The development of Russian architecture in the 18th century. Russian architects of the XVIII—XX centuries

I.M. Schmidt

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 height, this church surpassed the bell tower of Ivan the Great in the Kremlin ( The light, elongated dome of this church, which now exists in a peculiar form, was made already at the beginning of the 19th century. The restoration of the church dates back to 1780.).

I. P. Zarudny. Church of the Archangel Gabriel ("Menshikov Tower") in Moscow. 1704-1707 View from the southwest.

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.

Plan of the central part of St. Petersburg in the 18th century.

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.

Domenico Trezzini. Peter and Paul Cathedral in Leningrad. 1712-1733 View from the northwest.

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.

Trezzini. The building of the Twelve Collegia in Leningrad. Fragment of the facade.

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.

Georg Mattarnovi, Gaetano Chiaveri, M. G. Zemtsov. Kunstkamera in Leningrad. 1718-1734 Facade.

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.

G. Mattarnovi, G. Chiaveri, M. G. Zemtsov. Kunstkamera in Leningrad. Facade.

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 provided a remarkable solution for the three-beam layout of the Admiralty 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. Topped 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. A distinctive feature of many of the first buildings in St. Petersburg was the harsh 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 wide 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 led by him.

Johann Brownstein. The Hermitage Pavilion in Peterhof (Petrodvorets). 1721-1725

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 extensive 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 Marly 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 strengthened 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.

V. V. Rastrelli. Grand (Catherine) Palace in Tsarskoye Selo (Pushkin). 1752-1756 View from the park.

Starting to create 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 of rare beauty was savagely looted and set on fire by Nazi troops during the Great Patriotic War of 1941-1945. Thanks to the efforts of masters of Soviet art, the Grand Palace of Tsarskoye Selo has now been restored as much 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.

V. V. Rastrelli. Winter Palace in Leningrad. 1754-1762 View from the Palace Square.

V. V. Rastrelli. Winter Palace in Leningrad. Facade from Palace Square. Fragment.

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.

V. V. Rastrelli. Cathedral of the Smolny Monastery in Leningrad. Fragment of the western facade.

V. V. Rastrelli. Cathedral of the Smolny Monastery in Leningrad. Started in 1748. View from the west.

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 for solving the ensemble of the monastery, Rastrelli 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 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 the latest research shows, 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.

Wallen Delamotte. Small Hermitage in Leningrad. 1764-1767

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. Such significant buildings of St. Petersburg as the Great Gostiny Dvor (1761 - 1785), the plan of which was developed by Rastrelli, and the Small Hermitage (1764-1767) are associated with the name of Wallen Delamotte. 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.

Wallen Delamotte. The central part of the main facade of the Academy of Arts in Leningrad. 1764-1788

A. F. Kokorinov and Wallen Delamotte. Academy of Arts in Leningrad. 1764-1767 View from the Neva.

Wallen Delamotte. "New Holland" in Leningrad. 1770-1779 Arch.

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). Strict, monumental building of the Academy, built on Vasilyevsky Island, acquired an important role in the urban 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 building, 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 internal courtyards of the Academy, which included one huge round courtyard in the center and four smaller courtyards, having a rectangular plan, each of which has two rounded corners.

A. F. Kokorinov, Wallen Delamotte. Academy of Arts in Leningrad. Plan.

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 in Russia, manor architecture is becoming more and more widespread. 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.

Lattice summer garden in Leningrad. 1773-1784 Attributed to Yu. M. Felten.

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.

Pracheshny Bridge over the Fontanka River in Leningrad. 1780s

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, actually conceived the creation of a new Kremlin ensemble.

V.I. Bazhenov. Plan of the Kremlin Palace in Moscow.

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 intended to tear 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 a service purpose, and the third and fourth floors were actually palace apartments with large double-height halls.

V.I. Bazhenov. Project of the Grand Kremlin Palace in Moscow. Incision.

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.

V. I. BAZHENOV Model of the Kremlin Palace. Fragment of the main facade. 1769-1772 Moscow, Museum of Architecture.

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, Bazhenov's largest work 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.

V. I. BAZHENOV Pavilions of the Mikhailovsky (Engineering) Castle in Leningrad. 1797-1800

V. I. BAZHENOV Mikhailovsky (Engineering) Castle in Leningrad. 1797-1800 North facade.

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 building 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.

V. I. BAZHENOV House of P. E. Pashkov in Moscow. 1784-1787 Main facade.

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.

M.F. Kazakov. The Senate in the Moscow Kremlin. Plan.

M. F. Kazakov. The Senate in the Moscow Kremlin. 1776-1787 Main facade.

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 the 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 to the traditions of architecture in his work. 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.

I.M. Schmidt

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.

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 near Chistye Prudy, by the 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 height, this church surpassed the bell tower of Ivan the Great in the Kremlin ( The light, elongated dome of this church, which now exists in a peculiar form, was made already at the beginning of the 19th century. The restoration of the church dates back to 1780.).

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 Grand (Catherine) Palace in Tsarskoye Selo (now Pushkin), the 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.

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.

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.

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.

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. Such significant buildings of St. Petersburg as the Great Gostiny Dvor (1761 - 1785), the plan of which was developed by Rastrelli, and the Small Hermitage (1764-1767) are associated with the name of Wallen Delamotte. Delamotte’s building, known as New Holland, is the building of the Admiralty warehouses, with a subtle harmony of architectural forms, solemnly majestic simplicity, where an 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.

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 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.

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

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

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-Pogoreloy, 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-bottomed 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 facilities in Tsarskoe Selo, which includes a two-story building of Cold Baths with Agate Rooms, hanging garden and, finally, a magnificent open gallery bearing the name of its creator. The Cameron Gallery is one of the most perfect works of the architect. 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 Tsarskoye Selo, Quarenghi moved on to the construction of the capital's largest 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 laconic 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.

: it was there that the leading architects of Russia lived and worked. However, they also built buildings in other cities. 10 buildings of the Russian hinterland from architects of the first magnitude - in the selection of the Kultura.RF portal.

Cathedral of the Nativity of the Blessed Virgin in Rostov-on-Don

Cathedral of the Nativity Holy Mother of God. Architect Konstantin Ton. 1854–1860 Photo: Dmitry Artemiev / Wikipedia

In the middle of the 19th century, Konstantin Ton was one of the most famous domestic architects. He mainly worked in Moscow and St. Petersburg, but among his works there are buildings in other cities. In 1854–1860, a church was erected in Rostov-on-Don according to Ton's standard design. The neo-Byzantine-style five-domed church is very similar to other buildings of the architect - the Moscow Cathedral of Christ the Savior, as well as the unpreserved Vvedensky Cathedral in St. Petersburg and Svyatodukhovsky in Petrozavodsk.

The temple was built with the money of local merchants. Konstantin Ton himself did not participate in the construction of the Rostov Cathedral - the architect Alexander Kutepov supervised the work, and the 75-meter bell tower was later built by Anton Campioni. In Soviet times, a zoo worked on the territory of the temple, and a warehouse was located in the church itself.

Bank of the Rukavishnikovs in Nizhny Novgorod

The building of the former profitable house of the Rukavishnikovs. Architect Fedor Shekhtel. 1911–1913 Photo: Igor Lijashkov / photo bank "Lori"

Fedor Shekhtel designed Moscow buildings in the Art Nouveau style: the Ryabushinsky mansion, the mansion on Spiridonovka and others. And in Nizhny Novgorod, he designed a banking complex and an apartment building. His customers were the Rukavishnikovs, representatives of one of the richest local dynasties.

The facade of the building was decorated by Shekhtel with white glazed tiles from Villeroy Bosh and floral ornaments. Another metropolitan master, Sergei Konenkov, participated in the creation of the sculptural decoration. He created cast-iron figures of a man and a woman placed above the entrance, symbolizing the union of industry and agriculture. Shops were located on the first floor of the building, branches of the Russian Commercial and Industrial Bank were located on the second and third.

Spassky Old Fair Cathedral in Nizhny Novgorod

The creator of St. Isaac's Cathedral in St. Petersburg, Auguste Montferrand, also influenced the formation of the architectural appearance Nizhny Novgorod. In 1818–1822, he built here the five-domed Spassky Old Fair Cathedral in the classicist style. The famous engineer Augustine Betancourt became the co-author of Montferrand.

The iconostasis for the church was made by the Italian artist Torricelli. It was decorated with murals according to the canons of European art: some of the characters had exposed parts of their bodies. This was very embarrassing for local God-fearing merchants, many of them even took their icons to the temple and prayed only to them. It was decided to order a new iconostasis - it was created for the Old Fair Church by the architect Vasily Stasov.

Boris and Gleb Monastery in Torzhok

Borisoglebsky Monastery. Architect Nikolay Lvov. 1785–1796 Photo: Alexander Shchepin / photo bank "Lori"

The Borisoglebsky Cathedral of the monastery of the same name in Torzhok was built according to the project of Nikolai Lvov in 1796 on the site of the destroyed old temple. The first bricks in its foundation were laid personally by Catherine II. The construction was supervised by the local architect Franz Butsi. The domes of the five-domed Borisoglebsky Cathedral are crowned with gilded balls with openwork crosses; the altar for it was built in the form of a rotunda. According to the researchers, according to Lvov's project, the monastery gate church-bell tower was also erected.

Manor Gorodnya in the Kaluga region

The Kaluga estate of Natalya Golitsyna - the famous "mustached princess" who became the prototype of Pushkin's Queen of Spades - was built according to the design of Andrei Voronikhin. In the 1790s, he was still a young architect who had just received his freedom from Count Stroganov. Voronikhin continued to fulfill the orders of the count and his relatives, and Pavel Stroganov was married to the daughter of the princess.

For Natalya Golitsyna, the young architect built a modest but elegant two-storey building, which was to host ceremonial receptions. Two symmetrical residential outbuildings were erected on either side of it. Around the house was broken english park, but it has not survived to this day. The interiors of the estate were also completely destroyed - during the war. How the interior decor looked like can only be recognized from a few surviving photographs.

Church of the Resurrection in Pochep

Church of the Resurrection. Architect Antonio Rinaldi. Photo: Eleonora Lukina / photobank "Lori"

The Resurrection Cathedral in the Russian Baroque style and the four-tiered bell tower were built by order of the last Ukrainian hetman, Kirill Razumovsky. Previously, it was believed that the author of the project was the architect Jean-Baptiste Vallin-Delamot. However, later researchers began to lean towards the opinion that it was built by Antonio Rinaldi, and the iconostasis of the cathedral was created by Francesco Bartolomeo Rastrelli. Initially, the church was part of the palace ensemble, but the building of the manor house and the park were destroyed during the Great Patriotic War. In Soviet times, the temple was closed, but today services are again held there.

Irkutsk Academic Drama Theater

Irkutsk Academic Drama Theatre. Architect Viktor Schreter. 1894–1897 Photo: Mikhail Markovsky / photo bank "Lori"

Victor Schroeter was the chief architect of the Directorate of the Imperial Theatres, so new theater buildings according to his designs were built not only in the capital, but also in the provinces. In 1897 he built a drama theater in Irkutsk at the expense of local merchants. Schroeter built a small functional building for 800 people. Outwardly, it stood out among other city buildings in that its walls were not plastered - they were just brick. The theater impressed its contemporaries not only with its innovative appearance and elegant decoration, but also with its technical equipment and impeccable acoustics.

Palace Ensemble in Bogoroditsk

Palace Ensemble in Bogoroditsk. Architect Ivan Starov. Photo: Ilyukhina Natalia / photo bank "Lori"

The architect Ivan Starov built many country estates, mostly on the outskirts of St. Petersburg. In 1773, according to his project, a country palace was erected in the Tula region, which was ordered by Catherine II. In letters to Voltaire, she called Bogoroditsk "a pure flower garden."

On the banks of the Upertaya River, a two-story house was erected with a belvedere - a turret above the roof of the building. In 1774, according to the project of Ivan Starov, a small single-domed Kazan church was laid next to it. During the Great Patriotic War, Bogoroditsk was almost completely destroyed, and the once brilliant palace turned into ruins. In the 1960s and 70s, the building was restored, today there is

Prince Mikhail Golitsyn

Stackenschneider built a neo-Baroque palace with Corinthian columns. The roof of the building was framed by a balustrade - figured railings. Inside the building looked as majestic as outside: in the 19th century, the best balls in the city were held in its halls. In Soviet times, the building housed the local history museum, which is still located there.

Church of the Transfiguration in the village of Krasnoe

Church of the Transfiguration in the village of Krasnoe. Architect Yuri Felten. Photo: Elena Solodovnikova / Lori photo bank

The Church of the Transfiguration in the village of Krasnoe was built in 1787-1780, it was almost an exact copy of Yuri Felten's Chesme Church. Probably, such a decision was made by the owners of the Krasnoye Poltoratsky estate in order to attract the attention of Catherine II and earn her favor. The main difference from the St. Petersburg church was the yellow color in which the walls of the Gothic church were painted - the Chesme Church was red. In Soviet times, the temple was closed and until 1998 it was used as a warehouse. Today, services are again held in the church.

In this article I will talk about the masterpieces of foreign architecture of the XVIII century.

You probably know the names of such remarkable masters as V.I. Bazhenov, M.F. Kazakov, A.F. Kokorinov. Bazhenov, F.I.

The 18th century is the century of the Enlightenment, the century of Voltaire and D. Diderot, J.-J. Rousseau and Ch. Montesquieu. In the 18th century, two completely new styles appeared in art, rococo and baroque. The ROCOCO style originated in France, at the beginning of the 18th century .Translated from French rococo means "STONE" or "SHELL". Characteristic features of rococo include sophistication, a large number of different ornaments, avoidance of the real world, immersion in fantasy, a tendency to depict mythological scenes.

ITALY is considered the birthplace of the BAROQUE style. This style appeared at the end of the 17th and beginning of the 18th centuries. Translated from Italian, Baroque means "STRANGE", "FANCY". Baroque is characterized by a tendency to excesses, contrast, a desire for pomp and grandeur, a combination of reality and illusion. Baroque is opposed to classicism and rationalism.

A. Rinaldi, C. I. Rossi, B. F. Rastrelli, D. Trezzini are considered the largest architects of the 18th century.

ITALIAN and ENGLISH ARCHITECTURE of the 18th century.

Baroque appeared in Italy after the Renaissance. The Italian Baroque was characterized by the fluidity of complex forms, an abundance of sculptures on the facades of buildings, the complexity of domed forms. Baroque prevailed in art only until the middle of the 18th century. F. Yuvara is considered an architect, a representative of the late Baroque. It was he who created the famous Superga Church and the Madama Palace in Turin. Later he was invited to work in Portugal. In Lisbon, F. Yuvara built the Ajuda Palace. residence of the Spanish kings) and the country summer residence of the Spanish king Philip V-Palace of La Granja. Another Italian architect L. Vanvitelli created the famous palace in Caserta. This palace was built in 1752 in the neoclassical style. The architect N. Salvi created the famous fountain di Trevi is the largest in Rome. The fountain was built from 1732 to 1762. Font style Ana-Baroque. The Italian architect A. Galilei built the church of San Giovanni Lateran Cathedral in Rome.

In England, the baroque was not as widespread as in Italy. The key figures in the baroque architecture of England were J. Vanbrugh and N. Hawksmoor.

FRENCH AND PORTUGUESE ARCHITECTURE OF THE 18TH CENTURY.

The Rococo style appeared in France during the time of Philip of Orleans. But Rococo flourished most during the reign of King Louis XV. The most prominent architects of that time were J.-A. Gabriel and J.-J. Soufflot. The most famous creation of the First Royal Architect Gabriel is the Square Concords in Paris. The same square was named after Louis XV. J.-J. Soufflot built the Lyon Opera, the Paris Pantheon and the treasury of the Notre Dame Cathedral. A vivid example of the Rococo is the Soubise Hotel in Paris. 1705. In the 1780s. in France, CLASSICISM became widespread. In the middle of the 18th century, theater mania swept Paris. in Paris, the theater "ODEON" was built according to the project of the architects Ch. de Vailly and M.-J. Peyra.

Rococo appeared in Portugal around 1726. One of the most significant buildings in the Portuguese Rococo style is the Queluz Palace, the so-called "Portuguese Versailles." The building of the San Carlos Theater in Lisbon was built in 1793.

GERMAN AND AUSTRIAN ARCHITECTURE OF THE XVIII CENTURY.

Baroque in German architecture began to develop a hundred years later than in Italy and France. Since 1725, the French architect F. Cuvillier worked in Munich. The architect worked in the style of a flourishing, juicy and lush rococo. , a representative of the Baroque and Rococo J.B. Neumann created such masterpieces as the Basilica in Gosweinstein, the residence palace in Würzburg, the Catholic Church in Gaibach. The founder of the Dresden Baroque, M.D. Zwinger Palace ("Citadel"). Master of Rococo interiors, German architect of the 18th century G. Knobelsdorf built the building opera house in Berlin (1750). But his main creation is the one-story San Souci Palace (the palace of the Prussian king Frederick II the Great) in the royal garden of Potsdam (1745-1747)

The Austrian architect I.B. Fischer von Erlach, the founder of the Habsburg Baroque, worked for two countries: Germany and Austria. Fischer's prominent projects are Schönbrunn Palace, the Catholic Church of Karlskirche and the Winter Palace of Eugene of Savoy. Fischer's younger contemporary was the Austrian architect I.L. von Hildebrandt , who worked in Vienna and Salzburg. Its main buildings are the Mirabell Castle, the Belvedere Palace, the Vienna Palace of Eugene of Savoy.

World artistic culture and art are beautiful and multifaceted. They always fascinate and amaze, with the same force and at all times, whether it be antiquity or pop art.

Published: November 14, 2013

Architecture of Moscow in the 18th century

Alekseev F. Ya. Cathedral Square in the Moscow Kremlin 1811 - Architecture of Moscow of the 18th century

Already in the 18th century, in Moscow architecture one could see buildings that simultaneously combined the features of both Russian and Western culture, in one place imprinted the Middle Ages and the New Age. By the beginning of the 18th century, at the intersection of Zemlyanoy Val and Sretenka Street, a building appeared near the gates of Streletskaya Sloboda, this was facilitated by the architect Mikhail Ivanovich Choglokov. Once there was a regiment of Sukharev, that's why the tower was named in memory of the colonel, that is Sukhareva.

Sukharevskaya Tower, designed by M. I. Choglokov (was built in 1692-1695 on the site of the old wooden Garden Ring and Sretenka streets). In 1698-1701, the gates were rebuilt in the form in which they reached the beginning of the 20th century, with a tall tower topped with a tent in the center, reminiscent of a Western European town hall.

The tower changed its appearance colossally in 1701, after the reconstruction. It has more details reminiscent of medieval Western European cathedrals, namely clocks and turrets. In it, Peter I set up a school of mathematical and navigational sciences, an observatory appeared here. But in 1934, the Sukharev tower was destroyed so as not to interfere with traffic.

In the same period, temples in the Western European style were actively built in the capital and the region (the estate of Dubrovitsy and Ubory). In 1704 Menshikov A.D. gave an order to the architect Zarudny I.P. for the construction of the Church of the Archangel Gabriel near the Butcher's Gate, otherwise it was called the Menshikov Tower. Its distinctive feature is a high, wide baroque bell tower.

Ukhtomsky Dmitry Vasilyevich made his contribution to the development of the architecture of the capital, he created great works: the bell tower of the Trinity-Sergius Monastery and the Red Gate in Moscow. Previously, there was already a bell tower here, but Ukhtomsky added two new tiers to it, now there are five of them and the height has reached 80 meters. Bells could not be placed on the upper tiers because of the fragility of the structure, but they gave grace and solemnity to the building, which was now visible from different parts of the city.

red gate, Unfortunately, now you can see only in the pictures of textbooks, they have not survived to this day, but they are deservedly the best architectural structures of the Russian Baroque. The way they were built and modified is directly related to the history of life in Moscow in the 18th century. and exemplifies that era. When the Russians won the battle of Poltava against the Swedish army in 1709, triumphant wooden gates appeared on Myasnitskaya Street. In the same place, on the occasion of the coronation of Elizabeth Petrovna in 1742, a second gate was built, funds for this were allocated by the local merchants. They stood for a short time before they burned down, but Elizabeth immediately ordered to restore them in stone, this work was entrusted to Ukhtomsky, who was mentioned earlier.

The gate was made according to the type of the ancient Roman triumphal arch, the inhabitants of the capital fell in love with them very much, which is why they called them Red, from the word “beautiful”. Initially, the building ended with a graceful tent, on which the figure of trumpeting Glory with a palm branch flaunted. A portrait of Elizabeth was placed above the aisle, which over time was decorated with a medallion with a coat of arms and monograms. On the sides, above the additional passages, there are reliefs in honor of the empress again, and above them there are also statues as symbols of Vigilance, Grace, Constancy, Fidelity, Trade, Economy, Abundance and Courage. About 50 different images were applied to the gate. When the Square was reconstructed in 1928, this great building was mercilessly dismantled, now there is an ordinary gray subway pavilion associated with a completely different time.

They stopped talking about the Petrine era now, when the architects finally completed the construction of St. Petersburg, which became the capital. Moving towards the end of the 18th century, again all construction returned to Moscow. Actively began to build secular houses and palaces, churches, educational and medical institutions. The best architects of the times of Catherine II and Paul I were Kazakov and Bazhenov.

Bazhenov Vasily Ivanovich studied at the gymnasium at Moscow University, and then at the new St. Petersburg Academy of Arts. When he completed his studies, he went to see Italy and France, and then returned to St. Petersburg, where he was awarded the title of academician. Although Bazhenov's career in St. Petersburg was very successful, he nevertheless went to Moscow to realize the project of Catherine II - the Grand Kremlin Palace. Patriarchal Moscow could not accept such a project, it stood out too much from the general picture of that time.

Alekseev F. Ya. View of the Moscow Kremlin from the Stone Bridge 1811

It was planned to half demolish the southern walls of the Kremlin, obsolete buildings, and around what was left - the oldest cultural monuments, churches and bell towers, to build a new pompous building of the palace in the style of classicism. Bazhenov wanted to build not only one palace, but also to have a theater, an arsenal, colleges, and a square for the people nearby. The Kremlin was to become not a medieval fortress, but a large public place for the city and its inhabitants. The architect presented, first of all, the drawings of the future palace, and then its wooden model. This model was sent to Catherine II in St. Petersburg for her approval, and then left in the Winter Palace. The project was approved, even the first stone was solemnly laid with the participation of the Empress, but it was never completed.

In 1775, Catherine II gave a new order to Bazhenov to build a personal residence near Moscow in the Tsaritsyno estate, which at that time was called Black mud. The Empress wanted the building to be built in a pseudo-Gothic style. Starting in 1775, the famous Grand Palace, "Bread House", "Opera House", stone bridges and much more that can be seen today.

Alekseev F. Ya. Panoramic view of Tsaritsyno 1800

The Tsaritsyno ensemble was very different from the estates of that time, they had a large number of elements of Gothic architecture, for example, lancet arches, window openings of complex shape, etc. Bazhenov said that Old Russian architecture is a subspecies of Gothic, therefore there were also elements of the Russian Middle Ages, such as the battlements forked at the top, similar to the completion of the walls of the Kremlin. A characteristic feature of Russian architecture was the combination of white stone details and red brick walls. Inside, everything was specially complicated in the medieval style. The palace looked very rough and gloomy, and when the empress came to look at it, she said with horror that the palace looked more like a prison and never returned there. She ordered that the palace be demolished, and with it some other buildings. The task was handed over to another architect, M. F. Kazakov, who retained the classic correct form of the building and made the Gothic design.

Pashkov House, architect Bazhenov

Many other buildings were also ordered from Bazhenov. For example, his work was the house of P. E. Pashkov, which faces the Kremlin, it is distinguished by its classic style, light facade, brick walls, which further emphasize the power and majesty of the building. The house is located on a hill, in the middle there is a 3-storey house with a neat portico, statues rise on the sides, a round sculptural composition of a belvedere is located at the top. The galleries are made on one floor, which continue with two-story outbuildings with porticos. From the hill you can go down the stairs, at first she led a garden with beautiful fences and lanterns, and by the 20th century the street was expanded and there were no bars or a garden left. M.F. Kazakov would not have been able to create to such an extent without the influence of Bazhenov and Ukhtomsky. Catherine II liked the work of Kazakov, and she trusted him with more than one order, this included houses for housing, palaces for the royal family, churches in the style of classicism.

Petrovsky Travel (access) Palace on the Tverskoy Trakt, architect Kazakov

On the way from St. Petersburg to Moscow, one could stop at the Petrovsky entrance palace, otherwise it was called the Petrovsky Castle, Kazakov also worked on it and used the pseudo-Gothic style. But still, it was not without classicism, the correct symmetrical forms of the rooms and all the interior design speak of it. Only by the elements of the facade could one recognize the echoes of ancient Russian culture.

The next building, the construction of which began in 1776 and was completed in 1787, was again made with the help of Kazakov, it was the Senate in the Moscow Kremlin. The building is fully consistent with the traditions of classicism, but it also reflects the features of the Bazhenov Kremlin restructuring project. The main part of the building is triangular, in the middle there is a large round hall with a large dome, which cannot be overlooked from Red Square. Bazhenov and his colleagues were very doubtful about the strength of the dome, and in order to refute this, Kazakov himself climbed onto it and stood motionless for half an hour. On the front side of the building there is a colonnade that emphasizes the smooth curves of the walls.

The organization of the graceful Hall of Columns in the house of the Noble Assembly in Moscow was also a significant event; Kazakov was engaged in its design at the end of the 18th century. The area of the building is of a regular rectangular shape, columns are placed around the perimeter, which do not stand directly under the walls, but at some distance. Crystal chandeliers hang around the entire perimeter, the upper mezzanine is surrounded by a fence of figured columns connected by railings. The proportions are strictly observed, which does not allow you to take your eyes off.

Alekseev F. Ya. Strastnaya Square (Triumphal Gates, Church of St. Demetrius of Thessalonica and Kozitskaya's House), painting 1800

Kazakov built a university in the center of the capital, right on Mokhovaya Street, this happened in 1789-1793. After a couple of decades, the building burned down, but was partially restored by the architect Domenico Gilardi, he did not make his cardinal changes, but left the Cossack principle in the form of the letter "P" and the general plan of the composition.

Moscow University, 1798, architect Matvey Kazakov

Kazakov was very surprised by the fire that happened, the news came to him in Ryazan. He could not bear such a blow and soon died, he was informed that the fire had consumed all his buildings. But in fact, many buildings have survived to the present day, which immediately trace the common of the architecture of the 18th century - “Kazakov's Moscow”.

In the middle of the XVIII century. in the northern part of the territory of the modern Neskuchny Garden, an estate appeared, commissioned by P. A. Demidov, the son of a Ural breeder and a well-known amateur gardener.

In 1756 the main house was built - U-shaped in terms of the chamber - the Alexandria Palace. A balcony on columns was placed between the risalits of the garden facade. The courtyard in front of the house was surrounded by stone services and an iron fence cast at the Demidov factories.

Alekseev F. Ya. Military hospital in Lefortovo 1800

Alekseev F. Ya. View of the church "Nikola the Big Cross" on Ilyinka 1800

Alekseev F. Ya. View of the Church behind the Golden Grid and the Terem Palace 1811

Alekseev F. Ya. View in the Kremlin of the Senate, Arsenal and Nikolsky Gates, painting 1800 G.

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