive use of the order tectonic system. The decorative style of the Baroque ceased to correspond to the economic possibilities of the circle of customers, which was constantly expanding at the expense of small landed nobles and merchants. He also ceased to respond to the changed aesthetic views.
The development of architecture is driven by economic and social factors. The country's economy led to the formation of a vast domestic market and the intensification of foreign trade, which contributed to the productivity of landlord farms, handicraft and industrial production. As a result, it became necessary to erect state-owned and privately owned structures, often of national importance. These included commercial buildings: gostiny yards, markets, fairgrounds, contract houses, shops, various storage facilities. As well as unique buildings public nature - stock exchanges and banks.
Many state-owned administrative buildings began to be built in cities: governor's houses, hospitals, prison castles, barracks for military garrisons. Culture and education developed intensively, which necessitated the construction of many buildings, educational institutions, various academies, institutes - boarding houses for noble and petty-bourgeois children, theaters and libraries. Cities grew rapidly, primarily at the expense of manor-type residential development. Under the conditions of the huge construction unfolding in cities and manor estates, the increased construction needs, architectural techniques and busy forms of the Baroque, exquisitely complex and magnificent, turned out to be unacceptable, since the decorativeness of this style required significant material costs and a large number of skilled craftsmen of various specialties. Based on the foregoing, there was an urgent need to revise the foundations of architecture. Thus, deep internal prerequisites of a material and ideological nature led to the crisis of the Baroque style, its withering away and led in Russia to the search for economic and realistic architecture. Therefore, it was the classical architecture of antiquity, expedient, simple and clear, and at the same time expressive, that served as the standard of beauty, became a kind of ideal, the basis of classicism that was being formed in Russia.

IV.) The architecture of early classicism (1760-1780).
In December 1762, a commission on the stone construction of St. Petersburg and Moscow was established to manage the widespread urban planning activities. Created to regulate the development of both capitals, it soon began to manage all urban planning in the camp. The commission functioned until 1796. During this period, it was consistently led by prominent architects: A.V. Kvasov (1763-1772); I.E. Starov (1772-1774); I. Lem (1775-1796). In addition to regulating the planning of St. Petersburg and Moscow, the commission for 34 years created master plans for 24 cities (Arkhangelsk, Astrakhan, Tver, Nizhny Novgorod, Kazan, Novgorod, Yaroslavl, Kostroma, Tomsk, Pskov, Voronezh, Vitebsk and others). The main city-forming factors were considered to be water and land highways, established administrative and retail space, clear boundaries of cities. Streamlining urban planning based on a geometrically regular rectangular system. The building of streets and squares of cities was regulated by height. The main streets and squares were to be built up with exemplary houses, placed close to each other. This contributed to the unity of the organization of the streets. The architectural appearance of the houses was determined by several approved exemplary facade projects. They were distinguished by the simplicity of architectural solutions, their planes were enlivened only by figured repeating frames of window openings.
In the cities of Russia, residential buildings usually had one or two floors, only in St. Petersburg the number of floors rose to three or four. During this period, A.V. Kvasov developed a project for the improvement of the embankment of the Fontanka River. The formation of through passage embankments and bridgehead areas turned the Fontanka into an important arc-forming highway. In 1775, a new master plan was drawn up for Moscow, which retained the radial-ring structure and outlined a system of squares in a semicircle that encompassed the Kremlin and Kitay-gorod. For consideration and approval of projects of privately owned buildings in 1775-1778. functioned a special Stone order. In the 1760s, features of classicism began to appear more and more noticeably in Russian architecture. The earliest manifestation of classicism was the project of the Pleasure House in Oranienbaum (now does not exist). Compiled by the architect A.F. Kokorin and the so-called Boat House of A.F. Vista (1761-1762) in the Peter and Paul Fortress.
During this period, famous architects worked in Russia: Yu.M. Felten and K.M. Blank, Italian A. Rinaldi, Frenchman T.B. Wallen Delamont. Considering this period in the chronological sequence of the construction of buildings, it should be noted that classical forms and clear compositional techniques were increasingly replacing excessive decorativeness. Here it is necessary to consider the main creations of architects that have survived to this day. Antonio Rinaldi (1710-1794) - Chinese Palace (1762-1768) in Oranienbaum. The interior of the palace testifies to the high artistic skill of the architect. The whimsical outlines of the palace were in harmony with the surrounding park composition, with an artificial reservoir and beautifully decorated vegetation. The environment of the front rooms of the one-story palace is especially distinguished by its majestic beauty - the Great Hall, the Oval Hall, the Hall of the Muses. Chinese office with elements of decoration, Bugle office. The Rolling Hill Pavilion (1762-1774) is a well-preserved three-story pavilion with colonnades of bypass galleries on the second and third floors. The pavilion in Lomonosov is the only surviving reminder of folk entertainment. The Marble Palace (1768-1785) is one of the unique phenomena of St. Petersburg and Russia, thanks to the multi-colored cladding of the facades. The three-story building is located on the site between the Neva and the Field of Mars and has a U-shaped composition with wings that form a rather deep front yard. The palace in Gatchina (1766-1781) is three-storey with an entrance gallery, at the bottom of the main building is complemented by five-sided six-tier observation towers and arched two-storey wings covering the front yard. After the transfer of the palace to Tsarevich Pavel (1783), it was rebuilt inside and supplemented with closed squares at the ends of the original composition by VF Brenna.
The restrained plasticity of the facades is complexed by the nobility of the local stone - light gray Pudost limestone. The ceremonial interiors are located on the second floor, the most significant of which are the White Hall, the Anteroom, the marble dining room and others. The palace was destroyed during the Nazi occupation. Now restored. In addition to the above, A. Rinaldi built several Orthodox churches, the peculiarity of which is the combination in one composition of the five-domed newly established in the Baroque period and a high multi-tiered bell tower. The artificial use of classical orders, their tiered arrangement on the bell towers and the delicate layout of the facades testify to the stylistic reality of artistic images, which corresponds to early classicism. In addition to monumental buildings, A. Rinaldi created a number of memorial structures. These include the Oryol Gate (1777-1782); Chesme column (171-1778) in Pushkin; Chesme obelisk in Gatchina (1755-1778). The establishment of the Academy of Arts in 1757 brought about new architects, both Russian and foreign. These include A.F. Kokorinov (1726-1772), who arrived from Moscow and J.B. Vallin-Delamont (1729-1800), who was invited from France by I.I. Shuvalov. The creations of these architects should include the palace of G.A. Demidov. The peculiarity of Demidov's palace is a cast-iron outer terrace and cast-iron staircases with arcuate diverging marches connecting the palace with the garden. The building of the Academy of Arts (1764-1788) on the University embankment of Vasilyevsky Island. The buildings show the distinctness of the style of early classicism. This should include the main building of the Herzen Pedagogical Institute. Northern facade of the Small Hermitage; The construction of a large Gostiny Dvor, erected on foundations laid along the contour of an entire block. A.F. Kokorinov and J. B. Vallin-Delamont created palace ensembles in Russia that reflected the architecture of Parisian mansions, hotels with a closed front yard. An example of this could be the palace of I.G. Chernyshev, which has not survived to this day. In the middle of the 19th century, the Mariinsky Palace was erected in its place near the Blue Bridge by the architect A.I. Shtakenshneider. In the same period, the architect Yu.M. Felton launched a large construction activity. His work was formed under the influence of F. B. Rastrelli, and then he began to create within the framework of early classicism. The most significant creations of Felten are: the building of the Great Hermitage, the Alexander Institute, located next to the ensemble of the Smolny Monastery. The building of the institute with three courtyards has well preserved its original appearance, which corresponds to early classicism. The most perfect work of Yu.M. Felten is a fence summer garden from the side of the Neva embankment (1770-1784). It was created with the creative participation of P.E. Egorov (1731-1789); iron links were forged by Tula blacksmiths, and granite pillars with figured vases and a granite plinth were made by Putilov masons. The fence is distinguished by simplicity, amazing proportionality and harmony of parts and the whole. The turn of Russian architecture towards classicism in Moscow was most clearly manifested in the huge ensemble of the Orphanage, erected in (1764-1770), not far from the Kremlin on the banks of the Moscow River, according to the plan of the architect K.I.Blank (1728-1793). In the Kuskovo estate near Moscow, K.I.Blank in 1860 erected the imposing Hermitage pavilion. In accordance with the emergence and development of classicism, the regular French system of landscape art was replaced by the landscape (English system), which spread in Western Europe and especially in England.

V.) Strict Classicist architecture (1780-1800)
The last quarter of the eighteenth century was marked by major socio-historical events (the Crimea and the northern coast of the Black Sea were assigned to Russia). The economy of the state developed rapidly. An all-Russian market, fairs and shopping centers were formed. The metallurgical industry developed significantly. Trade with Central Asia and China expanded. The revitalization of economic life contributed to the quantitative and qualitative growth of cities and landowners' estates. All these phenomena have found a noticeable reflection in urban planning and architecture. The architecture of the Russian provinces was characterized by two features: most cities received new master plans. The architecture of cities, especially urban centers, was formed on the basis of strict classicism. Along with the types of buildings known earlier, new structures began to be built in the cities. In cities that still retained traces of fortifications, as a result of the implementation of new plans, they disappeared more and more, and these cities acquired town-planning features characteristic of most Russian cities. Manor construction expanded, especially in the south of Russia and in the Volga region. At the same time, a system was developed for locating various outbuildings, depending on natural conditions . In the provincial estates of noble owners, the manor houses were stone structures of the palace type. The ceremonial architecture of classicism with porticos became the personification of social and economic prestige. During the period under review, outstanding architects of Russia created architectural creations that are the property of not only Russia, but the whole world. Some of them, namely: Bazhenov Vasily Ivanovich (1737-1799) - the construction of the Grand Kremlin Palace and the collegial building on the territory of the Moscow Kremlin. Despite the fact that the outstanding plan was carried out, its significance for the fate of Russian architecture was not great, first of all, for the final approval of classicism as the main stylistic trend in the development of domestic architecture. Creation of a suburban royal palace and park residence in the village of Tsaritsyno near Moscow. All buildings of the ensemble are located on rough terrain, parts of which are connected by two figured bridges, thanks to which a single, unusually beautiful panorama has developed, which has no analogues in the history of architecture. Pashkov House (1784-1786), now the old building of the V.I. Lenin Library. Consisting of three different parts, the silhouette composition of the house crowning the landscaped hillock is still one of the most perfect works of all Russian classicism of the late 18th century. The completion of Bazhenov's work was the project of the Mikhailovsky Castle in St. Petersburg (1797-1800). The castle was built without the participation of the architect, the managing builder was VF Brenna, who made significant changes to the interpretation of the main facade. Kazakov M.F.: Petrovsky Palace - he gave the appearance of the palace a pronounced national character, the ensemble of the Petrovsky Palace is an outstanding example of a harmonious architectural synthesis of classical principles and Russian national painting. The Senate building in the Moscow Kremlin - the rotunda of the Senate is recognized in the architecture of Russian classicism as the best ceremonial round hall and is the first example of a composition of this type in Russia. This hall is an important link in the development of Russian classicism. Church of Philip the Metropolitan (1777-1788). A classic Russian composition was used in relation to an Orthodox church. In the second half of the 18th century, the rotunda began to be embodied in the architecture of Russian classicism when creating religious buildings, it was also used in the construction of the Baryshnikov mausoleum near Smolensk (1784-1802). Golitsyn Hospital (now Pirogov's first city hospital). University building (1786-1793). The building of the University was damaged in 1812 and was recreated with changes in 1817-1819.
The approval of the new general plan of Moscow in 1775 stimulated privately owned residential development, which developed widely in 1780-1800. By this time, two space-planning types of urban estates were finally developed - the first main residential building and outbuildings located along the red line of the street, forming a system of three parts that forms the development front; the second is a residential estate with an open front yard covered by wings and outbuildings. Since the 1770s, the development of classicism on the basis of ancient Roman principles of the Renaissance era has been clearly traced in St. Petersburg construction. Some of them, namely: architect Starov I.E. (1745-1808) builds the Tauride Palace (1883-1789) with a landscape garden; Trinity Cathedral (1778-1790) in the Alexander Nevsky Lavra. The construction of the cathedral was of great ideological and patriotic significance, since under the vaults of the temple is the tomb of Alexander Nevsky. In addition to the greatest buildings mentioned above, Starov was engaged in designing for the southern provinces, developed plans for the new cities of Nikolaev and Yekaterinoslav; in the latter, the architect built the palace of the governor of the region - G.A. Potemkin.
Architect Volkov F.I. (1755-1803). By 1790, he developed exemplary projects for barracks buildings, subordinating their appearance to the principles of classicism. The largest works are the building of the Naval Cadet Corps (1796-1798) on the Neva embankment. Ensemble of the Main Post Office (1782-1789).
Architect Quarenghi and Giacomo (1744-1817). Quarenghi's works vividly embody the features of strict classicism. Some of them: the dacha of A.A. Bezborodko (1783-1788). The building of the Academy of Sciences (1783-1789), the Hermitage Theater (1783-1787), the building of the Assignation Bank (1783-1790), the Alexander Palace (1792-1796) in Tsarskoye Selo, the Arc de Triomphe in 1814 - Narva Gate.
Important improvement work continued in St. Petersburg. Granite embankments of the Neva, small rivers and channels were created. Remarkable architectural monuments were erected, which became important city-forming elements. On the bank of the Neva, before the unfinished construction of St. Isaac's Cathedral in 1782, one of the best equestrian elements in Europe was opened - a monument to Peter I (sculptor E.M. Falcone and M.A. Kollo; the snake was made by sculptor F.G. Gordeev). Wonderful bronze hollow sculptural composition on a natural granite rock. The rock with its dimensions (10.1 meters high, 14.5 meters long, 5.5 meters wide) corresponded to a spacious coastal area. Another monument to Peter I was installed in the ensemble of the Mikhailovsky Castle (1800). A bronze equestrian statue was used (sculptor K.B. Rasstreli - father, architect F.I. Volkov, bas-reliefs - sculptors V.I. Demunt-Malinovsky, I.I. Terebinov, I. Moiseev under the direction of M.I. Kozlovsky) . In 1799, a 14-meter obelisk "Rumyantsev" (architect V.F. Brenna) was installed on Tsaritsyn Meadow (Field of Mars) in 1818. It was transferred to Vasilyevsky Island to the First Cadet Corps, where the outstanding military leader P.A. Rumyantsev studied. In 1801, on the Tsaritsyno meadow was
a monument to the great Russian commander A.V. Suvorov was opened (sculptor M.I. Kozlovsky, moved closer to the banks of the Neva.

3.) Conclusion.
The most important progressive traditions of Russian architecture, which are of great importance for the practice of late architecture, are the ensemble and urban art. If the desire for the formation of architectural ensembles was initially intuitive, then later on it became conscious.
Architecture was transformed over time, but nevertheless, some features of Russian architecture existed and developed over the centuries, maintaining traditional stability until the 20th century, when the cosmopolitan essence of imperialism began to gradually wear them out.

4.) List of used literature .

Arkin D.E. Russian architectural treatise-code of the 18th century. Position of the architectural expedition. - In the book: Architectural archive. M., 1946.

Belekhov N.N., Petrov A.N. Ivan Starov. M., 1950.

Pilyavsky V.I. History of Russian architecture. L., 1984.

Chapter “The Art of Russia. Architecture". Section "Art of the 18th century". General history of arts. Volume IV. Art of the 17th-18th centuries. Author: I.M. Schmidt; under the general editorship of Yu.D. Kolpinsky and E.I. Rotenberg (Moscow, Art State Publishing House, 1963)

The eighteenth century is the time of the remarkable flourishing of Russian architecture. Continuing; on the one hand, their national traditions, Russian masters during this period began to actively master the experience of contemporary Western European architecture, reworking its principles in relation to the specific historical needs and conditions of their country. They have enriched world architecture in many ways, introducing unique features into its development.

For Russian architecture of the 18th century. characteristic is the decisive predominance of secular architecture over religious architecture, the breadth of urban planning plans and decisions. A new capital was erected - Petersburg, as the state strengthened, the old cities expanded and rebuilt.

The decrees of Peter I contained specific instructions regarding architecture and construction. So, by his special order, it was prescribed to display the facades of newly built buildings on the red line of the streets, while in ancient Russian cities houses were often located in the depths of courtyards, behind various outbuildings.

For a number of its stylistic features, Russian architecture of the first half of the 18th century. undoubtedly can be compared with the baroque style prevailing in Europe.

However, a direct analogy cannot be drawn here. Russian architecture - especially of Peter's time - had a much greater simplicity of forms than was characteristic of the late baroque style in the West. In its ideological content, it affirmed the patriotic ideas of the greatness of the Russian state.

One of the most remarkable buildings of the early 18th century is the Arsenal building in the Moscow Kremlin (1702-1736; architects Dmitry Ivanov, Mikhail Choglokov and Christophe Conrad). The large length of the building, the calm surface of the walls with sparsely spaced windows, and the solemnly monumental design of the main gate clearly testify to a new direction in architecture. Quite unique is the solution of the Arsenal's small paired windows, which have a semi-circular ending and huge external slopes like deep niches.

New trends also penetrated religious architecture. A striking example of this is the Church of the Archangel Gabriel, better known as the Menshikov Tower. It was built in 1704-1707. in Moscow, on the territory of the estate of A. D. Menshikov Chistye Prudy, architect Ivan Petrovich Zarudny (died in 1727). Before the fire of 1723 (due to a lightning strike), the Menshikov Tower - like the bell tower of the Peter and Paul Cathedral in St. Petersburg, which was built soon - was crowned with a high wooden spire, at the end of which there was a gilded copper figure of the archangel. In terms of height, this church surpassed the Ivan the Great bell tower in the Kremlin (The light, elongated dome of this church that exists now in a peculiar form was made already at the beginning of the 19th century. The restoration of the church dates back to 1780.).

The Menshikov Tower is a characteristic of Russian church architecture of the late 17th century. a composition of several tiers - "octagon" on the "four". At the same time, compared with the 17th century. new trends are clearly outlined here and new architectural techniques are used. Particularly bold and innovative was the use of a high spire in the church building, which was then so successfully used by St. Petersburg architects. Zarudny's appeal to the classical methods of the order system is characteristic. In particular, columns with Corinthian capitals, unusual for ancient Russian architecture, were introduced with great artistic tact. And already quite boldly - powerful volutes flanking the main entrance to the temple and giving it a special monumentality, originality and solemnity.

Zarudny also created wooden triumphal gates in Moscow - in honor of the Poltava victory (1709) and the conclusion of the Peace of Nystadt (1721). Since the time of Peter the Great, the erection of triumphal arches has become a frequent occurrence in the history of Russian architecture. Both wooden and permanent (stone) triumphal gates were usually richly decorated with sculpture. These buildings were monuments of the military glory of the Russian people and greatly contributed to the decorative design of the city.

With the greatest clarity and completeness, the new qualities of Russian architecture of the 18th century. appeared in the architecture of St. Petersburg. The new Russian capital was founded in 1703 and was built unusually quickly.

Petersburg is of particular interest from an architectural point of view. It is the only metropolitan city in Europe that originated entirely in the 18th century. In its appearance, not only the peculiar trends, styles and individual talents of architects of the 18th century, but also the progressive principles of urban planning skills of that time, in particular planning, were vividly reflected. In addition to the brilliantly solved "three-beam" planning of the center of St. Petersburg, high urban planning manifested itself in the creation of complete ensembles, in the magnificent development of the embankments. The indissoluble architectural and artistic unity of the city and its waterways from the very beginning was one of the most important virtues and unique beauty of St. Petersburg. The composition of the architectural appearance of St. Petersburg in the first half of the 18th century. mainly associated with the activities of architects D. Trezzini, M. Zemtsov, I. Korobov and P. Eropkin.

Domenico Trezzini (c. 1670-1734) was one of those foreign architects who, having arrived in Russia at the invitation of Peter I, remained here for many years, or even until the end of their lives. The name Trezzini is associated with many buildings of early Petersburg; he owns "exemplary", that is, standard projects of residential buildings, palaces, temples, and various civil structures.

Trezzini did not work alone. A group of Russian architects worked with him, whose role in the creation of a number of structures was extremely responsible. The best and most significant creation of Trezzini is the famous Peter and Paul Cathedral, built in 1712-1733. The building is based on the plan of a three-aisled basilica. The most remarkable part of the cathedral is its bell tower directed upwards. Just like the Menshikov tower of Zarudny in its original form, the bell tower of the Peter and Paul Cathedral is crowned with a high spire, completed with the figure of an angel. The proud, light rise of the spire is prepared by all the proportions and architectural forms of the bell tower; a gradual transition from the bell tower itself to the "needle" of the cathedral was thought out. The bell tower of the Peter and Paul Cathedral was conceived and implemented as an architectural dominant in the ensemble of St. Petersburg under construction, as the personification of the greatness of the Russian state, which established its new capital on the shores of the Gulf of Finland.

In 1722-1733. another well-known Trezzini building is being created - the building of the Twelve Collegia. Strongly elongated in length, the building has twelve sections, each of which is designed as a relatively small but independent house with its own ceiling, pediment and entrance. Trezzini's favorite strict pilasters in this case are used to unite the two upper floors of the building and emphasize the measured, calm rhythm of the divisions of the facade. The proud, swift rise of the bell tower of the Peter and Paul Fortress Cathedral and the calm length of the building of the Twelve Collegia - these beautiful architectural contrasts were created by Trezzini with the impeccable tact of an outstanding master.

Most of Trezzini's works are characterized by restraint and even rigor in the architectural design of buildings. This is especially noticeable next to the decorative splendor and rich design of the buildings of the mid-18th century.

The activities of Mikhail Grigoryevich Zemtsov (1686-1743), who initially worked for Trezzini and attracted the attention of Peter I with his talent, were diverse. Zemtsov, apparently, participated in all the major works of Trezzini. He completed the construction of the building of the Kunstkamera, begun by the architects Georg Johann Mattarnovi and Gaetano Chiaveri, built the churches of Simeon and Anna, St. Isaac of Dalmatsky and a number of other buildings in St. Petersburg.

Peter I attached great importance to the regular development of the city. The well-known French architect Jean-Baptiste Leblon was invited to Russia to develop the master plan for St. Petersburg. However, the general plan of St. Petersburg drawn up by Leblon had a number of very significant shortcomings. The architect did not take into account the natural development of the city, and his plan was largely abstract. Leblon's project was only partially implemented in the planning of the streets of Vasilievsky Island. Russian architects made many significant adjustments to his layout of St. Petersburg.

A prominent urban planner of the early 18th century was the architect Pyotr Mikhailovich Eropkin (c. 1698-1740), who gave a remarkable solution for the three-beam layout of the Admiralteisky part of St. Petersburg (including Nevsky Prospekt). Carrying out a lot of work in the “Commission on the St. Petersburg Construction” formed in 1737, Eropkin was in charge of the development of other areas of the city. His work was cut short in the most tragic way. The architect was associated with the Volynsky group, which opposed Biron. Among other prominent members of this group, Yeropkin was arrested and in 1740 put to death.

Eropkin is known not only as an architect-practitioner, but also as a theorist. He translated the works of Palladio into Russian, and also began work on the scientific treatise "The Position of the Architectural Expedition". The last work, concerning the main issues of Russian architecture, was not completed by him; after his execution, this work was completed by Zemtsov and I.K. Korobov (1700-1747), the creator of the first stone building of the Admiralty. Crowned with a tall thin spire, echoing the spire of the Peter and Paul Cathedral, the Admiralty Tower built by Korobov in 1732-1738 became one of the most important architectural landmarks of St. Petersburg.

Definition of the architectural style of the first half of the 18th century. usually causes a lot of controversy among researchers of Russian art. Indeed, the style of the first decades of the 18th century. was complex and often very contradictory. In its formation, the Western European Baroque style participated in a somewhat modified and more restrained form; influence of the Dutch architecture also affected. To one degree or another, the influence of the traditions of ancient Russian architecture also made itself felt. hallmark many of the first buildings in St. Petersburg were austere utility and simplicity of architectural forms. The unique originality of Russian architecture in the first decades of the 18th century. lies, however, not in the complex and sometimes contradictory interweaving of architectural styles, but, above all, in the urban scope, in the life-affirming power and grandeur of the buildings erected during this most important period for the Russian nation.

After the death of Peter I (1725), the extensive civil and industrial construction undertaken on his instructions fades into the background. A new period in the development of Russian architecture begins. The best forces of architects were now directed to palace construction, which had taken on an unusual scale. Since about the 1740s. a distinctly expressed style of Russian baroque is affirmed.

In the middle of the 18th century, the extensive activity of Bartholomew Varfolomeevich Rastrelli (1700-1771), the son of the famous sculptor K.-B. Rastrelli. Creativity Rastrelli-son entirely belongs to Russian art. His work reflected the increased power of the Russian Empire, the wealth of the highest court circles, which were the main customers of the magnificent palaces created by Rastrelli and the team he led.

Of great importance was the activity of Rastrelli in the restructuring of the palace and park ensemble of Peterhof. The place for the palace and the vast garden and park ensemble, which later received the name Peterhof (now Peterhof), was planned in 1704 by Peter I himself. In 1714-1717. Monplaisir and the stone Peterhof Palace were built according to the designs of Andreas Schlüter. In the future, several architects were included in the work, including Jean Baptiste Leblon, the main author of the layout of the park and fountains of Peterhof, and I. Braunstein, the builder of the Marley and Hermitage pavilions.

From the very beginning, the Peterhof Ensemble was conceived as one of the world's largest ensembles of garden and park structures, sculpture and fountains, rivaling Versailles. Magnificent in its integrity, the idea united the Grand Cascade and the grandiose stairways framing it with the Big Grotto in the center and towering over the entire palace into one inseparable whole.

In this case, without touching on the complex issue of authorship and the history of construction, which was carried out after the sudden death of Leblon, it should be noted the installation in 1735 of the sculptural group “Samson tearing the mouth of a lion” (authorship has not been precisely established), which is central in terms of compositional role and ideological design, which completed the first stage of creating the largest of the regular park ensembles of the 18th century.

In the 1740s the second stage of construction in Peterhof began, when a grandiose reconstruction of the Great Peterhof Palace was undertaken by the architect Rastrelli. While retaining some restraint in the decision of the old Peterhof Palace, characteristic of the style of Peter the Great, Rastrelli nevertheless significantly enhanced its baroque decoration. This was especially pronounced in the design of the left wing with the church and the right wing (the so-called Corps under the coat of arms) newly attached to the palace. The final of the main stages in the construction of Peterhof dates back to the end of the 18th - the very beginning of the 19th century, when the architect A.N. Voronikhin and a whole galaxy of outstanding masters of Russian sculpture, including Kozlovsky, Martos, Shubin, Shchedrin, Prokofiev, were involved in the work.

In general, Rastrelli's first projects, dating back to the 1730s, are still largely close to the style of Peter the Great's time and do not amaze with that luxury.

and pomposity, which are manifested in his most famous creations - the Great (Catherine) Palace in Tsarskoe Selo (now the city of Pushkin), winter palace and the Smolny Monastery in St. Petersburg.

Having started the creation of the Catherine Palace (1752-1756), Rastrelli did not build it entirely anew. In the composition of his grandiose building, he skillfully included the already existing palace buildings of the architects Kvasov and Chevakinsky. Rastrelli combined these relatively small buildings, interconnected by one-story galleries, into one majestic building of the new palace, the facade of which reached three hundred meters in length. Low one-story galleries were built on and thereby raised to the total height of the horizontal divisions of the palace, the old side buildings were included in the new building as projecting risalits.

Both inside and outside, Rastrelli's Catherine Palace was distinguished by its exceptional richness of decorative design, inexhaustible invention and variety of motives. The roof of the palace was gilded, above the balustrade encircling it, there were sculptural (also gilded) figures and decorative compositions. The facade was decorated with mighty figures of Atlanteans and intricate stucco depicting garlands of flowers. The white color of the columns stood out clearly against the blue color of the walls of the building.

The interior space of the Tsarskoye Selo Palace was decided by Rastrelli along the longitudinal axis. The numerous halls of the palace intended for ceremonial receptions formed a solemn beautiful enfilade. The main color combination of interior decoration is gold and white. Abundant golden carvings, images of frolicking cupids, exquisite forms of cartouches and volutes - all this was reflected in the mirrors, and in the evenings, especially on the days of solemn receptions and ceremonies, it was brightly lit by countless candles (This palace, rare in beauty, was barbarously looted and set on fire by the Germans). -fascist troops during the Great Patriotic War of 1941-1945 Through the efforts of the masters of Soviet art, the Grand Palace of Tsarskoye Selo has now been restored, as far as possible.).

In 1754-1762. Rastrelli is building another major building - the Winter Palace in St. Petersburg, which became the basis of the future Palace Square ensemble.

In contrast to the strongly elongated Tsarskoye Selo Palace, the Winter Palace is designed in terms of a huge closed rectangle. The main entrance to the palace was at that time in the spacious inner front yard.

Given the location of the Winter Palace, Rastrelli designed the facades of the building differently. Thus, the façade facing south, onto the subsequently formed Palace Square, is designed with a strong plastic accentuation of the central part (where the main entrance to the courtyard is located). On the contrary, the facade of the Winter Palace, facing the Neva, is designed in a calmer rhythm of volumes and colonnades, thanks to which the length of the building is better perceived.

Rastrelli's activities were mainly aimed at creating palace structures. But in church architecture, he left an extremely valuable work - the project of the ensemble of the Smolny Monastery in St. Petersburg. The construction of the Smolny Monastery, begun in 1748, dragged on for many decades and was completed by the architect V.P. Stasov in the first third of the 19th century. In addition, such an important part of the entire ensemble as the nine-tiered bell tower of the cathedral was never completed. In the composition of the five-domed cathedral and a number of general principles The decisions of the ensemble of the Rastrelli monastery directly proceeded from the traditions of ancient Russian architecture. At the same time, we see here the characteristic features of the architecture of the mid-18th century: the splendor of architectural forms, the inexhaustible richness of decor.

Among the outstanding creations of Rastrelli are the wonderful Stroganov Palace in St. Petersburg (1750-1754), St. Andrew's Cathedral in Kyiv, the Resurrection Cathedral of the New Jerusalem Monastery near Moscow, rebuilt according to his project, the wooden two-story Annenhof Palace in Moscow that has not survived to our time and others.

If Rastrelli's activity proceeded mainly in St. Petersburg, then another outstanding Russian architect, Korobov's student Dmitry Vasilyevich Ukhtomsky (1719-1775), lived and worked in Moscow. Two remarkable monuments of Russian architecture of the mid-18th century are associated with his name: the bell tower of the Trinity-Sergius Lavra (1740-1770) and the stone Red Gate in Moscow (1753-1757).

By the nature of his work, Ukhtomsky is quite close to Rastrelli. Both the bell tower of the Lavra and the triumphal gates are rich in external design, monumental and festive. A valuable quality of Ukhtomsky is his desire to develop ensemble solutions. And although his most significant plans were not implemented (the project of the ensemble of the Invalid and Hospital Houses in Moscow), progressive trends in Ukhtomsky's work were picked up and developed by his great students - Bazhenov and Kazakov.

A prominent place in the architecture of this period was occupied by the work of Savva Ivanovich Chevakinsky (1713-1774/80). A student and successor of Korobov, Chevakinsky participated in the development and implementation of a number of architectural projects in St. Petersburg and Tsarskoye Selo. Chevakinsky's talent was especially fully manifested in the Nikolsky Naval Cathedral he created (St. Petersburg, 1753 - 1762). The slender four-tiered bell tower of the cathedral is wonderfully designed, charming with its festive elegance and impeccable proportions.

Second half of the 18th century marks a new stage in the history of architecture. Like other types of art, Russian architecture testifies to the strengthening of the Russian state and the growth of culture, reflects a new, more sublime idea of ​​\u200b\u200bman. The ideas of civic consciousness proclaimed by the Enlightenment, ideas of an ideal noble state built on reasonable principles, find a peculiar expression in the aesthetics of 18th century classicism, and are reflected in more and more clear, classically restrained forms of architecture.

Starting from the 18th century. and until the middle of the 19th century, Russian architecture occupies one of the leading places in world architecture. Moscow, St. Petersburg and a number of other cities in Russia are enriched at this time with first-class ensembles.

The formation of early Russian classicism in architecture is inextricably linked with the names of A. F. Kokorinov, Wallen Delamotte, A. Rinaldi, Yu. M. Felten.

Alexander Filippovich Kokorinov (1726-1772) was among the direct assistants of one of the most prominent Russian architects of the mid-18th century. Ukhtomsky. as show latest research, the young Kokorinov built the palace ensemble glorified by his contemporaries in Petrovsky-Razumovsky (1752-1753), which has survived to this day changed and rebuilt. From the point of view of the architectural style, this ensemble was undoubtedly close to the magnificent palace buildings of the mid-18th century, erected by Rastrelli and Ukhtomsky. New, foreshadowing the style of Russian classicism, was, in particular, the use of a stern Doric order in the design of the entrance gate of the Razumovsky Palace.

Around 1760, Kokorinov began many years of joint work with Wallen Delamotte (1729-1800), who arrived in Russia. Originally from France, Delamotte came from a family of renowned architects, Blondel. The name of Wallen Delamotte is associated with such significant buildings in St. Petersburg as the Great Gostiny Dvor (1761-1785), the plan of which was developed by Rastrelli, and the Small Hermitage (1764-1767). The structure of Delamotte, known as New Holland- the building of the Admiralty warehouses, where the arch thrown over the canal made of simple dark red brick with decorative use of white stone attracts special attention.

Wallin Delamotte participated in the creation of one of the most distinctive buildings of the 18th century. - Academy of Arts in St. Petersburg (1764-1788). The austere, monumental building of the Academy, built on Vasilyevsky Island, has become important in the city ensemble. The main façade overlooking the Neva is majestically and calmly resolved. The general design of this building testifies to the predominance of the style of early classicism over baroque elements.

The most striking plan of this structure, which, apparently, was mainly developed by Kokorinov. Behind the outwardly calm facades of the building, which occupies an entire city block, lies the most complex internal system of educational, residential and utility rooms, stairs and corridors, courtyards and passages. Particularly noteworthy is the layout of the courtyards of the Academy, which included one huge round courtyard in the center and four smaller courtyards, rectangular in plan, each with two rounded corners.

A building close to the art of early classicism is the Marble Palace (1768-1785). Its author was the Yan architect Antonio Rinaldi (c. 1710-1794), who was invited to Russia. In the earlier buildings of Rinaldi, the features of the late baroque and rococo style were clearly manifested (the latter is especially noticeable in the sophisticated decoration of the apartments of the Chinese Palace in Oranienbaum).

Along with large palace and park ensembles, manor architecture is gaining more and more development in Russia. Particularly lively construction of estates unfolded in the second half of the 18th century, when Peter III issued a decree on the release of the nobles from compulsory civil service. Having dispersed to their family and newly received estates, the Russian nobles began to intensively build and improve, inviting the most prominent architects for this, and also widely using the work of talented serf architects. Estate building reached its peak in the late 18th and early 19th centuries.

The master of early classicism was Yuri Matveyevich Felten (1730-1801), one of the creators of the wonderful Neva embankments associated with the implementation of urban development work in the 1760s-1770s. Closely connected with the ensemble of the Neva embankments is the construction of the Summer Garden lattice, striking in the nobility of its forms, in the design of which Felten participated. Of the structures of Felten, the building of the Old Hermitage should be mentioned.

In the second half of the 18th century lived and worked one of the greatest Russian architects - Vasily Ivanovich Bazhenov (1738-1799). Bazhenov was born into the family of a sexton near Moscow, near Maloyaroslavets. At the age of fifteen, Bazhenov was in the artel of painters at the construction of one of the palaces, where the architect Ukhtomsky drew attention to him, who accepted the gifted young man into his “architectural team”. After the organization of the Academy of Arts in St. Petersburg, Bazhenov was sent there from Moscow, where he studied at the gymnasium at Moscow University. In 1760, Bazhenov traveled as a pensioner of the Academy abroad, to France and Italy. The outstanding natural talent of the young architect already in those years received high recognition, the twenty-eight-year-old Bazhenov came from abroad with the title of professor of the Roman Academy and the title of academician of the Florentine and Bologna Academies.

Bazhenov's exceptional talent as an architect, his great creative scope, were especially clearly manifested in the project of the Kremlin Palace in Moscow, on which he began to work in 1767, having actually conceived the creation of a new Kremlin ensemble.

According to Bazhenov's project, the Kremlin was to become, in the full sense of the word, the new center of the ancient Russian capital, moreover, most directly connected with the city. Based on this project, Bazhenov even suggested tearing down part of the Kremlin wall from the side of the Moscow River and Red Square. Thus, the newly created ensemble of several squares in the Kremlin and, first of all, the new Kremlin Palace would no longer be separated from the city.

The facade of the Bazhenov Kremlin Palace was supposed to face the Moscow River, to which from above, from the Kremlin hill, solemn stairways, decorated with monumental and decorative sculpture, led.

The building of the palace was designed as four-story, with the first two floors having official purposes, and the third and fourth floors were actually palace apartments with large double-height halls.

In the architectural solution of the Kremlin Palace, new squares, as well as the most significant interior spaces, an exceptionally large role was assigned to the colonnades (mainly of the Ionic and Corinthian orders). In particular, a whole system of colonnades surrounded the main of the squares designed by Bazhenov in the Kremlin. The architect intended to surround this square, which had an oval shape, with buildings with strongly protruding basement parts, forming, as it were, stepped stands for accommodating people.

Extensive preparatory work began; in a specially built house, a wonderful (preserved to this day) model of the future structure was made; carefully developed and designed by Bazhenov, the interior decoration and decoration of the palace ...

A cruel blow awaited the unsuspecting architect: as it turned out later, Catherine II was not going to complete this grandiose construction, it was started by her mainly with the aim of demonstrating the power and wealth of the state during the Russian-Turkish war. Already in 1775, the construction was completely stopped.

In subsequent years, the most important work of Bazhenov was the design and construction of an ensemble in Tsaritsyn near Moscow, which was supposed to be the summer residence of Catherine II. The ensemble in Tsaritsyn is a country estate with an asymmetric arrangement of buildings, executed in an original style, sometimes called “Russian Gothic”, but to a certain extent based on the use of motives of Russian architecture of the 17th century.

It is in the traditions of ancient Russian architecture that Bazhenov gives combinations of red brick walls of Tsaritsyno buildings with white stone details.

The surviving Bazhenov buildings in Tsaritsyn - the Opera House, the Figured Gate, the bridge across the road - give only a partial idea of ​​the general plan. Bazhenov's project was not only not implemented, but even the palace, which he had almost completed, was rejected by the empress who arrived and, on her orders, was demolished.

Bazhenov paid tribute to the emerging pre-romantic tendencies in the project of the Mikhailovsky (Engineering) Castle, which, with some changes, was carried out by the architect V. F. Brenna. Built by order of Paul I in St. Petersburg, the Mikhailovsky Castle (1797-1800) was at that time a structure surrounded, like a fortress, by moats; drawbridges were thrown over them. The tectonic clarity of the general architectural design and, at the same time, the complexity of planning were combined here in a peculiar way.

In most of his projects and constructions, Bazhenov acted as the greatest master of early Russian classicism. A remarkable creation of Bazhenov is the Pashkov House in Moscow (now the old building of the State Library named after V. I. Lenin). This building was built in 1784-1787. A palace-type building, the Pashkov House (named after the name of the first owner) turned out to be so perfect that both from the point of view of the urban ensemble and for its high artistic merits, it took one of the first places among the monuments of Russian architecture.

The main entrance to the building was arranged from the side of the main courtyard, where there were several outbuildings of the palace-estate. Located on a hill rising from Mokhovaya Street, Pashkov's house faces the Kremlin with its main facade. The main architectural array of the palace is its central three-story building, crowned with a light belvedere. On both sides of the building there are two side two-story buildings. The central building of the Pashkov house is decorated with a Corinthian order colonnade that unites the second and third floors. The side pavilions have smooth Ionic columns. The subtle thoughtfulness of the overall composition and all the details gives this structure an extraordinary lightness and at the same time significance, monumentality. The true harmony of the whole, the elegance of the elaboration of details eloquently testify to the genius of its creator.

Another great Russian architect who worked at one time with Bazhenov was Matvei Fedorovich Kazakov (1738-1812). A native of Moscow, Kazakov, even more closely than Bazhenov, connected his creative activity with Moscow architecture. When he was thirteen years old in the school of Ukhtomsky, Kazakov learned the art of architecture in practice. He was neither at the Academy of Arts, nor abroad. From the first half of the 1760s. young Kazakov was already working in Tver, where a number of buildings, both residential and public, were built according to his design.

In 1767, Kazakov was invited by Bazhenov as his direct assistant to design the ensemble of the new Kremlin Palace.

One of the earliest and at the same time the most significant and famous buildings of Kazakov is the Senate building in Moscow (1776-1787). The Senate building (currently housing the Supreme Soviet of the USSR) is located inside the Kremlin near the Arsenal. Triangular in plan (with courtyards), one of its facades faces Red Square. The central compositional node of the building is the Senate Hall, which has a huge domed ceiling for that time, the diameter of which reaches almost 25 m. stucco.

The next well-known creation of Kazakov is the building of Moscow University (1786-1793). This time, Kazakov turned to the widespread plan of the city estate in the form of the letter P. In the center of the building there is an assembly hall in the form of a semi-rotunda with a domed ceiling. The original appearance of the university, built by Kazakov, differs significantly from the external design that D. I. Gilardi gave him, who restored the university after the fire of Moscow in 1812. Doric colonnade, reliefs and a pediment above the portico, aedicules on the ends of the side wings, etc. - all this was not in Kazakov's building. It looked taller and not as developed in front. The main facade of the university in the 18th century. had a more slender and light colonnade of a portico (Ionic order), the walls of the building were divided by blades and panels, the ends of the side wings of the building had Ionic porticos with four pilasters and a pediment.

Just like Bazhenov, Kazakov sometimes turned in his work to the traditions of the architecture of Ancient Russia, for example, in the Petrovsky Palace, built in 1775-1782. Pitcher-shaped columns, arches, window decorations, hanging weights, etc., together with red brick walls and white stone decorations, clearly echoed pre-Petrine architecture.

However, most of Kazakov's church buildings - the Church of Philip the Metropolitan, the Church of the Ascension on Gorokhovskaya Street (now Kazakova Street) in Moscow, the Baryshnikov Mausoleum Church (in the village of Nikolo-Pogorely, Smolensk Region) - were solved not so much in terms of ancient Russian churches, but in the spirit classically solemn secular buildings - the rotunda. A special place among the church buildings of Kazakov is occupied by the church of Cosmas and Damian in Moscow, which is peculiar in its plan.

Sculptural decoration plays an important role in Kazakov's works. A variety of stucco decorations, thematic bas-reliefs, round statues, etc., largely contributed to the high degree of decoration of buildings, their festive solemnity and monumentality. Interest in the synthesis of architecture and sculpture manifested itself in Kazakov's last significant building - the building of the Golitsyn Hospital (now the 1st City Hospital) in Moscow, the construction of which dates back to 1796-1801. Here Kazakov is already close to the architectural principles of classicism of the first third of the 19th century, as evidenced by the calm smoothness of the wall planes, the composition of the building and its outbuildings stretched along the street, the rigor and restraint of the overall architectural design.

Kazakov made a great contribution to the development of manor architecture and the architecture of a city residential mansion. Such are the house in Petrovsky-Alabin (completed in 1785) and Gubin's beautiful house in Moscow (1790s), which are distinguished by their clear simplicity of composition.

One of the most gifted and illustrious masters of architecture of the second half of the 18th century was Ivan Yegorovich Staroy (1745-1808), whose name is associated with many buildings in St. Petersburg and the provinces. The largest work of Starov, if we talk about the buildings of the master that have come down to us, is the Tauride Palace, built in 1783-1789. In Petersburg.

Even Starov's contemporaries highly valued this palace as meeting the high requirements of genuine art - it is as simple and clear in its design as it is majestic and solemn. According to the decision of the interior, this is not only a residential palace-estate, but also a residence intended for ceremonial receptions, festivities and entertainment. The central part of the palace is highlighted by a dome and a six-columned Roman-Doric portico, located in the depths of the main courtyard, wide open to the outside. The significance of the central part of the building is set off by the low one-story side wings of the palace, the design of which, like the side buildings, is very strict. Solemnly resolved the interior of the palace. Granite and jasper columns located directly opposite the entrance make up the semblance of an internal triumphal arch. From the vestibule, those who entered entered the monumentally decorated domed hall of the palace, and then into the so-called Great Gallery with a solemn colonnade, consisting of thirty-six columns of the Ionic order, placed in two rows on both sides of the hall.

Even after repeated rebuildings and changes inside the Tauride Palace, made in subsequent times, the grandeur of the architect's plan leaves an indelible impression. In the early 1770s. Starov is appointed chief architect of the "Commission on the stone structure of St. Petersburg and Moscow." Under his leadership, planning projects for many Russian cities were also developed.

In addition to Bazhenov, Kazakov and Starov, many other outstanding architects are working in Russia at the same time - both Russian and those who came from abroad. The wide construction opportunities available in Russia attract large foreign craftsmen who did not find such opportunities in their homeland.

Charles Cameron (1740s - 1812), a Scot by origin, was an outstanding master of architecture, especially of palace and park structures.

In 1780-1786. Cameron is building a complex of landscape gardening structures in Tsarskoe Selo, which includes a two-story building of the Cold Baths with Agate Rooms, a hanging garden and, finally, a magnificent open gallery bearing the name of its creator. The Cameron Gallery is one of the architect's most accomplished works. Her extraordinary lightness and elegance of proportions are striking; majestically and uniquely designed staircase flanked by copies from the ancient statues of Hercules and Flora.

Cameron was a master of interior design. With impeccable taste and sophistication, he develops the decoration of several rooms of the Great Catherine Palace (Catherine II’s bedroom, see illustration, “Snuffbox” cabinet), the Agate Rooms pavilion, as well as Pavlovsk Palace (1782-1786) (Italian and Greek halls, billiard room and others).

Of great value is not only the palace created by Cameron in Pavlovsk, but also the entire garden and park ensemble. In contrast to the more regular planning and development of the famous Peterhof Park, the ensemble in Pavlovsk is the best example of a “natural” park with freely scattered pavilions. In a picturesque landscape, among groves and clearings, near the Slavyanka River curving around the hills, there is a pavilion - the Temple of Friendship, an open rotunda - the Apollo Colonnade, the pavilion of the Three Graces, an obelisk, bridges, etc.

Late 18th century in the architecture of Russia, it already in many respects anticipates the next stage of development - the mature classicism of the first third of the 19th century, also known as the "Russian Empire". New trends are noticeable in the work of Giacomo Quarenghi (1744-1817). Still at home, in Italy, Quarenghi is fond of Palladianism and becomes a zealous champion of classicism. Not finding the proper use of his forces in Italy, Quarenghi came to Russia (1780), where he remained for the rest of his life.

Having started his activity with work in Peterhof and Tsarskoe Selo, Quarenghi moved on to the construction of the largest metropolitan buildings. The Hermitage Theater (1783-1787), the building of the Academy of Sciences (1783-1789) and the Assignation Bank (1783-1790) in St. Petersburg, as well as the Alexander Palace in Tsarskoye Selo (1792-1796) created by him, are strict, classical buildings in their decision , which in many ways already herald the next stage in the development of Russian architecture. Strictly speaking, the creative activity of Quarenghi in Russia is almost equally divided between the 18th and 19th centuries. Of the most famous buildings of Quarenghi of the early 19th century. the hospital building on Liteiny Prospekt, the Anichkov Palace, the Horse Guards Manege and the wooden Narva triumphal gates of 1814 stand out.

The most outstanding creation of Quarenghi of the early 19th century. is the Smolny Institute (1806-1808). In this work, the characteristic features of Quarenghi as a representative of mature classicism in architecture are visible: the desire for large and concise architectural forms, the use of monumental porticos, the emphasis on the powerful basement of the building, processed with large rustication, the utmost clarity and simplicity of planning.

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Architecture XVIII The art of designing and building various buildings, structures and their complexes. Peter and Paul Cathedral (St. Petersburg, Russia)

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The architecture is divided into the Narshkin (Russian) Baroque. Classicism Architectural styles of the 18th century. Baroque Rastrelli F. B. Smolny Monastery,

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Architecture Classicism Artistic style in European art of the 17th century. Considered antiquity as an ethical and artistic norm. It is characterized by heroic pathos, plastic harmony and clarity of the Baroque One of artistic styles late 16th-mid-18th centuries, gravitating towards ceremonial solemnity, decorativeness, tension and dynamism of images. Baroque is characterized by a tendency to the ensemble and the synthesis of arts.

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Rastrelli F.B. Russian architect of Italian origin (1700 - 1771) Born presumably in Paris. He received his primary education under the guidance of his father, the sculptor Charles Bartholomew Rastrelli. Helped him in fulfilling orders. Invited to Russia in 1830. Several outstanding ensembles were built in St. Petersburg, including the Smolny Monastery, as well as the Peterhof (1747-1752) and Tsarskoye Selo Palaces (1752-1757), the building of the Winter Palace, the Cathedral of St. Andrew in Kyiv (1774-1748) and the Smolny Monastery ( 1748-1755)

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Charles Cameron (1746 - 1812) Born in London, the son of a building contractor. Initially he worked as an artist who created sketches of objects of decorative and applied art, then he was an architectural draftsman and engraver. In 1779 he was invited to Russia to build a bath in Tsarskoye Selo as the most famous researcher of this type of buildings in Europe. In 1779 he was appointed architect of the imperial court, responsible for the "buildings" of Tsarskoe Selo. His most outstanding works in this ensemble are the thermal baths, including the Cold Baths, the Agate Rooms (1779-1785), the promenade Cameron Gallery and the Hanging Garden (1783-1786), as well as the ramp. From 1779 until 1786 Cameron worked in Pavlovsk for the Grand Dukes. After the accession of Paul I, Cameron was dismissed from the post of court architect, but in 1800 he was again taken to serve in the Imperial Cabinet. In 1803-1806 he was the chief architect of the Admiralty. He played a significant role in the development of mature classicism in Russian architecture, combining Palladian ideas with the desire for an archaeologically accurate "revival" of antiquity.

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Charles Cameron English architect who spent most of his life working in Russia (1746 - 1812) Cameron Gallery. Staircase 1782 - 1785 Russia, Tsarskoye Selo

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Charles Cameron English architect who worked most of his life in Russia (1746 - 1812) Palace in Pavlovsk 1779 - 1786 Russia, Pavlovsk

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G. Quarenghi Italian architect, worked in Russia, a prominent representative of the classicism of the XVIII century (1744 - 1817) Born near Bergamo in a family of artists. According to family tradition, he was supposed to become a clergyman, but, seeing his son's craving for drawing, his father sent him to Rome, where he became interested in architecture. While traveling in Italy, he met Baron Grimm, who invited the architect to Russia (1780), where Quarenghi became the court architect of Catherine II. He built many buildings for the court and courtiers, mainly in St. Petersburg, Peterhof and Tsarskoe Selo; the building of the Academy of Sciences in St. Petersburg, the Smolny Institute (1806-1808). Along with buildings, he left a significant graphic legacy. He was engaged in engravings and etchings, prepared and published engraved albums "The Hermitage Theater" (1787), "Assignment Bank" (1791), "Georgievsky Hall of the Winter Palace" (1791), "Countess Sheremeteva Hospice House" (1800s). The buildings of Quarenghi are distinguished by the clarity of planning solutions, the simplicity and clarity of compositions, the monumental plasticity of forms, which is achieved by the introduction of solemn colonnades that stand out against the background of smooth wall surfaces. Quarenghi brought to Russian architecture the highest achievements of Western, Italian architecture and his ardent adherence to the methods of A. Palladio.

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Bazhenov V.I. great Russian architect XVIII century, draftsman, architectural theorist (1738 - 1799) Bazhenov - the first international name in the history of Russian architecture. He raised Russian architecture to European mastery and introduced distinctive national features, thanks to which one can speak of "Russian classicism". The generosity of his talent, the breadth of his creative scope were closely intertwined with the failures of his personal destiny. unrecognized by contemporaries. But the great architectural plans of Bazhenov, such as the Grand Kremlin Palace, the ensemble in Tsaritsyn, were not realized.

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Bazhenov V.I. great Russian architect of the 18th century, draftsman, architectural theorist (1738 - 1799) In 1767, on behalf of Catherine II, Bazhenov began the reconstruction of the Kremlin. According to Bazhenov's project, the Kremlin was turning into the new center of Moscow. The main part of the palace occupied the space from the Spassky Gate along the Moscow embankment to the Vodovzvodnaya Tower. The Kremlin wall remained only from the side of Red Square. The center of the whole composition was to be the Oval Square - the square of public gatherings. It was connected through huge arches by three beams of avenues going from Troitsky, Nikolsky to Spassky Gates with smaller squares. However, the colossal size of the proposed palace made the construction economically unrealistic. The Empress soon cooled down to this gate, and in 1775 the construction was stopped.

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Bazhenov V.I. Pashkov's house in all descriptions of the city published after the 80s of the 18th century is called "the most beautiful building in Moscow", "the pearl of Russian architecture". It crowns the Vagankovsky hill opposite the Kremlin. In the 1780s and 1790s, after the failures that befell Bazhenov, he took private orders for the construction of mansions. Among the customers are Guards Captain-Lieutenant P.E. Pashkov, the grandson of Denshik Peter 1. That is why this building is still called the Pashkov House. The palace was the center of a city estate, which included outbuildings, outbuildings, a garden with ponds, fountains, and outlandish birds. The building was decorated with statues of ancient gods - Mars, Flora, Minerva. Pashkov Palace 1784 - 1786

The 18th century is considered important and significant in the architecture and urban planning of Russia. It is characterized by three trends - baroque, rococo and classicism, which appeared sequentially over the course of a century. During this period, newer cities appeared, objects were created that in our time are considered recognized historical and architectural monuments.

First third of the 18th century. Baroque

In the first third of the century, all architectural transformations are inextricably linked with the name of Peter the Great. During this period, Russian cities have undergone significant changes both in socio-economic terms and in architectural planning. It was at this time that industry developed, which led to the construction of many industrial cities and towns. The political situation in the country and abroad created the prerequisites for the fact that the nobility and merchants that dominated this period were drawn into the construction of public facilities. If before this period, the most majestic and beautiful were created mainly by churches and royal residences (chambers), then at the beginning of the 18th century, great importance was attached to cities appearance ordinary residential buildings, as well as emerging theaters, embankments, there is a mass construction of town halls, schools, hospitals (the so-called hospitals), houses for orphans. Since 1710, bricks have been actively used in construction instead of wooden buildings. True, initially this innovation concerned, first of all, the capitals, while for the periphery, stone and brick remained banned for a long time.

Peter I created a special commission, which in the future will become the main body of state planning of both the capital and other cities. Civil construction already prevails over the church. Great importance is attached not only to facades, but also to the appearance of the whole city - houses are being built with facades along the streets, buildings are being decompacted for fire prevention purposes, streets are being improved, roads are being paved, the issue of street lighting is being resolved, trees are planted along the roadsides. In all this, one can feel the visible influence of the West and the firm hand of Peter, who, with his decrees, practically revolutionized urban planning in those years. Therefore, it is not surprising that in a short time Russia manages to practically catch up with Europe, reaching a decent level in terms of urban planning and urban improvement.

The main architectural event of the beginning of the century is the construction of St. Petersburg. It is from this city and the Moscow Lefortovskaya Sloboda that serious transformations in the architectural appearance of other cities begin. Western-oriented Peter the Great invites foreign architects and sends Russian specialists to study in Europe.
Trezzini, Leblon, Michetti, Schedel, Rastrelli (father) and other eminent architects come to Russia, who are destined to make a great contribution to Russian architecture of the first quarter of the 18th century. Interestingly, if at the beginning of their creative path in Russia they clearly followed their principles and Western architectural thinking, then after a certain period of time historians note the influence of our culture and identity, which can be traced in their later works.
In the first third of the 18th century, the predominant trend in architecture and construction was baroque. This direction is characterized by a combination of reality and illusion, splendor and contrast. The construction of St. Petersburg begins with the foundation of the Peter and Paul Fortress in 1703 and the Admiralty in 1704. Peter set serious tasks for the architects of that period in terms of the compliance of the new city with the advanced European principles of urban planning. Thanks to the coordinated work of Russian architects and their foreign colleagues, northern capital formally acquired Western features in merger with traditional Russian ones. The style in which numerous pompous palaces, churches, government agencies, museums and theaters were created is now often called Russian Baroque or Baroque of the Petrine era.

During this period, the Peter and Paul Cathedral, the summer palace of Peter the Great, the Kunstkamera, the Menshiikov Palace, the building of the Twelve Colleges in St. Petersburg were created. The ensembles of the Winter Palace, Tsarskoye Selo, Peterhof, the Smolny Monastery, and the Stroganov Palace, created in this and later periods, are decorated in the Baroque style. In Moscow, these are the churches of the Archangel Gabriel and John the Warrior on Yakimanka, the main entrance to the Arsenal courtyard of the Kremlin is decorated with characteristic elements characteristic of this period. Among the important objects of provincial cities, it is worth noting the Peter and Paul Cathedral in Kazan.

Mid 18th century. Baroque and Rococo

Despite the fact that the death of Peter I was a great loss for the state, it no longer had a significant impact on the development of urban planning and architecture of that period. Russian architects working in St. Petersburg under the supervision of foreigners adopted their experience, returned to their homeland and those who were sent to study abroad. The country at that time had strong personnel. The leading Russian architects of that period were Eropkin, Usov, Korobov, Zemtsov, Michurin, Blank and others.
The style characteristic of this period is called rococo and is a combination of baroque and emerging classicism. It shows gallantry, confidence. Rococo is more typical for interior solutions of that time. In the construction of buildings, the splendor and pomposity of the Baroque is still noted, and the strict and simple features of classicism are also beginning to appear.
This period, which coincided with the reign of Peter's daughter Elizabeth, was marked by the work of Rastrelli the son. Brought up on Russian culture, in his works he demonstrated not only the brilliance and luxury of palace architecture, but also an understanding of the Russian character, Russian nature. His projects, together with the work of contemporaries Kvasov, Chevakinsky, Ukhtomsky, organically fit into the history of Russian architecture of the 18th century. With the light hand of Rastrelli, domed compositions began to appear not only in the capital, but also in other Russian cities, gradually replacing the spire-shaped ones. The splendor and scope of his palace ensembles are unparalleled in Russian history. But with all the recognition and luxury, the art of Rastrelli and his contemporaries did not last long, and it was replaced by a wave of classicism in the second half of the 18th century. During this period, the most ambitious projects were created - a new master plan for St. Petersburg and a redevelopment project for Moscow.

End of the 18th century. Classicism

In Russian architecture in the last third of the 18th century, the features of a new direction began to appear, which was later called Russian classicism. By the end of the century, classicism was firmly established as the main direction of art and architecture. This trend is characterized by the severity of ancient forms, simplicity and rationality of designs. Unlike the buildings in the Baroque style that filled St. Petersburg and its environs, classicism most manifested itself in Moscow buildings of that time. Among many, it is worth noting the Pashkov house, the Senate building, the Tsaritsyn complex, the Golitsyn house, the Razumovsky palace, which are considered the most striking examples of classicism in architecture. At that time, the Tauride Palace, the Alexander Nevsky Lavra, the Marble Palace, the Hermitage, the Hermitage Theater, and the Academy of Sciences were being built in St. Petersburg. Kazakov, Bazhenov, Ukhtomsky and many others are rightfully considered outstanding architects of that time.
The period of the 18th century also includes changes that affected many provincial cities of that time - Yaroslavl, Kostroma, Nizhny Novgorod, Arkhangelsk, Odoev Bogoroditsk, Oranienbaum, now Lomonosov, Tsarskoye Selo, now Pushkin and so on. Petrozavodsk, Taganrog, Yekaterinburg and many other cities originated in the 18th century, which became important industrial and economic centers of the Russian state at that time and later.