He was an outstanding Russian architect of the 18th century. Architecture of the first half of the 18th century

RUSSIAN ARCHITECTS XVIII-XX centuries. (Biographical notes)

(1733-1768)

From the family of serfs Count Sheremetev, who gave several talented representatives of Russian art. Son of a palace manager. Apprentice and later assistant. Participated in the construction of the St. Petersburg estate of the Sheremetevs on the Fontanka (the so-called Fountain House). From the mid 1750s. until 1767 he worked at the Sheremetev Kuskovo estate, created a park and park pavilions, most of them have not survived.

Son of a village priest. Initially, he studied in the "team", then at Moscow University. Since 1755 in St. Petersburg - a student and assistant in the construction of St. Nicholas Cathedral. Studied at the Academy of Arts since its foundation. After graduating from the Academy, he was sent as a pensioner to France and Italy for further education. He studied at the Paris Academy with Ch. de Vailly. Lived and worked in Italy. He had the title of professor at the Roman Academy, a member of the academies in Florence and Bologna. In 1765 he returned to St. Petersburg. Participated in the competition for the Yekateringof project, for which he received the title of academician. He served as an architect of the artillery department. In 1767 he was sent to Moscow to put the buildings in the Kremlin in order.

The grandiose project of the Grand Kremlin Palace he created was not implemented, but had a huge impact on the formation of the classic principles of urban planning in Russia. During the work in the Kremlin, a school of young classicist architects (,) developed around Bazhenov, who developed Bazhenov's ideas in their further independent work.

With another grandiose work - the palace complex in Tsaritsyn - the architect also failed. Built in fantastic Russian-Gothic forms, Catherine II did not like the palace and was not finished, and Bazhenov himself fell out of favor. Upon the accession of Paul I, with whom Bazhenov was associated with Masonic activities, the architect was invited to St. Petersburg and appointed vice-president of the Academy of Arts with the rank of state councilor. However, Bazhenov's last project, the Mikhailovsky Castle, was completely redesigned by V. Brenna.

The founder and passionate propagandist of classicism in Russia, a master with a bright personality and a tragic creative fate.

Known for his works in the field of architectural theory, most of which were created jointly with F. Karzhavin. The graphic heritage of the master is very large, but the question of his authorship in many cases remains open.

Main works: in Moscow - the Pashkov estate, the houses of Yushkov and Prozorovsky, the refectory and the bell tower of the Church of the Sorrowful Mother of God; palace complex Tsaritsyno near Moscow, churches in the village. Bykovo near Moscow and in the village. Znamenka (Tambov province); Petersburg until the middle of the 20th century. he was credited with the guards of the Mikhailovsky Castle, the building of the District Court on Liteiny Prospekt (not preserved).

(I860-between 1918 and 1923)

Born in Odessa. Educated at the Chisinau gymnasium. In 1885 he graduated from the Institute of Civil Engineers. He worked as an assistant at and, in the Construction Committee of the Ministry of Internal Affairs, the Main Palace Administration. He carried out private orders, mainly for the Eliseev family. Designed for St. Petersburg, Moscow, Nizhny Novgorod, Revel. Modernist representative. Baranovsky's publishing activities are of great importance: he compiled the multi-volume "Architectural encyclopedia of the second half of XIX century." Published the magazine "Builder". He published the "Anniversary Collection of Activities of Former Pupils of the Institute of Civil Engineers".

One of the most talented and prolific representatives of eclecticism, he worked mainly in the Renaissance style.

Main works: mansions of Buturlina, Kochubey, Pashkov (later the Department of Appanages) in St. Petersburg, palace and park ensembles in Mikhailovka and Znamenka in the vicinity of the city; project of a reformed church on the Moika in St. Petersburg (built by D. Grimm, rebuilt in the 20th century); Orthodox churches in Helsingfors and Dresden.

Brenna Vincenzo (Vikenty Frantsevich) (1747-1820)

Italian in the Russian service. Born in Florence. In 1766-1768. studied drawing and painting with Pozzi in Rome, then architecture in Paris. He was engaged in excavations and research of ancient monuments in Rome. Published an album of antique cameos. In 1776, he met the Polish magnate S. Potocki and, as a decorator, performed his orders, first in Rome, and from 1780 in Poland. In 1772 he met Tsarevich Pavel Petrovich, who was traveling around Europe, and at his invitation in 1783 came to Russia. Initially he worked in Pavlovsk as a decorator, and from 1789 as an architect. After the accession of Paul I to the throne - the court architect with the rank of state councilor. Favorite architect

Paul, participated in all its buildings. After the murder of Paul in 1802, he left for Saxony. Died in Dresden.

Brenna is romantic in nature. His buildings are completely individual. The architect paid much attention to the interiors. As a favorite of Pavel Brenna, he shared the fate of most people associated with his name, and was almost forgotten in the 19th century. Only in the XX century. Brenna's name took its place among the largest architects in Russia. Among the students and assistants of Brenna was.

Main works: restructuring and interior decoration of the Pavlovsk Palace and the layout of the park; restructuring and interior decoration of the Gatchina Palace and the planning of the park with the construction of pavilions; the obelisk "Rumyantsev to victories", the Mikhailovsky castle with pavilions and the layout of the adjacent part of the city.

(1798-1877)

Born in St. Petersburg in the family of a professor at the Academy of Arts, a sculptor. From 1810 to 1820 studied at the Academy with the Mikhailov brothers. After graduating from the Academy, he worked on the commission for the construction of St. Isaac's Cathedral. He painted architectural landscapes for publications of the Society for the Encouragement of the Arts. In 1822, together with his brother, a painter, he was sent by the Society as a pensioner to Italy. In 1826-1829. lived in Paris, where he published his measurements of ancient thermae. In 1829 he returned to Russia. From 1830 he was an academician, and from 1832 until the end of his life he was a professor at the Academy of Arts in the class of architecture.

One of the leading masters of early eclecticism; He worked in different styles, with an invariable sense of proportion and good taste. A prominent teacher, one of the participants in the reform of the Academy of Arts, carried out. Outstanding painter, master of watercolor portrait.

Main works: in St. Petersburg - the Mikhailovsky Theater (rebuilt by A. Kavos), the Lutheran Church of St. Peter and Paul on Nevsky Prospekt, the building of the Headquarters of the Guards Corps on Palace Square, the reconstruction and interiors of the Marble Palace and the office building attached to it, restoration The Winter Palace after the fire of 1837, the Pulkovo Observatory, the church in Pargolovo, buildings in the estate of Samoilova "Count Slavyanka", the mausoleum church in the estate of Wittgenstein in Druzhnoselye.

(1801 -1885)

Born in Moscow in the family of a carpenter. In 1816 he was apprenticed to D. Gilardi. Participated in all its constructions. On the recommendation of Gilardi, he was admitted to the competition for the title of academician, received it in 1830. From 1828 he worked at the Moscow Architectural School, from 1836 - its director. In 1834, he was appointed an official for special assignments under the Moscow governor-general and, in fact, became the chief architect of Moscow, replacing. In 1838-1839. traveled abroad. One of the founders of the art class, which was later transformed into the Moscow

School of Painting, Sculpture and Architecture. Founder and first chairman - 1869) of the Moscow Architectural Society. In 1880, he retired from design and social activities. Died in Moscow.

Possessing a modest talent, Bykovsky was a passionate and consistent reformer in architecture. Seeing that classicism had become obsolete, he strove to create a new style, calling for the use of the architectural heritage of all times and peoples, thereby contributing to the spread of eclecticism.

Main works: Marfino estate near Moscow; in Moscow, the Golitsyn passage, the building of the Moscow Stock Exchange (does not exist), the Loris-Melikov house in Milyutinsky per. and gr. Sheremetev on Vozdvizhenka, Gorikhvostovsky and Khamovnichesky hospitable houses, Trinity Church on Pokrovka, Ivanovsky Monastery, bell towers of Strastnoy and Nikolsky monasteries; house of the Vonlyarlyarskys in St. Petersburg near the Nikolaevsky bridge.

Valen- (1729-1800)

Frenchman in Russian service. Nephew and student of the famous architect. Studied in Paris. In 1750-1752. lived in Italy. In 1759, Mr.. invited gr. to Russia as a professor of architecture at the newly founded Academy of Arts. He worked a lot and fruitfully in St. Petersburg (alone and with). He also worked in Moscow and on the estate in Pechera. In 1766-1767. went to France for treatment. Upon his return to Russia, he built little, mainly teaching at the Academy of Arts. In 1775 he retired and left for his homeland.

A brilliant representative of early classicism, skillfully combining the large scale of buildings with the subtlety of elaboration and proportionality of details.

Main works: in St. Petersburg - the Academy of Arts (apparently, only the main facade on the Neva), warehouses of ship timber " New Holland"(facade, the building itself was built by Chevakinsky), the Church of St. Catherine on Nevsky Prospekt, the Small Hermitage (the so-called Lamott pavilion, built on), Gostiny Dvor (completion after Rinaldi), the palace of Count Chernyshev on the Moika (on the site of the Mariinsky Palace) , church and palace in Pochep (Bryansk region).

(1759-1814)

From a family of serfs of the count (according to some assumptions, his illegitimate son). Initially, he studied under the icon painter G. Yushkov in the icon painting workshop of the Tyskor Monastery. In 1777 he was transferred to Moscow, where he worked for. From 1779 he lived in St. Petersburg in the house of the Stroganovs. In 1781, together with Pavel Stroganov and his teacher Romm, he traveled around Russia. In 1785 he received a "free". From 1786 he lived abroad in Switzerland and France with Stroganov in Romm. In 1790 he returned to Russia, worked for. In 1794 he was "appointed" to the Academy of Arts. Since 1797 - in the rank of academician of perspective painting, since 1800 he taught at the Academy. Since 1803 - professor. A brilliant representative of classicism. Having won the competition for the design of the Kazan Cathedral, he created an ingenious building, which has no precedents in taste, proportionality, grace and grandeur. The main works in St. Petersburg and its environs: the restructuring of the interiors of the Stroganovs' palace, the Stroganovs' dacha in Novaya Derevnya (not preserved), the Kazan Cathedral and the grating enclosing the square in front of it, the Mining Institute, the interiors of the Pavlovsk Palace, the Pink Pavilion in Pavlovsk, the fountain on Pulkovo Hill.

(1834-1873)

Born in St. Petersburg. He was educated in the Corps of Pages. In 1852 he entered the Academy of Arts, from which he graduated in 1861 with a gold medal. Improved in the construction business under P. Gemilian. In 1863-1868. was on a retirement trip abroad. Visited Germany, France and Italy. Was in Paris during the World Exhibition. Upon his return to St. Petersburg, he participated in the construction of the All-Russian Manufactory Exhibition in the Salt Town. From 1871 he worked in Moscow. He designed a lot for S. Mamontov.

Despite his short life and few buildings (most of which have not survived), Hartmann occupies a special place in the history of Russian architecture. The man is undoubtedly talented, an excellent draftsman, he gained notoriety for the embodiment of pseudo-Russian (“leavened”) ideas in architecture (who wrote an apologetic article about him).

Geste William (Vasily Ivanovich) (1763-1832)

Scot in Russian service. He was the city architect of Tsarskoye Selo. In 1808 he drew up its master plan. Since 1810, he actually headed all urban planning in Russia. Under his leadership, master plans for the development of Moscow, Kyiv, Vilna, Smolensk, Vyatka, Yekaterinoslav, Saratov, Penza, Krasnoyarsk, Shlisselburg, Tomsk, Ufa, Zhitomir were drawn up. He was one of the first to work on the sub-base compiled by local surveyors.

(1808- 1862)

Born in the city of Patashov, Nizhny Novgorod province, in the family of a plant manager. From 1823 he served as an official in Nizhny Novgorod, and from 1826 in St. Petersburg. In 1827 he retired and was engaged in artistic handicrafts (coloring signs and labels). Collaborated in the publications of Svinin and traveled with him to the Northern and Central Russia sketching monuments of ancient architecture. Then he studied with Gilardi in Moscow, and from 1829 he worked for the construction of the Mikhailovsky Theater in St. Petersburg. From 1834 to 1837 he traveled at his own expense in Germany, Italy and Switzerland. Since 1838 - academician. Participated in the restoration of the Winter Palace after the fire. From 1843 until the end of his life - the architect of the Ministry of the Interior. In 1845-1847 he was the architect of the Chapter of Russian Orders. Professor of the Academy of Arts in the class of perspective. Died in St. Petersburg.

An architect who enjoyed great popularity during his lifetime as the founder of the "Russian style" of the second half of the 19th century.

Main works: a number of buildings of the Valaam Spaso-Preobrazhensky Monastery (churches, hotel, water supply house, etc.); church, chapels and cells of the Trinity-Sergius desert; in St. Petersburg - a number of residential buildings, the courtyard of the Trinity-Sergius Desert on the Fontanka (rebuilt); the tomb of Prince Pozharsky in Suzdal; churches and cathedrals in Staraya Ladoga, Helsingfors, Suzdal, Nice.

(1782-1868)

From the serfs of the landowner. In 1804, he received a "free" and was given as an apprentice to, in whose family he was brought up. Then he studied at the school during the expedition of the Kremlin building with F. Camporesi. Together with D. Gilardi, he was engaged in the restoration of Moscow after the fire of 1812. From 1808 until the end of his life he was an architect in the department of the Moscow Orphanage.

The representative of classicism, who was influenced by the work of G. Quarenghi, paid tribute to eclecticism at the end of his life.

The main buildings, except for those made jointly with D. Gilardi: the houses of Lopukhin and the Khrushchev-Seleznevs on Prechistenka; the Church of the Trinity in the Olsufievs' estate Ershovo near Moscow (not preserved), the churches at the Vagankovsky and Pyatnitsky cemeteries (presumably).

(1823-1898)

Born in St. Petersburg. He studied at the school at the Reformed Church of St. Peter. In 1842-1846. studied at the Academy of Arts. In 1849 he studied the architectural monuments of the Transcaucasus, from where in 1852 he went on a pensioner's trip to Europe through Constantinople and Greece. In 1855 he returned to St. Petersburg. Since 1855 - professor at the Academy of Arts and rector of the architectural department. He also taught at the Institute of Civil Engineers; member of the Military Engineering Committee, chief architect of the imperial court. and grandson German Germanovich - well-known architects, theorists and historians of architecture.

The largest specialist in Byzantine architecture and the architecture of the Transcaucasian Middle Ages. He built mainly in St. Petersburg, as well as in Tiflis, Chersonese, Nice, Copenhagen, Lugano, Geneva.

(1762-1823)

Serf, son of a gardener Prince. Trubetskoy, in whose house he received a first-class education. Apparently, then he studied at the art school of the Artillery and Engineering Cadet Corps. From 1782 he taught a course of civil architecture in the same building. In 1784 he received the "free", in 1790 - the title of architect. Since 1785 - academician of architecture. In 1796 he was transferred to the Engineering Department, and in 1798 to the Artillery Department. He worked as an architect and military engineer.

Since 1812, due to deterioration of his eyesight, he moved to work as the head of the archive of the Artillery Department. Since 1814 - professor at the Academy of Arts. In 1816, finally blind, Demertsov retired.

The main works in St. Petersburg: the building of the Engineering (then second) Cadet Corps on Vasilyevsky Island, a complex of barracks of the Semenovsky and Izmailovsky regiments (together with), the barracks of the Preobrazhensky regiment, the church of St. Sergius the Wonderworker at the corner of Liteiny pr. and st. Tchaikovsky and the Church of the Sign of the Lord opposite the Moscow railway station (both have not been preserved).

(1766-1815)

Born and lived in Moscow. In 1733 he entered the architectural school during the expedition of the Kremlin building to, and two years later to. In 1787, he became Kazakov's assistant on the expedition of the Kremlin building. From 1804, he directed the school at the Kremlin building expedition, from 1814 he was the director of the Kremlin drawing room.

Main works: Military hospital in Lefortovo, the main house in the Lyublino estate near Moscow, the building of the Museum of the Armory in the Kremlin (not preserved), construction management of Gostiny Dvor (designed by Quarenghi), St. Nicholas Church in the village. Tsarevo near Moscow.

(circa 1698-1740)

From noble children. Sent by Peter I to study in Italy. From 1716 to 1723 he studied with Seb. Cipriani and Fr. Borromini. Upon his return, he took part in the competition for the design of the palace in Preobrazhensky near Moscow. Eropkin's project was accepted and implemented (with changes). In 1737, he was the chief architect of the "Commission on the St. Petersburg Building" with the rank of Hof-Bauintendant and Colonel. Head of the first real master plan of St. Petersburg. He was engaged in draining the territory of the city and strengthening its embankments. Compiled together with and the first Russian architectural and construction treatise "The Position of the Architectural Expedition". He translated individual chapters of A. Palladio's treatise "Four Books on Architecture". He spoke with a group of the cabinet secretary against the "Bironism" and was executed.

Eropkin's buildings have not been preserved. He is credited with Bruce's manor house in Glinka near Moscow.

(1799-1851)

Born in the Kursk province in the family of a landowner. From 1806 to 1821 he studied painting at the Academy of Arts, and architecture for the last six years. He graduated with a gold medal, taught at the Academy and was engaged in excavations in Kyiv. From 1827 he lived as a pensioner in Rome. In 1835 he traveled through Greece and Asia Minor, visited Constantinople. In 1840 he returned to St. Petersburg. From 1840 he was an academician, from 1842 he was an honorary free general of the Academy (honorary academician), from 1844 he was a professor at the Academy. Architect of the "Cabinet of His Imperial Majesty".

A characteristic representative of early eclecticism. One of the most educated Russian architects. Excellent chart.

Main works: construction together with the New Hermitage according to the project of Leo von Klenze, the building of the Ministry of State Property on St. Isaac's Highway, the City Council on the Duma Line opposite Gostiny Dvor, St. George's Hall in the Winter Palace. Most of the church buildings built by Yefimov have not survived.

Gilardi (Giliardi) Domenico (Dementiy Ivanovich) (1785-1845)

Italian from Switzerland. One of the brightest and most prolific masters of the Moscow Empire style. Eight architects and stone craftsmen from the Gilardi family worked in Moscow. - the son of the architect I. "D. Gilardi; was born in Montagnola. From 1796 he lived in Moscow, from 1799 - in St. Petersburg, studied painting at the Academy of Arts at Skopi. In 1803 he left for Italy, where Graduated from the Milan Academy. Studied architectural monuments in Italy. Returned to Moscow in 1810. He built a lot in Moscow and estates near Moscow. The heyday of Gilardi's activity is connected with the restoration of Moscow after the fire of 1812. In 1835 he left for Italy. He died in Milan .

The main works are the restoration of the university after the fire, the building of the Board of Trustees on Solyanka, Khrushchev's house on Prechistenka, the Widow's house on Kudrin, the Catherine's School on Catherine's Square. (all together with), the estate of the Usachevy Naydenovs on Zemlyanoy Val, the Lunins' house on Suvorovsky Boulevard, Gagarin's house on Povarskaya Street, the Horse Yard complex in the estate of Prince. Golitsyn Kuzminki.

(1867-1959)

Born in Pinsk (Belarus). In 1887-1898. studied at the Academy of Arts in the workshop, in the same years he worked a lot as an assistant architect at construction sites. From 1900 he taught at the Stroganov School in Moscow. Repeatedly traveled to Italy, where he studied the architecture of the Renaissance, and to England. He studied Russian architecture. In his work, he consistently implemented the theory of architectural harmony he created.

A prominent architect, an outstanding researcher of classical architecture, a theorist, an exceptionally talented teacher who created a school of followers of the idea of ​​mastering the classical heritage in modern architecture. His main activity belongs to the post-revolutionary era.

The main works before the revolution: the house of the Race Society, the Tarasov mansion on Spiridonovka, the Nosov mansion on Vvedenskaya Square in Moscow.

(1821-1891)

Born in the Kursk province. In 1842 he graduated from the Institute of the Corps of Railway Engineers. Conducted research and design of the Nikolaev railway. Author of many works on structural mechanics. He was engaged in the theory and calculation of lattice structures.

Since 1877 - Director of the Department of Railways of the Ministry of Railways, Head of the Technical Inspection Committee, which oversaw engineering and technical design: Member of a number of international congresses. Winner of the Demidov Prize. A real state councilor, a major engineer, the founder of the national school of bridge building, who influenced the introduction of new structures into architecture.

Main works: reconstruction of the spire of the Peter and Paul Cathedral in St. Petersburg (in metal structures); all bridges on the Nikolaev railway, including the famous Verebiysky bridge, the bridge across the Oka on the Moscow-Kursk railway; reconstruction of the waterway of the Mariinsky system.

(? - 1727)

Arrived in Moscow, apparently from Ukraine. There is no information about the doctrine and early works. He had a wood carving workshop. From 1707 - superintendent of all Russian church painting. The first representative of the Baroque in Russia. Zarudny's workshop owns a number of iconostases in the forms of the "southern baroque", of which the iconostasis of the Peter and Paul Cathedral in St. Petersburg is the most famous.

In Moscow, only one work by Zarudny is reliable - the Church of the Archangel Gabriel on Chistye Prudy, the so-called "Menshnkov Tower"; he is credited with a number of works similar in style to the Menshikov Tower: the Church of Peter and Paul on Novobasmannaya Street, the Church of John the Warrior on Yakimanka, the chambers of the clerk Averky Kirillov on Bersenevskaya Embankment.

Zakharov Andreyan Dmitrievich (1761-1811)

Born in St. Petersburg in the family of an officer. In 1767, he was appointed as a student at the art school at the Academy of Arts. In 1776 he moved to the architectural class. He apparently studied at In 1782 he graduated from the Academy with a large gold medal and was sent as a pensioner to Paris, where he studied with. Creativity had a great influence on Zakharov. In 1786 he returned to St. Petersburg and taught at the Academy of Arts until the end of his life. Associate professor. He was the largest building authority in Russia, most of the projects in the capitals and provinces passed through his expertise. Being the chief architect of the Admiralty department, he created planning solutions for a number of districts of St. Petersburg. He went down in history as the creator of the Admiralty (the third) - a remarkable architectural monument of classicism. Apart from the Admiralty and the Civil Governor's House in Chernigov, Zakharov's works have not been preserved. The main ones are: St. Andrew's Cathedral in Kronstadt; development of the Galernaya Harbor (not completed), Proviantsky Island and the territory of the marine hospital on the Vyborg side in St. Petersburg.

(1688-1743)

Born in Moscow. He studied at the Armory Chamber. In St. Petersburg since 1709; studied Italian at the provincial office. Since 1710, by order of Peter I, he was appointed assistant and student of D. Trezzini. Since 1719, he directed the development of Moscow in connection with the abolition of the ban on building stone structures. In 1720 he was transferred from students to gezels. In 1720-1722. worked in Revel as an assistant to N. Michetti on the construction of Yekaterinenthal (Kadriorg). In 1723 he went on a business trip to Stockholm. From 1723 he worked in St. Petersburg on orders from the court. In 1724 he received the title of architect. After the execution of P. Yeropkin in 1740, he was seconded to the “Commission on the St. ”, “On the positions of various art masters who apply at buildings”, “On the Academy of Architecture”. Since 1741, he served as the court architect of Elizaveta Petrovna. The first Russian architect of St. Petersburg, who, along with Trezzini, embodied the main architectural plans of Peter I. He worked in St. Petersburg, Tsarskoye Selo and Moscow. In 1742 he received the rank of colonel. Had an architectural "team". Of the works of Zemtsov, the St. Petersburg church of St. Simeon and Anna has been preserved (partially rebuilt).

Ivanov- (1865-1937)

Born in Voronezh. He was brought up in the Voronezh real school. In 1883-1888. studied at the Institute of Civil Engineers in St. Petersburg. Graduated with a gold medal. Traveled in Germany, Austria and Switzerland. Upon his return, he was assigned to the technical construction committee of the Ministry of the Interior. From 1889 he lived and worked in Moscow, from 1890 he was the city architect of Moscow. Modernist representative.

Main works: Moscow Merchant Club (now the Lenin Komsomol Theatre), the building of the Eye Hospital. Botkin, 2nd city hospital on the Kaluga highway, hospital. Helmholtz on Sadovaya, children's exemplary hospital, the building of the city orphanage.

(1738-1812)

Born in Moscow. He studied at the architectural school. In 1763-1767. worked in Tver. He was an assistant in the design of the Grand Kremlin Palace.

For the first time in Russia, he created structures for domes and ceilings of large spans. Since 1792, he headed the architectural school during the expedition of the Kremlin building. Pupils:, F. Sokolov, and others. Drafted a project for the organization of a construction trade school (“School of Stone and Carpentry”). He supervised the drawing up of the general and facade plan of Moscow, in connection with which he completed with his assistants thirty graphic albums of particular and civil buildings containing drawings of most Moscow houses of the late 18th century. One of the founders and greatest masters of classicism. The author of most of the buildings that define the appearance of classical Moscow.

Main works: Petrovsky (Travel) Palace, the Senate building in the Kremlin with the famous domed hall, the Church of Philip the Metropolitan, the Golitsyn hospital, the university building, the house of the Noble Assembly, the houses of Rubin, Baryshnikov, Demidov in Moscow, the church and mausoleum in the estate of Nikolsko Pogorely in the Smolensk province .

Cameron Charles (1743-1812)

Scot in Russian service. Born into a wealthy family of a master builder. He studied with his father and on his own. Since 1767 he lived in Rome, where he studied and measured the monuments of antiquity. Returning to England, he worked on the book The Baths of the Romans, published in London in 1772. In 1779 he arrived in Russia. He was the architect of Tsarskoye Selo and Pavlovsk. Since 1796, he was retired. Worked for gr. in Baturin. From 1802 he was the chief architect of the Admiralty Colleges. Retired since 1805. Cameron was listed as a free artist and had no ranks, although he received a pension from the court. In addition to the aforementioned "Thermes of the Romans" released several albums of engravings. Cameron's attempts to become an academician of the Academy of Arts, thanks to the intrigues of Felten, were unsuccessful.

A brightly individual representative of classicism, the finest master of interiors and one of the most brilliant draftsmen in the history of Russian architecture.

Main works: Cold baths, Agate rooms, Cameron Gallery, state apartments and private rooms of Catherine II in the Grand Palace in Tsarskoye Selo; palace c. in Baturin (destroyed); palace and park in Pavlovsk.

Quarenghi (Gvarengi) Giacomo (1744-1817)

Born in Italy near Bergamo in an old noble family. He studied painting in Bergamo with J. Reggie, a student of Tiepolo. Traveling in Italy. In Rome, he first studied painting with, and then architecture with St. Poudv et al. Was influenced by A. Palladio. Imm noble friends and patrons. He worked a lot in Italy and in England. In 1799 he was invited by Catherine II to St. Petersburg. Started working as a court architect first in

Peterhof, then in the capital. One of the most famous architects of the XVIII century. Brilliant painter. He left sketches of the main monuments of St. Petersburg. Worked under three emperors. He built a lot in Moscow and the provinces. From 1805 he was a free member of the Academy of Arts. In 1788-1800 he was the architect of the chapter of the Order of St. John of Jerusalem (Maltese). In 1810 he visited his homeland, where he was greeted with triumph.

In 1814 he received hereditary Russian nobility and the Order of St. Vladimir 1st degree. He was associated with many representatives of Russian culture.

Died in Saint Petersburg. In 1967, his ashes were transferred from the Volkonsky cemetery to the necropolis of the Alexander Nevsky Lavra, and against the building of the former Assignation Bank on Sadovaya Street. bust installed.

Brilliant master of the era of classicism. One of the creators of the appearance of the capital. Most of Quarenghi's work has survived. He had a great influence on contemporary Russian architecture.

Main works in Russia: The English Palace in Peterhof (destroyed during the Great Patriotic War), the Mariinsky Hospital in Pavlovsk, the Academy of Sciences on the University Embankment, the Hermitage Theater, the Raphael Loggias in the Hermitage, the reconstruction of the front halls of the Winter Palace (rebuilt by Stasov after the fire), the Collegium Building Foreign Affairs on the English Embankment, Assignation Bank on Sadovaya St., Silver Rows on Nevsky Prospekt, Palace gr. Bezborodko on Pochtamtskaya st. (rebuilt), restructuring of the dacha c. Bezborodko on Polyustrovskaya Embankment, Saltykov's house on the Field of Mars, Fitingof's house on Admiralteysky Prospekt, Yusupov's house on Sadovaya St., Maltese Chapel at the Page Corps on Sadovaya St., Building of the Main Pharmacy on Millionnaya St., Mariinsky Hospital for the Poor on Liteiny pr., the Catherine Institute on the Fontanka, the building of the “His Majesty’s Cabinet” on Nevsky Prospekt, the Smolny Institute, the Horse Guards Manege, the Narva Triumphal Gates (rebuilt by Stasov), the Anglican Church on Angliyskaya Embankment, the Alexander Palace and Concert hall in Tsarskoye Selo, the Zavadovsky estate in Lyalichi.

He left a huge graphic heritage (about 1,500 sheets in the storage of the CIS and Europe).

(1720- after 1770)

In 1734 he was accepted as an "architectural student" in the Moscow "Chancery of Buildings". First he worked as an assistant in Moscow during the design of the coronation celebrations during the coronation of Elizabeth Petrovna and in the Annengof and Lefortovo palaces, and from 1743 as an “architectural apprentice” in St. Petersburg to expand the Tsarskoye Selo Palace. After Zemtsov's death, he worked independently in Tsarskoye Selo. At the same time, Kvasov began working for Hetman K. G. Razumovsky in Ukraine: in Kozeltse, Glukhov and Baturyn. The main activity of Kvasov as an architect is connected with Ukraine. Since 1770, Kvasov held the position of "Little Russian architect".

Of the numerous buildings of Kvasov in Ukraine, the cathedral in Kozeltsa, partially rebuilt by Rastrelli, and, presumably, the basement of the hetman's palace in Baturin, built mainly by J. Quarenghi (destroyed in the 20th century), have been preserved.

(1863- after 1907)

Born in Vilna. He graduated from the Vilna real school. In 1883-1888. studied at the Institute of Civil Engineers. Assigned to the technical construction committee of the Ministry of Internal Affairs. He worked in St. Petersburg, mainly in the construction of industrial facilities. Since 1890 - in Moscow, he retired and until the end of his life was engaged in private practice. The largest representative of the Moscow Art Nouveau. He built a lot, designed interiors, made drawings of applied products for Moscow art factories.

Major works in Moscow: Nosov's mansion on Prechistenka, Isaev's on Pyatnitskaya st., Isakov's house on Prechistenka (the most famous work), Mindovsky's house on Povarskaya st., Khludov's tomb chapel in the Intercession Monastery, the Praga restaurant on Arbatskaya Square, Nikolskie shopping malls, hotel "Metropol", near Moscow stations of the Belarusian railway.

Kitner Ieronim Sevastyanovich (1839-1929)

Born in St. Petersburg in the family of a "lamp master". In 1857 he graduated from the Construction School with the title of architectural assistant. From 1867 he was an academician of architecture, from 1868 he taught at the Construction School, from 1876 he was an extraordinary professor and member of the council. In 1886-1894 he was an inspector, from 1888 he was an ordinary, and from 1906 an honored professor at the Institute of Civil Engineers. In addition, in 1895 - 1902 - professor of architecture at the Institute of Railway Engineers, since 1911 - an honorary member of the Academy of Arts. One of the founders of the St. Petersburg Society of Architects, in 1887-1905 - Deputy Chairman, in 1905-1917 - Chairman of the Society. Edited the magazine "Architect". Comrade of the Chairman of the Standing Committee of the All-Russian Congresses of Architects. Inspector, and then trustee of the first school in Russia for tenants-builders. He was engaged in social activities - he was a member of the City Duma and a member of a number of committees. Died in exile.

Main works: the building of the Agricultural Museum in the Salt Town, the building of the Institute of Civil Engineers in the 2nd company of the Izmailovsky Regiment, the market pavilions on Sennaya Square (destroyed), the building of the school of the Lutheran parish on Bolshoy pr. Vasilyevsky Island, the Siegel mansion and factory on Yamskaya Street, Palm greenhouse in the Botanical Garden of the Academy of Sciences, laboratory building of the Institute of Railway Engineers, in addition, the Moscow Engineering School, a complex of buildings of the Kyiv Polytechnic Institute.

(1858-1924)

Born in Moscow in the family of a businessman, close to the circles of art. He graduated from the Moscow School of Painting, Sculpture and Architecture, then the Academy of Arts in St. Petersburg. Since 1882, he was trained first in Italy in Ravenna, then in Paris with C. Garnier. Upon his return to Moscow, he worked for the academician on the construction of the Historical Museum on Red Square. Working independently, he built more than 60 structures in Moscow. He was a professor at the Riga Polytechnic School and the Higher Technical School. Among the students -,. Author of many books, including the Guide to Architecture.

One of the most prominent architects of pre-revolutionary Russia. He had great culture and erudition. His buildings were famous for their high technical performance.

Main works: Middle shopping malls, Trekhgorny brewery, Perlov's apartment building on Myasnitskaya, a complex of hospital buildings on Devichye Pole, the Muir and Myurilis department store (TsUM), the Museum of Fine Arts (Museum of Fine Arts named after them.), Borodinsky Bridge (jointly with engineer), the cinema "Coliseum" on Chistye Prudy, the tomb of Prince. Yusupov in Arkhangelsk.

(1860-1942)

Born in Tsarskoye Selo. He graduated from the Institute of Civil Engineers in 1887, was invited to serve in the Office of the Southern Railways in Kyiv. He taught at the Kiev Polytechnic Institute. Since 1912 - professor.

A major architect, he worked in the spirit of eclecticism and neoclassicism.

The main works before the revolution: railway stations in Kozin, Bendery, Korosten, etc., a number of buildings of the Kyiv Agricultural Exhibition, in Kyiv - the State Bank, the Commercial Institute, the buildings of higher women's courses and the Russian Technical Society. He built a lot after the revolution.

(1726-1772)

Born in Tobolsk in the family of an official. A famous architect exiled to Tobolsk took him as a student. After a short exile, Blank returned to Moscow with Kokorinov. In Moscow, Kokorinov was listed in the "team" of Blanc, then moved to the one who came to Moscow from St. Petersburg, and after the death of the latter - to. In 1749, with the rank of gezel, he was transferred to, began teaching at his architectural school. He was engaged in the restoration of the walls and gates of the Kremlin and Kitaygorod. In 1753 he was summoned to St. Petersburg for a trip abroad. The trip did not take place, but in St. Petersburg Kokorinov became close to gr. and took part in the creation of the Academy of Arts. Wrote the charter of the Academy and designed its creation. From 1761 - director, and from 1768 - rector of the Academy.

Founder of classicism in Russia. Outstanding teacher. Among the students -.

Main works: the building of the Academy of Arts, until the end of the construction of which he did not live; Razumovsky's palace on the Moika (both projects jointly with Wallen Delamotte). Most of Kokorinov's works have not survived.

Korinfsky (Varentsov) Mikhail Petrovich (1758-1851)

Born in Arzamas. He studied at the Arzamas school of painting at. In 1810-1817. studied in St. Petersburg at the Academy of Arts. In 1812-1823. worked in Arzamas, in 1823-1832 - in Simbirsk and from 1832 until the end of his life - in Kazan. He has done many teaching activities. He founded an architectural school in Arzamas. He taught architecture at Kazan University. Died in Kazan.

One of the largest representatives of classicism in the province.

Main works: the buildings of the Kazan University complex (library, anatomical theater, observatory), the building of the Nobility Assembly in Simbirsk, the Resurrection Cathedral in Arzamas, the Lutheran Church in Nizhny Novgorod, the church in the village of Pavlovo in the Nizhny Novgorod province, the cathedral in Simbirsk (not preserved).

(1700 or 1701-1747)

Born in Moscow. Sent by Peter I to Holland. Studied with Scheinfurt. In 1727-1741 he was the architect of the Admiralty Office. Built the second stone building of the Admiralty. He was also engaged in the decoration of ships. From 1741 he worked in Moscow. Had an architectural "team" there. Among the students: S. Chevakinsky, A. Kokorinov, D. Ukhtomsky and others.

Of the works of Korobov, only the Church of St. Panteleimon in St. Petersburg, which was part of the Particular shipyard on the Fontanka, has survived. The theological church with a bell tower in Kronstadt stood until the 30s of the XX century.

(1817-1887)

Born in St. Petersburg. In 1826-1839. studied at the Academy of Fine Arts. In 1839-1842. worked with Ton in Moscow. In 1842-1846. was on a retirement trip to Italy with Benois and Rezanov. Participated in the measurements of the cathedral in Orvietto. Since 1850 - academician, since 1853 - professor at the Academy of Arts. He served in the Department of Railways, the architect of the Chapter of Russian Orders, the chief architect of the imperial theaters.

One of the most talented representatives of eclecticism. Built in the so-called "European" styles.

Main works: Baltiysky railway station, Stieglitz's mansion on nab. Neva, Mariinsky market on Sadovaya st. (not preserved), the house of the Mutual Land Credit Society on Admiralteiskaya Embankment. (together with), hospital of the community of sisters of mercy on Sergievskaya street, church in Narva. Many works have not survived.

(1877-1944)

Born in Moscow in the family of a doctor. He graduated from the Riga Polytechnic Institute in 1906 with the title of engineer-architect. Honored with a business trip abroad (1906-1907). From 1908 he was a city architect in Balti (Bessarabia), from 1912 he lived and worked in Ekaterinoslav as a landscaping engineer, and at the same time he was in private practice. After the revolution, he held responsible positions related to design and construction, taught at the Dnepropetrovsk Institute of Transport Engineers. Master of high professional culture, adhered to the neoclassical direction.

The main buildings in Yekaterinoslav: a number of tenement houses, a boarding house for the children of officers who died in the World War, the anatomical building of the medical institute.

Krasovsky Apollinary Kaetanovich (1816-1875)

The largest theorist of architecture, who influenced the formation of the professional thinking of several generations of architects in the middle and second half of the 19th century. According to contemporaries, "laid a solid foundation for the teaching of civil architecture as a science in our technical higher educational institutions". He taught at the St. Petersburg Construction School for 37 years, preparing its transformation into the Institute of Civil Engineers (1881). He taught a course in architecture at the Institute of the Corps of Railway Engineers, at St. Petersburg University, a course in building art at the Mining Institute. Honorary free member of the Academy of Arts.

Leblon Jean-Baptiste-Alexandre (1679-1719)

Famous French architect and theorist. Lenotra. Author (together with Duvilliers) of a course in architecture. Invited to Russia by Lefort and Zotov after the death of A. Schluter. He met with Peter I in France and managed to interest him in his projects. In St. Petersburg since 1716. Appointed "general architect" with the subordination of all architects and engineers working in St. Petersburg. Author of the first general plan of St. Petersburg. The implementation of the plan turned out to be unrealistic, but many of Leblon's demographic and urban planning ideas later formed the basis for the planning and development of the city. He also worked in Strel'ye and Peterhof. The author of the first Peterhof Palace, rebuilt by Rastrelli, and the basis for the layout of the cascade.

Reliable buildings of Leblon have not been preserved. Some researchers attribute to him the pavilions of Marly, the Hermitage and, with less probability, Monplaisir in Peterhof Park.

(1870-1945)

Born in St. Petersburg in the family of a tailor, a Swedish citizen. He graduated from school at the church of St. Catherine. For two years he studied at the Stieglitz School. In 1890-1896. studied at the Academy of Fine Arts. Mostly built in St. Petersburg on private orders. He had his own design office. Participated in many competitions. In 1910-1917. taught at the Faculty of Architecture of the Women's Polytechnic Institute. Since 1909 he has been an honorary academician of architecture. In 1914-1916 participated in the release of the "Architectural and Art Yearbook". In 1918 he left for Sweden, where he worked a lot and fruitfully.

The most talented representative of Art Nouveau, one of the best Russian architects. The so-called "northern modern", developed by Lidval, contributed to the exit of Russia in the late XIX - early XX century. to the global architectural arena. Numerous works by Lidval are distinguished by high artistic merit, excellent taste and brilliant functional and technical solutions.

Main works: Alexandrov's hotel in Apraksin Lane, own apartment building with a workshop on Kamennoostrovsky Prospekt; residential buildings of Zimmerman on Kamennoostrovsky prospect, the Swedish Church on M. Konyushennaya st., Meltzer on B. Konyushennaya st., Liebig on Mokhovaya st., Tolstoy on emb. Fontanka, Nobel on Nyostadtskaya St., Azov-Don Bank on Bolshaya Morskaya St., Astoria Hotel on St. Isaac's Square, houses on Goloday Island ("New Petersburg"); Russian bank in Kyiv.

(1868-1933)

Engineer, the largest Russian specialist in reinforced concrete structures. Developed the theory of calculation for breaking loads. Studied at Moscow University (graduated in 1891). He worked in Moscow in the construction company Yulia Gun. He taught building mechanics at the Moscow School of Painting, Sculpture and Architecture. After the revolution - professor at the Higher Technical School.

The main buildings before the revolution: the vaults of the Museum of Fine Arts in Moscow, a number of industrial buildings (beamless coatings), a reinforced concrete passage at the Nizhny Novgorod exhibition.

(1751-1803)

Born into a poor noble family. He had no special education. In 1768 he entered the Life Guards Izmailovsky Regiment in St. Petersburg, where he graduated from the officer school. Transferred to serve in the Collegium of Foreign Affairs. He traveled a lot abroad (for the first time in 1776-1777). As a diplomat and writer, he was engaged in architecture occasionally, although fruitfully. He was an inventor in the field of heating and building materials. Invented earthworks. Honorary member of the Academy of Arts, member of the Russian Academy. He was associated with most of the cultural and political figures of his time (Chancellor Bezborodko, gr., etc.). Translated the works of Palladio. Wrote the first Russian book on heating. Among the students -. Outstanding figure of culture of the XVIII century. Architect, engineer, writer, translator, musician, folklorist, social and statesman.

Architectural activity of Lviv in the XIX century. was almost completely unknown. Only at the beginning of the XX century. his main works were attributed, of which survived: the Nevsky Gates of the Peter and Paul Fortress, the building of the post office (Post Office) in St. Petersburg, the Priory Palace in Gatchina, the Borisoglebsky Cathedral in Torzhok, the Church of St. Catherine in Valdai, etc.

Stanislavovich (1876-1944)

Born in Volkovysk (Belarus). From 1895 he studied in St. Petersburg at the Academy of Arts. In 1902-1903. traveled as a pensioner to Germany and Italy. He worked in St. Petersburg, Moscow, Gungerburg (Ust-Narva). Since 1912 - academician of architecture. In 1917-1918 - Chairman of the Petrograd Society of Architects. He built profitable houses, commercial and industrial buildings, bridges. Worked a lot with In 1918 he left for Warsaw, where he fruitfully worked until the Second World War.

Killed during the Warsaw Uprising.

A talented but somewhat monotonous architect, Lyalevich built mainly in the Neo-Renaissance style, modernized to suit the needs of the 20th century.

Main works: Mertens' trading house on Nevsky Prospekt in St. Petersburg, Pokatilova's mansion and tenement house on Karpovsky Lane, Mertens' mansion on Kamenny Ostrov, Sytny Market, a number of tenement houses; house partnership "Triangle" in Moscow.

(1784-1854)

Born in Oranienbaum in the family of the caretaker of the palace church. From 1795 he studied with. In 1807 he graduated from the Academy of Arts with a gold medal. In 1808-1811. was a pensioner in Italy with. After returning, he taught at the Academy of Arts from 1813, headed the "promising" class, from 1818 - professor. He built a lot on private orders in the provinces. Participated in a number of competitions, including the construction of the Cathedral of Christ the Savior and the Bolshoi Theater in Moscow. Since 1831 he was the rector of the Academy of Arts.

A consistent representative of classicism, whose decline he found at the end of his life. A prolific but unoriginal architect.

Major works: the Demidov School in Yaroslavl, the Nikolskaya Edinoverie Church in St. Petersburg, the gymnasium in Ufa, the Assumption Church in Nizhny Novgorod, the Gostiny and Mytny yards in Rostov Veliky. Melnikov's best work is a complex of buildings on Primorsky Boulevard in Odessa with a monument to Richelieu.

(1842-1906)

Born in St. Petersburg in the family of a coachbuilder. He graduated from the Lutheran school at the Church of St. Peter. In 1858 he entered the drawing school of the Society for the Encouragement of Arts, and in 1860 he entered the Academy of Arts in the architecture class. He studied at and in the mosaic class. On the recommendation of Eppinger, he entered as an assistant to and took part in his work on the restructuring of the interiors of the Academy of Arts. In 1867 he graduated from the Academy with a big gold medal and was sent as a pensioner to Italy. In 1871 he returned and presented to the Academy a project for the restoration of the theater in Taormina, for which he received the title of academician. He worked as an architect at the Main Engineering Directorate; from 1874 he taught at the Central School of Technical Drawing of Baron Stieglitz (from 1877 to 1897 - director).

In 1885 he traveled to Dresden to get acquainted with museum construction. He built the school museum building. Fulfilled the orders of the court, had the rank of a real state councilor. In 1886, due to a conflict with the directorate of the school, he resigned. In 1897 he left for Dresden, where he lived and worked until the end of his life.

Messmacher's activities came at the time of the decline of eclecticism. His works, notable for splendor not typical for the development of St. Petersburg, are made with great skill and invention, but are tedious with a heap of details and a mixture of styles. Their advantage includes a clear functional solution and high quality workmanship, making them seem to be transitional to modernity. Mesmacher's main merit is the establishment of art and industrial education in Russia, the education of several generations of masters of applied art.

Main works: the church of Cosmas and Damian (not preserved), the palace led. book. Alexei Alexandrovich on the Moika, the palace led. book. Mikhail Mikhailovich on Admiralteiskaya Embankment, Archive of the State Council on Millionnaya Street, building of the museum of the Central School of Technical Drawing of Baron Stieglitz.

Michetti Niccolo (1675-1759)

Italian architect, representative of the Baroque era. . He worked in Rome, where he was the papal architect. In 1718, he was invited by P. Kologrivov to Russia and appointed "royal architect" instead of the deceased Leblon. Finished the construction of Leblon in Peterhof. He worked in Reval (Tallinn) and in Strelna near St. Petersburg. Had some influence on who was his student and assistant. In 1723 he left Russia.

Major works: completion of the Monplaisir, Marly, Hermitage pavilions and a number of fountains in Peterhof; Ekaterinental Palace (Kadriorg) in Reval (completed), Strelna Palace (rebuilt by L. Ruska), lighthouse project over the Kronstadt Canal (not implemented).

(1700-1763)

From the small local nobles of the Kostroma province. In 1718 he was sent to St. Petersburg to the Academy of Navigational Sciences. At the end - N. Michetti's assistant and student at the construction of the palace in Strelna. In 1723 he was sent to Holland, studied in Antwerp with I. Baumstedt, worked in St. Petersburg and its environs, from 1731 in Moscow. After the death of I. Mordvinov in 1734, he supervised the drawing up of the city plan. In 1754 he built St. Andrew's Church in Kyiv according to the project.

The main original buildings of Michurin have not been preserved (Trinity Church on Arbatskaya Square, the church and the bell tower of the Zlatoust Monastery, the Cloth Yard). Of the surviving buildings, only the cathedral of the Svensky Monastery (Bryansk region) is known.

Montferrand Auguste Ricard (1786-1858)

Born in France. Studied with C. Persier and. Was in Italy. Served in the army. He worked in St. Petersburg in the Committee for Buildings and Hydraulic Works as a draftsman. Soon he presented Alexander I with an album of projects for St. Isaac's Cathedral (compilations of various styles - Chinese, Indian, Byzantine, Gothic, Greek, etc.). He was appointed court architect, and in 1818 - the builder of St. Isaac's Cathedral. Construction continued until Montferrand's death. In 1826, he joined the commission to consider the projects of the Cathedral of Christ the Savior in Moscow. From 1831 he was a free member of the Academy of Arts. Montferrand performed one of the most complex construction works of the 19th century - the rise of the columns of St. Isaac's Cathedral, the Alexander Column, in which he proved himself to be an excellent engineer and organizer. There is no reason to consider Montferrand an "official of architecture", although there are undoubtedly elements of the opportunistic ™ in his work.

All the buildings of Montferrand in St. Petersburg have survived: St. Isaac's Cathedral (second), the house of Prince Lobanov-Rostovsky on Admiralteisky Prospekt, his own house on the Moika, Demidov's (Gagarin's) mansion on Bolshaya Morskaya, the Alexander Column on Palace Square, the interiors of the Winter Palace, a monument Nicholas I on St. Isaac's Square (sculptor P. Klodt).

(1868-1953)

A major master of the early 20th century, who worked in the spirit of Art Nouveau and Neoclassicism. Educated at the Academy of Arts.

Main works: in Kazan and Saratov - a university complex (buildings of medical and physical faculties), own house.

Nestrukh (Neshturkha) Fyodor Pavlovich (1857-1936)

Born in with. Fomina Balka near Odessa in the family of a printing worker. He worked in Odessa design workshops as a draftsman. In 1887 he graduated from the Academy of Arts with the title of class artist of the 1st degree. By competition, he was accepted for the position of the chief city architect of Pskov; In the same years, he taught the basics of architecture at the local land surveying school. From 1900 he lived and worked in Odessa. In 1902-1922 he was the chief architect of Odessa. After 1925, he conducted pedagogical work at the Odessa Art School. Died in Odessa.

Major architect and teacher; characteristic representative of the neoclassical trend in architecture.

The main buildings: in Pskov - a Commercial Bank, a diocesan girls' school with a church; in Odessa - an ambulance building, a city public library, a hospital for the nervously ill in Slobodka, an evangelical hospital, Fruit passage; a number of medical and resort buildings on the estuaries.

(1847-1911)

Born in Tsarskoye Selo. In 1870 he graduated from the Academy of Arts. In 1891 he received the title of class artist, in 1892 - academician of architecture. Since 1870 he has been working in the Kyiv City Council. He was a city architect (1873-1887), a diocesan architect (1875-1898), an architect of the Kiev-Pechersk Lavra (1892-1899), one of the organizers and director of the Kyiv Art School. He was elected chairman of the architectural department of the Kyiv branch of the Russian Technical Society and the Kyiv Literary and Artistic Society, a delegate to congresses of Russian architects. Died in Kyiv.

An outstanding architect who worked in Kyiv; characteristic eclecticism.

Main works: Bergonier Circus Theatre, the building of the Merchant Assembly, the churches of Voznesenskaya, Kiev Blagoveshchenskaya, Alexander Nevsky (the last two have not been preserved); Church of the Intercession, Nicholas Cathedral and residential buildings of the Kiev-Pokrovsky Monastery, the refectory of the Kiev-Pechersk Lavra, a number of tenement houses and mansions; restoration work in St. Sophia and Assumption Cathedrals, St. Andrew's Church.

(1883-1958)

Born in St. Petersburg in a family close to art. In 1901 he entered the Institute of Civil Engineers (graduating in 1910). In 1905-1906. worked in Helsingfors in the workshop of A. Lindgren and E. Saarinen, from 1906 - in St. Petersburg as an assistant; led and independent design. Traveled in Russia.

Great artist. Talented architect and teacher. His main activity belongs to the Soviet era, however, as a creative person with a bright personality, he developed before the revolution, when he worked in the spirit of "northern modern", and then retrospectivism.

The main works until 1917 were Leonid Andreev's dacha near Rayavol, an apartment house on Aptekarsky Island in St. Petersburg, several mansions.

(1872-1916)

Born in the estate of Usich, Volyn province. In 1896, after military service, he entered the Institute of Civil Engineers, and in 1901, the Academy of Arts, where he studied with. In 1906 he received the title of architect-artist. Traveled as a pensioner in Italy, France, Germany, Belgium, Holland and Austria. Upon his return, he built a lot, mainly on orders from large firms.

Talented architect. He worked in the spirit of rational modernity, but his most famous buildings - in the Neo-Renaissance style - are distinguished by excellent drawing of details, functional perfection, skillful combination with the surrounding buildings, but at the same time they are exaggeratedly monumental.

The main works in St. Petersburg are the Russian Commercial and Industrial Bank on B. Morskaya St., the Wavelberg Banking House on Nevsky Prospekt, the house of City Institutions on Kronverksky Prospekt, the Temple-Memorial to Russian sailors who died in the war with Japan on Novo- Admiralty Canal (not preserved), the building of the Ministry of Trade and Industry on Tuchkova Embankment, a project for the transformation of St. Petersburg (from and); house of the Northern Insurance Company in Moscow (with and)

(1848-1918)

Born in Moscow. He studied at the School of Painting, Sculpture and Architecture. In 1874 he moved to the Academy of Arts in St. Petersburg, with which he was associated until the end of his days. From 1879 to 1886 he was in practice in Italy as having received a gold medal. For the measured drawings of the Palatine Chapel in Palermo, he was awarded the title of academician. Since 1887 - adjunct professor of the Academy of Arts, since 1892 - professor. After the reorganization of the Academy of Arts - the head of the workshop. Rector of the Higher Art School at the Academy of Arts. He was also the architect of the school council under the Synod and a member of the technical and construction committee under the Ministry of the Interior.

Leading architect and educator. A characteristic representative of the eclectic era, he worked in the "Russian style".

Main works: the cathedral in Sofia in Bulgaria, the cathedral in Cetinje in Montenegro, the Synodal House in St. Petersburg, the main buildings of the All-Russian Art and Industrial Exhibition of 1896 in Nizhny Novgorod, the Duma building and the city trading house in Rostov-on-Don, Upper shopping malls in Moscow on Red Square (GUM).

Rastrelli Bartolomeo Francesco (Bartholomew Varfolomeyevich), Count (1700-1771)

Italian by birth. Born in Paris. Son of an architect and sculptor. He studied with his father. In 1716 he came to St. Petersburg with his father, who had concluded an agreement with Peter I, and was his assistant. From 1722 he began to work independently as an architect. Carried out private orders. In the period from 1722 to 1730, he traveled twice to Italy and France to improve in architecture (once every 5 years). He built in St. Petersburg, Moscow for Anna Ioannovna and in Courland for Biron. With the accession in 1741 of Elizabeth Petrovna, he became her favorite court architect.

In addition to St. Petersburg, he worked in Peterhof, Tsarskoye Selo and in the provinces.

Major General, Knight of the Order of St. Anne, Academician of Architecture (1770). He had a number of students and followers. With the accession of Catherine II in 1762, Rastrelli retired temporarily, and in 1763 he was finally dismissed and left for Switzerland. Creativity Rastrelli studied quite fully. Most of his work has survived.

The most talented master of the middle of the 18th century, the creator of a striking architectural style, sometimes called "Elizabethian Baroque". Together with Quarenghi and Rossi, he is rightfully considered the greatest Russian architect.

Main works: in St. Petersburg - the Smolny Monastery (not completed), the palace (partially rebuilt), the palace (the interiors were redone), the Travel Palace on the Middle Rogatka (destroyed in the 40s of the XX century), the Summer Palace of Elizabeth Petrovna (located on the site Engineering Castle), Grand Peterhof Palace, Grand Palace and park pavilions in Tsarskoye Selo, the Winter Palace (the interiors were rebuilt after the fire); in Moscow - Winter Annenhof in the Kremlin (does not exist), Summer Annenhof in Lefortovo (does not exist); in Kyiv - St. Andrew's Church; in Courland - Biron's palaces in Rundale and Mitau.

(1817-1887)

Born in St. Petersburg. In 1827 he entered the Academy of Arts. A student, later the closest assistant who completed his unfinished work. After graduating from the Academy (1838) he worked in Moscow. In 1842-1846. together with and was on a retirement trip in Italy. Upon his return in 1850, he received the title of academician for the publication of measured drawings of the cathedral in Orvieto. From 1852 - professor, from 1871 - rector of the Academy of Arts. From 1870 until the end of his life - Chairman of the St. Petersburg Society of Architects. He worked mainly on orders from the court.

One of the leading masters of the eclectic era, a major teacher and public figure. It was built mainly in the Neo-Renaissance style. An excellent draftsman and connoisseur of styles.

Main works: buildings in Ropsha, led the palace. book. Vladimir Alexandrovich on Palace embankment in St. Petersburg (the most famous work of Rezanov); participation in the design and construction of the Grand Kremlin Palace and the Cathedral of Christ the Savior in Moscow; Metropolitan Cathedral and the Church of St. Nicholas the Wonderworker in Vilna; a palace in Livadia, a palace in Ilyinsky near Moscow; a number of mansions and tenement houses in St. Petersburg, Moscow, Tver.

(1869-1932)

From a family of hereditary civil engineers. After graduating from the cadet corps and military school, he served in a sapper battalion. In 1896 he graduated from the Military Engineering Academy in St. Petersburg. From 1897 to 1912 - assistant in the construction of the Museum of Fine Arts and other buildings. From 1900 he worked independently.

A prominent architect and engineer who worked fruitfully in Moscow before and after the revolution. Experienced professional, rationalist in spirit and style.

The main works before the revolution: a house of cheap apartments for families on 2nd Meshchanskaya St., house

Northern Insurance Company on Ilyinka (s and), a women's gymnasium in B. Kazenny per., Bryansk (Kyiv) station (s and).

Rinaldi Antonio (1710-1794)

Italian in the Russian service. Student and collaborator L. Vanvitelli. Visited England. In 1752 he was invited by the Hetman Count to Ukraine. He worked in Kyiv and Baturin, then in Moscow. Since 1754 - the architect of the so-called "small courtyard" (the courtyard of the heir Pavel Petrovich). Since 1762 - the court architect of Catherine II. I worked in St. Petersburg in Oranienbaum. In 1784 he returned to Italy and lived in Rome until the end of his life.

A master of exquisite taste, whose work is on the verge of baroque and classicism.

Main works: Vorontsov's dacha Novo-Znamenka near St. Petersburg; the park and palace buildings in Oranienbaum, including the famous Chinese Palace and the Rolling Hill; Church of the Resurrection of Christ in Pechera; Catherine's Cathedral in Yamburg; Gatchina Palace, the building of the Tuchkov Buyan (hemp warehouses), the Prince Vladimir Cathedral, the Marble Palace, St. Isaac's Cathedral (on the site of the existing one), the Myatlev House in St. Petersburg.

Rossi Carlo (Karl Ivanovich) (1755-1849)

Born in St. Petersburg in an acting family. Studied with V. Brenna, traveled abroad with him. He began work under the leadership of Brenna in Pavlovsk. In 1806-1814. worked in Moscow, trying his hand at the "Gothic" version of the Russian style; taught at the Kremlin architectural school. At the same time, he designed for Tver and the cities of Tver, Yaroslavl and Novgorod provinces residential buildings, shopping arcades, offices, churches, hospitals, etc. Main architector Tver. Since 1814, in St. Petersburg, since 1816, he has been one of the four chief architects of the Committee for Buildings and Hydraulic Works, led by A. Betancourt (together with V. Stasov, A. Mikhailov 2m and A. Maudui).

He carried out a comprehensive reconstruction of the center of the capital, creating the largest ensembles of the Palace, Senate, Mikhailovskaya squares and the Alexandria Theater. Principled and independent, Rossi did not have high ranks (he received the rank of collegiate adviser back in Tver), and did not become an academician. True, in 1822 he was elected an honorary free member (that is, an honorary academician) of the Academy of Arts. In 1828 he was awarded the title of professor at the Florentine Academy. After a conflict with P. Bazin, Rossi was reprimanded for "disobedience to the orders of his superiors" and resigned (1832), but continued to design and build until the end of his life. He died in St. Petersburg in great need, burdened with a huge family. In 1940, the ashes of Rossi were transferred from the Volkovsky cemetery to the necropolis of the Alexander Nevsky Lavra. The former Theater Street is named after him. Rossi's creations, rather dry and "with a rather monotonous decoration of facades, are nevertheless striking in their scope in solving urban problems.

The great Russian city planner and architect, to whom St. Petersburg of the era of classicism largely owes its fame.

Main works: in Moscow - the theater on Arbat Square and the Catherine Church in the Kremlin (not preserved), the wedding of the Nikolskaya Tower of the Kremlin (restored after a fire in 1812 by O. Bonet); malls in Tver, Bezhetsk and Rybinsk, a cathedral in Torzhok; in St. Petersburg - the ensemble of the Elagin Palace (palace, services, park and park pavilions), the ensemble of the Mikhailovsky Palace and Mikhailovskaya Square, the reconstruction of the territory of the Mikhailovsky (Engineering) Castle (piercing Sadovaya Street, the construction of several bridges across the Moika and the Fontanka, the creation of Manezhnaya Square ), the ensemble of the Alexandria Theater (theater, the Public Library, the pavilions of the Anichkov Palace, Teatralnaya Street and Chernysheva Square), the ensemble of the Palace Square (General Headquarters), the ensemble of the Senate Square (the Senate and the Synod).

Ruska Aloisny Ivanovich (Luigi) (1758-1822)

The Italian is from Switzerland. In 1767 he came to Russia with his father, a stone craftsman Geronimo Giovanni Rusca, invited to build St. Isaac's Cathedral and a monument to Peter the Great. He apparently learned from his father. He officially entered the service in 1783. He was engaged in state and palace buildings, in addition, he built a lot on private orders. In addition to St. Petersburg, he worked in Oranienbaum, Peterhof, Tsarskoe Selo, Ropsha; together with Stasov and Geste, he was engaged in the development of "exemplary" facades for provincial cities. In 1818 he retired from service and left Russia. He died in Valenza, Italy.

One of the most prolific masters of late classicism. His legacy is almost endless.

The main works in St. Petersburg: the Bobrinsky Palace on Galernaya Street, the barracks of the Kavalergardsky, Izmailovsky, Grenadier, Astrakhan regiments, the arena of the Cavalry Guards Regiment, the house of the Jesuit Order on the Catherine Canal, the portico of the Perinnaya Line, a house with four pediments at the corner of Sadovaya and Italian streets.

(1874-1942)

Born in Tiflis in the family of a teacher. In 1902 he graduated with honors from the Academy of Arts in the workshop. He worked at the Department of Railways in Kyiv, taught at the Kiev Polytechnic School, at the Kiev Art School, in 1917 he became one of the organizers and rector of the Kyiv Architectural Institute.

A major architect who worked in Kyiv, a representative of late eclecticism. Teacher.

The main works in Kyiv: the building of the People's Auditorium, the illusion of Shantser on Khreshchatyk, the hospital of the Society of Sisters of Mercy for several tenement houses. He built a lot after the revolution.

(1797-1875)

From a family of serfs. . He was released to the Perm gymnasium and in 1815 - "free pensioner" in the Academy of Arts. In 1818 he was dismissed from the Academy as a serf. He worked on the construction of the Peterhof paper mill. In 1820 he received a "free". Since 1821, having received the title of architect-artist, he was appointed to the post of architect of the Perm (Ural) Mining Administration. From 1832 he lived in St. Petersburg, taught at various educational institutions and was engaged in social activities. In 1839 he moved to Moscow, where he lived until his death. He held the rank of Privy Councillor. Worked on heating and ventilation issues. Founder of Russian rationalistic architectural theory. Author of the "Guide to Architecture" - one of the first professional textbooks, numerous works on plumbing.

The main work is related to industrial construction in the Urals and development in Perm. Author of many inventions, including economical stoves.

(1744-1808)

Born in Moscow in the family of a deacon. He studied at a school for children of the "spiritual rank", then at the gymnasium at Moscow University. In 1756 he was transferred to St. Petersburg, to the Academy of Arts; studied with Kokorinov and Valen-Delamote. In 1762 he was sent as a pensioner to Paris, where he worked for Ch. de Vailly. In 1766 he moved to Rome. He returned to St. Petersburg in 1768. Since 1772, he played a leading role in the Commission on the stone structure of St. Petersburg and Moscow, was engaged in the planning of cities (Voronezh, Pskov, Nikolaev, Yekaterinoslav). Outside Advisor. Designed a lot for the book. . From 1769 - adjunct professor, from 1785 - professor, from 1794 - adjunct rector of architecture at the Academy of Arts. Since 1800, he headed the commission for the construction of the Kazan Cathedral.

One of the leading classical masters of the late 18th century. Notable for the severity of his style, his work had a huge impact on the development of the classic school. Thus, the Taurida Palace became a model of manor construction in Russia.

Main works: in St. Petersburg - the Tauride Palace, the Trinity Cathedral and the Gate Church of the Alexander Nevsky Lavra; a number of manor houses in the vicinity of St. Petersburg, of which the houses in Taitsy and Skvoritsy have been preserved, the palace in Pella (not preserved); palaces in Bogoroditsk, Bobriky and Nikolsky-Gagarin near Moscow; Bogoroditsky Cathedral in Kazan; magistrate in Nikolaev.

(1769-1848)

Born in Moscow in the family of a petty official. He studied at the gymnasium at Moscow University. Upon graduation in 1783, he entered the Deanery Council as an architectural student. In 1794-1795 he was a non-commissioned officer of the Preobrazhensky Regiment, in 1797 he was assigned to the construction of salt factories with the rank of collegiate secretary. Participated in the competition for hotel projects at the entrance to Moscow on the site of the demolished white stone wall (Boulevard Ring). Promoted to provincial secretary. Participated in the design of folk holidays during the coronation of Alexander I. In 1802, by personal decree, he was sent to France, Italy and England for improvement. During his stay in Rome, he was accepted as a professor at the Academy of St. Luke. In 1808 he returned to Russia. Identified under the jurisdiction of the "Cabinet of His Imperial Majesty", from that time he took part in the largest works on orders from the court and the state. One of the four chief architects of the Committee for Buildings and Hydraulic Works (together with K. Rossi, A. Mikhailov 2m and A. Moduy). Since 1811 - academician. Acting State Councilor. Professor of the Academy of Arts in the class of architecture.

The largest architect, a representative of late classicism. With great productivity and high professionalism, he remained an epigone of the classic school. In the last years of his life he tried to work in the "Russian style".

Main works: in St. Petersburg - Provisional shops on the Obvodny Canal, Pavlovsky barracks on the Field of Mars, Main court stables, Yamskaya market on Razyezzhaya street, Spaso-Preobrazheyasky and Trinity-Izmailovsky cathedrals; in Moscow - Provision warehouses on the Crimean highway, the Grand Kremlin Palace (rebuilt by K. Ton), a hotel at the Pokrovsky Gates, the Church of the Tithes in Kyiv, Alexander Nevsky Cathedral in Saratov, the Church of Alexander Nevsky in Potsdam, a complex of buildings in the estate of Arakcheev Gruzine on the Volkhov.

(1850-1908)

He graduated from the Construction School in St. Petersburg in 1873 and from that time he taught history at the school, then at the Institute of Civil Engineers. architecture, in 1895-1903 - director. He lectured at the Technological Institute. Seriously studied Russian architecture. In 1886 he traveled to Italy, Greece and Turkey. In 1893 he was approved as a full member of the Academy of Arts.

A prominent architect, theorist, architectural historian, restorer, teacher.

Main works: Cathedral in Peterhof, participation in the erection of a monument to Alexander II in the Moscow Kremlin, translation of the book by E. Violet-le-Duc "Russian Art", a number of articles on the history of Russian architecture.

(1857-1921)

Born in Moscow in the family of an icon painter. In 1878-1882. studied at the Academy of Arts. Under the influence, he decided to devote himself to the study of Russian architecture. During 1883-1887. made a number of trips around Russia, measuring, drawing, photographing monuments of architecture, continued research and subsequently, in connection with restoration work. Repeatedly traveled abroad - to France, Italy, Turkey, Germany, etc. in connection with research and design work. In 1885 - academician, in 1902 - professor. One of the initiators of the case for the protection of monuments. He designed and built a lot in the spirit of Russian and neo-Russian styles. After the revolution, he was removed from teaching. He died in Khvalynsk.

An outstanding researcher of Russian architecture, architect, artist, theorist, teacher, restorer.

Main works: Alexander Passage in Kazan (c), a monument-tomb to Russian soldiers in San Stefano (Turkey), a church on the estate near Smolensk, in the village. Fedino, Moscow province, in Lugansk; restoration of the Spaso-Mirozhsky Cathedral in Pskov, the Transfiguration Cathedral in Pereslavl-Zalessky, the Cathedral of St. Sophia in Novgorod, the Church of the Savior-Nereditsa near Novgorod (the project was carried out by P. Pokryshkin), etc. A number of books, articles and albums on the history of Russian architecture, in including issues of "Monuments of Russian Architecture".

, Count (1844-1919(7))

From Russified French aristocrats. He graduated from the Academy of Arts in 1866, after a trip abroad he worked mainly in St. Petersburg on private orders. Academician of Architecture (1892), honorary member of the Academy of Arts, professor at the Institute of Civil Engineers. He was engaged in social activities a lot: he was the organizer of the first congresses of Russian architects, chairman of the Society of Architects-Artists; one of the founders and chairman of the society "Old Petersburg". One of the most prolific architects of his time. His position in architecture is ambiguous: not possessing great talent and taste, Suzor nevertheless played a huge role in the formation of the “pan-European” style, characteristic of ordinary buildings in the center of St. Petersburg.

The main works in St. Petersburg: more than 60 buildings were built, mostly residential buildings. Of these, the most significant are the house-complexes that belonged to Prince. Ratysov-Rozhnov (on Kirochnaya, Panteleimonovskaya and Dumskaya streets), a complex of houses on Pushkinskaya street (almost the entire street is built up to the square with the monument), a number of houses on Nevsky Prospekt. Of the public buildings, the most famous are the house of the Singer company (now the Book House), the house of the Mutual Credit Society on the Ekaterininsky (Griboedov) Canal, the Metropol Hotel on the corner of Nevsky and Vladimirsky Prospekts, a homeopathic hospital with several public baths (on Basseynaya, Bolshoy Pushkarskaya, on the Moika embankment), a number of industrial facilities.

de (1760.-1813)

Frenchman in Russian service: Born in Bern (Switzerland) into a noble family. Initially he studied at the Paris Academy of Arts, then in 1785 in Rome. He served with Charles de Artois (brother of Louis XVI), from 1794 - in Vienna with the prince. In 1799, on the recommendation of the ambassador in Vienna, Prince. invited to Russia as an artist. Since 1800 - academician. From 1802 - court architect, professor of the Academy of Arts in the class of perspective, from 1810 - professor of architecture. He was also the chief artist of the imperial glass factory. When examining the burned-out Bolshoi Theater, he fell from the scaffolding and died of bruises.

A representative of classicism who followed the principles of N. Ledoux.

Main works: in St. Petersburg - the Bolshoi Theater (located on the site of the Conservatory), the Stock Exchange and the layout of the spit of Vasilyevsky Island, the Salny Buyan (not preserved); in Pavlovsk - the mausoleum "To the Benefactor Spouse"; in Odessa - a theater and a hospital (not preserved).

(1794-1881)

Born in St. Petersburg in the family of a jeweler. In 1803 "-1815. studied at the Academy of Arts. Left at the Academy, in 1817 he was enrolled in the drawing committee of the Committee for Buildings and Hydraulic Works. In 1819, he was sent as a pensioner to Italy, where he worked until 1828, researching and drafting the restoration of the Sanctuary of Fortune in Preneste, as well as the Palace of the Caesars on the Palatine; on both jobs publishes uvrazhi. Measures and other monuments of ancient architecture. In 1821 he studied at the Polytechnic School in Paris. Carries out a number of design works. He was elected a member of the Academy of St. Luke, a corresponding member of the Roman Archaeological Academy, a professor at the Florentine Academy of Arts. Returning to St. Petersburg in 1828, he became one of the participants in the reorganization of the Academy undertaken by the president of the Academy of Arts; since 1830 - academician and professor, since 1854 - rector for architecture.

Since 1830, after the successful implementation of the project of the Church of St. Catherine in St. Petersburg, he became the leading architect in Russia, fulfilling the most important state orders from the government of Nicholas I. The albums of church projects published by him were recommended as official samples. After the death of Nicholas I, he departed from practical design, although in 1861 he received the title of "architect of his Imperial Majesty." Privy Councilor (rank corresponding to a general); in 1868 he was elected an honorary member and correspondent of the Royal Institute of British Architects. For the last ten years of his life, he was seriously ill, and died in St. Petersburg.

Ton's works are notable for the high level of solution of functional and constructive problems, the novelty of space-planning schemes, and the high culture of composition.

His creative manner, however, sinned with some dryness. The connection with the ideological program of Nicholas I turned into a tragedy for Ton's creative heritage: most of his works were destroyed; the epithets “reactionary”, “unprincipled”, “chauvinistic”, etc. were usually associated with his name. At present, justice has been restored to this master.

His merits in the creation of the neo-Russian style were recognized, which, in addition to the government order, were based on the study of medieval architecture of Byzantium and Russia.

The largest architect of the middle of the XIX century. A characteristic representative of the eclectic era, the founder of the "national" direction in architecture; a teacher who had a great influence on the formation of architectural thought in the 19th century.

The main buildings: in St. Petersburg - a pier with sphinxes near the Academy of Arts, ceremonial halls and a church in the Academy building, the Church of St. Catherine and three regimental churches (not preserved), the Nikolaev railway station (Moskovsky); in Moscow - the Cathedral of Christ the Savior (not preserved), the Grand Kremlin Palace and the Armory, the Nikolaev railway station (Leningradsky), the bell tower of the Simonov Monastery (not preserved), the Maly Theater, etc .; in Kazan - the house of the military governor in the Kremlin; cathedrals and churches in Krasnoyarsk, Tomsk, Saratov, Tsarskoye Selo (not preserved), Peterhof, Yaransk, Sevastopol, Sveaborg, Yelets, etc. Kremlin, in Izmailovo near Moscow, etc.

Trezzini Domenico Giovani (Andrey Yakimovich) (1670-1734)

Italian, originally from Switzerland. Studied in Italy. From 1699 he worked in Denmark, from where in 1708 he was invited by the ambassador to the Russian service as a fortifier. In 1704-1705. worked in Kronstadt, in 1705-1706 - in Narva, from 1706 until the end of his life - in St. Petersburg.

Being the closest assistant of Peter I, he actually led all the construction in St. Petersburg. In 1726 he received the rank of colonel of the fortification. The first architect of St. Petersburg. Trezzini's work largely determined the further development of the city and anticipated its appearance.

Main works: Peter and Paul Fortress with Petrovsky Gates, Cathedral of St. Peter and Paul; palaces of Peter I - Summer (?) and Winter (not preserved), the building of 12 colleges (university), a hospital on the Vyborg side (rebuilt), his own house on Universitetskaya us., the development project of Vasilevsky Island, projects of "exemplary" houses.

(1792-1870)

Born in Moscow in the family of an officer. Graduated from the Moscow Architectural School. In 1817-1819. in the rank of architectural assistant, he worked for D. Gilardi and in the expedition of the Kremlin building at. Participated in the competition for the design of the Grand Kremlin Palace. He worked mainly on the reconstruction of Moscow and Moscow University. Achieved a high official position. Known as a collector of paintings, bequeathed to him in the Rumyantsev Museum.

Main works: park facilities, theater and palace interiors in the Yusupov Arkhangelskoye estate, rebuilding and completion at Moscow University, rebuilding the Church of the Annunciation in Yelokhovo (Elokhov Cathedral).

, prince (1719-1775)

From the oldest impoverished princely family. Born in with. Semenovsk near Poshekhony. After graduating from the School of Mathematical and Navigational Sciences in 1733, he was assigned to the "team", from 1741 - in the Moscow "team". In 1742 he received the title of "gezel", in 1745 - the title of architect, became the chief architect of Moscow and headed his own "team". Since 1750, he headed the architectural school he organized, among his students were A. Kokorinov, M. Kazakov, A. Evlashev, and other major architects. Carried out a huge amount of work with his students on measuring and strengthening the buildings of the Moscow Kremlin, monuments in Novgorod, Uglich, etc.

The largest architect, master of the Baroque of the middle of the XVIII century. Chief architect of Moscow, for a quarter of a century.

For the first time in Russia, he organized the systematic training of architectural personnel.

Main works: in Moscow - triumphal gates - Tver and Krasnye, stone Kuznetsky bridge, house (Neskuchnoye), projects of the Hospital and Invalid houses, as well as the Resurrection triumphal gates (not implemented), the Church of St. Nikita on Basmanskaya st. (?), restoration of the bell tower of Ivan the Great, reconstruction of the All-Saints Bridge, completion of the bell tower of the Trinity-Sergius Lavra, the bell tower in Tver (together with I. Schumacher) is the only surviving building.

Felten Georg Friedrich (Yuri Matveyevich) (1730-1801)

Born in St. Petersburg in the family of an official of the Academy of Sciences. He studied at the gymnasium at the Academy. In 1744 he left for Germany. Studied at the University of Tübingen. He took part in the construction of the residence in Stuttgart. In 1749 he returned to Russia. In 1749-1751. studied at the Academy of Arts with Schumacher. Court architect, from 1783 - correspondent of the French Royal Academy, from 1784 - state councilor, from 1770 - academician, in 1772 - professor at the Academy of Arts, in 1785 - adjunct rector, in 1789-1794 years - Director of the Academy of Arts. In 1794 he retired.

Of modest talent, Felten was extremely prolific and industrious; had good taste. A classicist of the first generation, he paid tribute to the fascination with "Gothic" stylizations.

Major works in St. Petersburg: the Old Hermitage, the Chesme Palace and the Church of John the Baptist (Chesmenskaya) behind the Moscow Gate, the Alexander Orphan Institute near Smolny, the Protestant churches of St. Catherine on Vasilevsky Island and St. Anna on Kirochnaya Street, the Armenian Gregorian Church on Nevsky Prospekt, the lattice of the Summer Garden (presumably).

(1872-1936)

Born in Orel in the family of a postal official. He spent his childhood in Riga, where he graduated from high school.

Main works: spatial structural system in the form of a mesh vault (a number of industrial buildings); constructive system in the form of a hanging mesh metal cover (pavilions of the Nizhny Novgorod exhibition in 1896); hyperboloid "Shukhov towers" (lighthouses, water towers, radio towers) made of metal rods, spatial structures in the form of arched trusses; participation in the design of the Upper Trading Rows, as well as the Metropol Hotel, Bryansk (Kyiv) Station, Kazansky Station, etc.

(1878-1939)

Born in Berlin in the family of an officer, he spent his childhood in Tambov, where he graduated from a real school. In 1896 he entered the Academy of Arts, studied architecture (class), painting (class), graphics (class), sculpture (Sheva class). Studied the monuments of ancient Russian cities. After graduating from the Academy in 1906, he was on a pensioner trip to Rome, Athens, Constantinople; for the presented work was again sent to Italy. In 1911 - academician of architecture. From 1910 he taught at the school of the Society for the Encouragement of Arts in St. Petersburg, from 1913 he was the director of women's architectural courses.

The main creative activity of Shchuko falls on the post-revolutionary period, when he lived and worked in Moscow.

One of the most cultured and talented people of his time, before the revolution - a bright representative of neoclassicism. Subsequently, he worked a lot and fruitfully in the field of architecture, graphics, painting, was a major theater artist and teacher.

The main works until 1917: tenement houses No. 63 and 65 on Kamennoostrovsky prospect in St. Petersburg, Russian pavilions at the International Exhibitions in Rome and Turin, the building of the Kyiv Zemstvo Council, the church of the Polytechnic Institute in Kyiv.

(1873-1949)

Born in Chisinau at seven official. Early showed the ability to draw, after graduating from the gymnasium he entered the Academy of Arts (1891). Since 1894, in the studio. Performed measurements of the Gur-Emir mausoleum in Samarkand. After graduating from the Academy (1897), he received the right to travel abroad, visited Italy, Tunisia, France, England, and Belgium.

Shchusev approved the reporting exhibition of drawings.

The largest architect, before the revolution - a bright and consistent representative of the neo-Russian style; the main activity belongs to Soviet architecture, in which he occupied one of the leading places.

Main works until 1917: reconstruction of the Basil's Cathedral in Ovruch (XII century), the church in New Athos, the Trinity Cathedral in the Pochaev Lavra, the memorial church on the Kulikovo Field, the Martha and Mary Convent on Bolshaya Ordynka in Moscow, the church in Mikhailovsky Golden-Domed Monastery in Kyiv, Kazansky railway station in Moscow, the Russian pavilion at the XI International Exhibition in Venice.

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 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 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. 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 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 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.

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 the creation of the largest of the regular park ensembles 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 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 united 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 notable for 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 Great Tsarskoye Selo Palace 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.

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 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 Vasilievich 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 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.

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). Delamotte's building, known as New Holland - the building of the Admiralty warehouses, is filled with 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.

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 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 its 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, 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.

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.

In the first half of the 18th century, such famous buildings as the Menshikov Tower were built in Moscow, as well as the subsequently destroyed Red Gate.

The most significant achievements in Moscow architecture of the second half of the 18th century are associated with the work of such architects as Vasily Bazhenov and Matvey Kazakov. Both of them are known primarily for the architectural complex in Tsaritsino and Petrovsky Castle. Bazhenov built the famous Pashkov House. According to Kazakov's designs, the Noble Assembly, the Palace of the Governor-General, the Senate building in the Moscow Kremlin, the Eliseev House and many other Moscow buildings were built.

Matvey Fyodorovich Kazakov (1738 -1812) - Russian architect, who during the reign Catherine II rebuilt center Moscow in Palladian style . One of the largest representatives Russian pseudo-Gothic. Developer of standard building projects.

1 Biography

2 Works

3 notes

Biography

Matvey Kazakov was born in 1738 in Moscow, in the family of Fyodor Kazakov, a sub-clerk of the Main Commissariat, who came from serfs. The Kazakov family lived near Kremlin, near Borovitsky bridge. Kazakov's father died in 1749 or early 1750. Mother, Fedosya Semyonovna, decided to send her son to the architectural school of a famous architect D. V. Ukhtomsky ; in March 1751, Kazakov became a student at the Ukhtomsky school and stayed there until 1760. From 1768 he worked under the direction V. I. Bazhenova in Expeditions of the Kremlin building; in particular, in 1768-1773. he participated in the creation of the Grand Kremlin Palace, and in 1775 - in the design of festive entertainment pavilions on Khodynka field. AT 1775 Kazakov was approved as an architect.

Kazakov's heritage includes many graphic works - architectural drawings, engravings and drawings, including "Amusement buildings on the Khodynka field in Moscow" (ink, pen, 1774-1775; GNIMA), "Construction of the Petrovsky Palace" (ink, pen, 1778; GNIMA).

Kazakov also proved himself as a teacher, organizing an architectural school during the Expedition of the Kremlin Building; His students included such architects as I. V. Egotov, A. N. Bakarev, O. I. Bove and I. G. Tamansky. AT 1805 The school was transformed into the School of Architecture.

During Patriotic War of 1812 relatives took Matvey Fedorovich from Moscow to Ryazan. There the architect learned about Moscow fire- this news hastened the death of the master. Kazakov passed away October 26 (November 7) 1812 in Ryazan and was buried in a cemetery (now not preserved) Ryazan Trinity Monastery .

In 1939, the former Gorokhovskaya street in Moscow. The former Noble street in Kolomna. In 1959, in Kerch, on the initiative of the chief architect of the city, A.N. Morozov, the newly formed street began to bear the name of Kazakov in honor of his 225th birthday.

Works

Many monuments of Kazakov's Moscow were badly damaged during fire of 1812 and were restored with deviations from the original plan of the architect. The authorship of Kazakov in relation to many Palladian buildings, especially those built according to standard designs outside Moscow, is conjectural and extremely controversial (despite the assertions contained in local history publications).

Monument Vasily Bazhenov and Matvey Kazakov(foreground) in Tsaritsyn work Leonida Baranova

Prechistensky Palace in Moscow (1774-1776);

The Senate building in the Moscow Kremlin (1776-1787);

University buildings on Mokhovaya(1786-1793, rebuilt after a fire in 1812 Domenico Gilardi);

Novo-Ekaterininskaya Hospital (1774-76);

Noble Assembly (1775);

House of Archbishop Platon, later Small Nicholas Palace (1775);

Petrovskoe-Alabino, house-estate of the Meshcherskys (1776);

Church of Philip the Metropolitan (1777-1788);

Travel Palace (Tver);

House of Kozitskys on Tverskaya (1780-1788);

Temple of the Ascension on the Gorokhove field (1790-1793);

Church of Cosmas and Damian on Maroseyka (1791-1803);

House-estate of Demidov in Gorokhovsky Lane (1789-1791) ;

House-estate Gubin on Petrovka(1790s);

Golitsyn hospital (1796-1801);

Pavlovsk hospital (1802-1807);

House-estate of Baryshnikov (1797-1802);

General plan of Kolomna in 1778;

Church of the Savior in the village Raisemenovskoe, completed in 1774-1783

Petrovsky entrance palace (1776-1780);

Governor General's House (1782);

attributed

Tikhvin Church, bishop's house, towers Staro-Golutvin Monastery(1780s)

Mausoleum in Nikolo-Pogorely(Smolensk region, 1784-1802).

House Musin-Pushkin on the Razgulaye

22. Urban development of St. Petersburg in the 1760s - 1790s. Bridges and embankments.

The second half of the 18th century brought a lot of new things to Russian architecture. The growth of industry, trade, the growth of cities, as well as the major successes of Russian science, led to changes in construction. The leading architects of that time developed issues related to the planning of cities, created new types of public buildings. There were radical changes in the appearance of the buildings. The forms that were used in the middle of the 18th century for separately standing unique palace and church buildings, of course, turned out to be unsuitable for a larger-scale construction. The new content also determined the corresponding forms. Architects turned to the heritage of ancient, primarily Roman, classics. From the latter they took orders, which were reproduced extremely accurately with respect for the correct proportions and details. Orders became the main means of tectonic and plastic design of facades and interiors. Another requirement for the architectural structures of this time is the harmony of proportions, both in relation to the total volumes and individual elements of buildings. Architectural techniques, developed on the basis of a creative appeal to antiquity, later received the name of Russian classicism.

From the beginning of the 1760s, large-scale urban planning work began - in St. Petersburg, Moscow, and a number of other Russian cities. Of great importance in the construction of St. Petersburg was the work on regulating the banks of the Neva and small rivers, laying new canals, building granite embankments, and building the first stone bridges. "The Neva was dressed in granite, bridges hung over the waters," A.S. Pushkin later aptly and accurately characterizes these works. At the same time, a system of large squares was being developed on the territory of the city center near the Admiralty, which had finally been determined by this time. Squares were created near the Fontanka; its banks were connected by seven monumental drawbridges. In Moscow, on the site of the old fortress walls of the White City, a ring of wide beautiful boulevards arose, defining the appearance of many streets. Significant construction work has also been carried out in a number of other cities. So, in Tver (now the city of Kalinin), after the fire of 1763, the entire city center was reconstructed on new principles. Considerable construction unfolded in Yaroslavl.

At the same time, separate large structures for a new purpose were also built. On the banks of the Neva A. F. Kokorinov(1726-1772), who studied with Korobov, Ukhtomsky, and J.-B. Ballin-Delamothe(1729-1800) the huge building of the Academy of Arts was erected (1764-1788, ill. 33). Near the Smolny Monastery, turned in these years into a closed privileged educational institution, Yu. M. Felten built a new large building specifically for educational purposes. An extensive building of the Orphanage was erected in Moscow. In the general schemes of their solutions, there are still many of the former palace buildings, but at the same time, the architects boldly developed new techniques, created convenient, rational plans. The external appearance of these buildings is also solved in a different way - in strict and simple forms.

Il. 33. A. F. Kokorinov, J.-B. Vallin-Delamot. Academy of Arts. 1764-1788. Leningrad

Simplicity and restraint are also characteristic of other structures of this time. The Marble Palace (1768-1785) built by the architect A. Rinaldi (c. 1710-1794) in the central part of St. Petersburg is indicative; its facades are distinguished by clear composition and harmonious proportions.

What was outlined in the works of the 1760s later received a particularly vivid and consistent disclosure in the work of the leading architects of that time - Bazhenov, Kazakov, Starov, Quarenghi.

V. I. Bazhenov(1737-1799). Vasily Ivanovich Bazhenov began studying at the Ukhtomsky school, then studied at Moscow University with Chevakinsky, and finally graduated from the Academy of Arts. After a business trip abroad, he settled in Moscow, with which his largest buildings and projects are associated. A particularly prominent place among them belongs to the project of the Kremlin Palace and construction in Tsaritsyn near Moscow.

Il. 49. V. I. Bazhenov. Entrance pavilions of the Mikhailovsky Castle. 1798-1800. Leningrad

In 1768-1773, Bazhenov headed the design workshop - the so-called Model House, where work was carried out on the project of a grandiose new Kremlin Palace. It was assumed that the palace would cover the entire Kremlin hill. Its courtyards-squares were supposed to contain the ancient monuments of the Kremlin. In contrast to the characteristic techniques of the palace buildings of the middle of the century, Bazhenov puts forward the solution of general planning problems to the first place. He outlines the creation on the territory of the Kremlin hill of a whole system of squares and passages connecting them, and conceives the entire palace, taking into account the general layout and specific features of the area. In close connection with the new building of the palace (the main building of which was oriented towards the Moscow River), large buildings of the main administrative institutions of Moscow were also conceived. The entrance from Red Square through the Spassky Gates led to the main square (courtyard) in the form of a grandiose open-air hall with places for large gatherings arranged in an amphitheatre. Nearby was also the main entrance to the palace. Bazhenov's project (1767-1775) was not implemented, but the grandiose model he created (now in the GNIMA, ill. 51) had a strong influence on the development of architecture of that time.

Il. 51. V. I. Bazhenov. Model of the Kremlin Palace in Moscow. Fragment. 1773

In the construction of the ensemble in Tsaritsyn, Bazhenov also boldly and in a new way approached the task assigned to him. In contrast to the palace structures of the middle of the century, he created here a picturesque landscape park with small pavilions placed in it, organically connected with the specific sites on which they were erected. In the original architectural forms of the Tsaritsyno buildings, Bazhenov tried to develop the traditions of ancient Moscow architecture. Abandoned at the end of the 18th century, these buildings have come down to us in a dilapidated state.

Of Bazhenov's buildings in Moscow, the former Pashkov House (1784-1786), now the old building of the Lenin Library, is of particular importance. The architect made good use of the relief of the site and took into account the location of the building in the immediate vicinity of the Kremlin.

Bazhenov was not only a remarkable practical architect, he also belonged to the largest representatives of Russian artistic culture of the late 18th century. If many of his undertakings were not realized in the difficult conditions of that time, then his attempts to create a public art gallery in Moscow, the organization of an art school, the publication of a huge engraved work on Russian architecture, the project for the reform of the Academy of Arts clearly testify to his advanced views, to his tireless striving to develop national Russian fine arts and architecture. Such is Bazhenov - a man of glorious and at the same time almost tragic creative fate.

M. F. Kazakov(1738-1812). Along with Bazhenov, Matvei Fedorovich Kazakov worked in Moscow, who owed his education to the Ukhtomsky school. Kazakov's practical activity began in Tver, but his most important buildings were completed in Moscow. At first he was Bazhenov's closest assistant at the Model House, from the mid-1770s he began his independent work. One of the first outstanding buildings of Kazakov was the building of the Senate in the Kremlin (1776-1787), now the Supreme Soviet of the USSR (ill. 50). Kazakov perfectly took into account and used the features of the triangular site allotted for construction and created a building in which the monumentality of the general appearance and grandeur of the composition are organically combined with the convenience and expediency of the plan, unusual for that time. In interior decoration, the large round hall (now Sverdlovsk) is especially remarkable.

Il. 50. M. F. Kazakov. The Senate building in the Moscow Kremlin (now the building of the Supreme Soviet of the USSR). 1776-1787

Subsequently, Kazakov built many different buildings in Moscow, among which the university stands out (after the fire of 1812, restored by D. Gilardi, who changed the appearance, but retained the original general composition and layout) and the Golitsyn Hospital (1796-1801, the first large city Moscow Hospital), which is one of the last and most rigorous works of the architect.

I. E. Starov(1745-1808). One of the greatest architects of that time, Ivan Yegorovich Staroye, also received his first knowledge of architecture in the team of Ukhtomsky, then graduated from the Academy of Arts and later worked as a teacher there. Starov designed a lot for different cities, but his most important buildings are in St. Petersburg. Among them, the largest is the Tauride Palace (1783-1789, ill. 53). The site on which it is located was not included in the city at the end of the 18th century, which made it possible to freely place the building, organizing an entrance to it by a canal from the Neva, and create a large park with it. The palace was intended for large festivities and receptions associated with celebrations on the occasion of the annexation of Crimea to Russia. This is also due to the presence of ceremonial halls in the palace. Behind the vestibule there is a domed hall ("Russian Pantheon", as G. R. Derzhavin called it in his description of the palace), behind it, crossing the entire building in width, there was a grandiose columned hall and behind it - a winter garden, to the walls of which a vast park adjoined palace. In terms of breadth and scope, solemnity and at the same time severity, the Tauride Palace was one of the most significant buildings of that time.

Il. 53. I. E. Starov. Tauride Palace. 1783-1789. Leningrad

At the end of the 18th - beginning of the 19th century, large-scale construction work was carried out by Giacomo Quarenghi(1744-1817). native Northern Italy, it was only after his arrival in Russia in 1779 that he got the opportunity to create large works. Among the numerous buildings made according to his projects, simple and concise in form, public buildings also predominate - the Academy of Sciences (1783-1789), the State (Assignation, as it was then called) Bank (1783-1790), shopping arcades, educational institutions, a hospital . One of the best buildings of Quarenghi is the building of an educational institution - the Smolny Institute (1806-1808, ill. 52).

Il. 52. D. Quarenghi. Smolny Institute. 1806-1808. Leningrad

Extremely simple and rational in plan, strict in appearance, it is inextricably linked for us with the events of the Great October Socialist Revolution.

In the suburbs of St. Petersburg - Tsarskoye Selo and Pavlovsk - in the last two decades of the 18th century, the architect Charles Cameron(1740s-1812). The Pavlovsk Palace (1782-1786) and the Cameron Gallery (1783-1786) built by him in Tsarskoye Selo are notable for their clarity of composition and elegance of decoration. The interiors of the private rooms of Catherine II in the Catherine Palace of Tsarskoye Selo were unusually diverse in terms of compositional solution and the facing materials used in them.

During these years, significant construction was going on not only in cities, but also in estates. Serf architects played an important role here, closely connected with folk traditions and at the same time using new architectural techniques (the Ostankino estate near Moscow, created by serf masters with the participation of the remarkable serf architect P. I. Argunov).

In the 1760s - 1790s, questions of the synthesis of the arts were widely raised. Outstanding sculptors of that time worked in the field of decorative sculpture - Shubin, Kozlovsky, Prokofiev.

Many new things have been introduced into the park construction. Regular gardens were replaced by landscape parks. The best examples of this type are: Tsaritsyno, Ostankino, Gatchina, Pavlovsk.

23. Architectural ensemble of Tsarskoye Selo.

Tsarskoye Selo - a pearl of 18th century architecture

The main features of the development of architecture of the XVIII century in Russia

XVIII century - important in the history of Russian architecture, the flowering of architecture in Russia:

• Three trends are characteristic, which manifested themselves consistently over the course of the century: baroque, rococo, classicism. There is a transition from baroque (Naryshkin and Peter the Great) to classicism of the second half of the 18th century.
• Western and Russian traditions, Modern times and the Middle Ages are successfully combined in architecture.
• New cities appear, architectural monuments are born, which today belong to the historical and cultural heritage of Russia.
• St. Petersburg becomes the main center of construction: palaces with facades and parade structures were built, palace and park ensembles were created.
• Special attention was paid to the construction of civil architecture objects: theaters, factories, shipyards, collegiums, public and industrial buildings.
• There is a beginning of the transition to the planned development of cities.
• Foreign masters are invited to Russia: Italian, German, French, Dutch.
• In the second half of the 18th century, palace and park buildings became attractions not only in the capital, but also in provincial and district cities.

Development of architecture Russia XVIII centuries can be divided into three time periods, each of which accounts for the development of a particular direction, namely:

• First third of the 18th century. Baroque.
• Middle of the 18th century. Baroque and Rococo.
• End of the 18th century. Classicism.

Let's take a closer look at each period.

The main architectural styles of the 18th century in Russia

First third of the 18th century is inextricably linked with the name of Peter I. The cities of Russia during this period are undergoing changes in terms of architectural planning and in the socio-economic aspect. With the development of industry, the emergence of a large number of industrial cities and towns is associated. Great importance is given to the appearance, facades of ordinary buildings and residential buildings, as well as theaters, town halls, hospitals, schools, orphanages. The active use of brick instead of wood in construction dates back to 1710, but it concerns, first of all, the capital cities, however, for peripheral cities, brick and stone belong to the forbidden category.

Along with the development of civil engineering, considerable attention is paid to the improvement of streets, lighting, and trees are planted. Everything was affected by Western influence and the will of Peter, which was expressed by the issuance of decrees that revolutionized urban planning.

Remark 1

Russia occupies a worthy place in urban planning and improvement, thus catching up with Europe.

The main event of the beginning of the century was the construction of St. Petersburg and Moscow's Lefortovo Sloboda. Peter I sends domestic masters to study in Europe, inviting foreign architects to Russia. Among them are Rastrelli (father), Michetti, Trezzini, Leblon, Schedel. The predominant direction of this period is baroque, which is characterized by a simultaneous combination of reality and illusion, pomp and contrast.

The construction of the Peter and Paul Fortress in 1703 and the Admiralty in 1704 marks the beginning of the construction of St. Petersburg. Thanks to the well-coordinated work of foreign and Russian masters, Western architectural features merged with native Russian ones, eventually creating the Russian Baroque or Baroque of the Petrine era. This period includes the creation of the summer palace of Peter the Great, the Kunstkamera, the Menshikov Palace, the building of the Twelve Colleges, the Peter and Paul Cathedral in St. Petersburg. The creation of the ensembles of the Winter Palace, Tsarskoye Selo, Peterhof, the Stroganov Palace, and the Smolny Monastery took place in a later period. The churches of the Archangel Gabriel and John the Warrior on Yakimanka are architectural creations in Moscow, the Peter and Paul Cathedral in Kazan.

Figure 1. Admiralty in St. Petersburg. Author24 - online exchange of student papers

An irreparable loss was the death of Peter I for the state, although in essence it had no effect on the development of architecture and urban planning in the middle of the 18th century. The Russian state has strong personnel. Michurin, Blank, Korobov, Zemtsov, Eropkin, Usov are the leading Russian architects of the time.

Rococo is a style that characterizes this period, a combination of baroque and only emerging classicism. Gallantry and confidence are the main features of that time. The buildings of that time still possess pomp and pomp, while at the same time showing strict features of classicism.

Rococo period coincides with the reign of Peter's daughter Elizabeth and is marked by the work of Rastrelli (son), whose projects fit very organically into the history of Russian architecture of the 18th century. Rastrelli was brought up in Russian culture and well understood the Russian character. His work kept pace with his contemporaries Ukhtomsky, Chevakinsky, Kvasov. Dome compositions have become widespread, replacing the spire-shaped ones. In Russian history, there are no analogues of scope and splendor inherent in the ensembles of that time. The high art of Rastrelli and his contemporaries, with all their recognition, was replaced by classicism in the second half of the 18th century.

Remark 2

The most grandiose projects of the period are the new general plan of St. Petersburg and the redevelopment of Moscow.

In the last third of the 18th century in architecture, the features of a new direction begin to appear - Russian classicism - as it was later called. This direction characterize the ancient severity of forms, simplicity and rationality of designs. Classicism most manifested itself in the Moscow architecture of that time. Among the many famous creations, the Pashkov house, the Tsaritsyn complex, the Razumovsky palace, the Senate building, the Golitsyn house should be noted. At that time, the construction of the Alexander Nevsky Lavra, the Hermitage, the Hermitage Theater, the Academy of Sciences, the Tauride Palace, the Marble Palace was taking place in St. Petersburg. Kazakaov, Ukhtomsky, Bazhenov are famous and outstanding architects of that time.

The changes affected many provincial cities, among them: Nizhny Novgorod, Kostroma, Arkhangelsk, Yaroslavl, Oranienbaum (Lomonosov), Odoev Bogoroditsk, Tsarskoye Selo (Pushkin).

During this period, the economic and industrial centers of the Russian state are born: Taganrog, Petrozavodsk, Yekaterinburg and others.

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 is clearly traced. 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 social 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 learned 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, churches 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 a well-preserved summer palace 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 the carriageway of the street 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 behind 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.
The political center of the capital was formed on Vasilevsky Island and, according to the project of D. Trezzini, the building of twelve colleges is being erected (10 colleges are 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 of the 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 load-bearing part of the volumes of the church was designed using a large order, which combines the elegant compositions of the 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), which consists in a harmonious combination of 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.
Architects I.A. Mordvinov and I.F. Michurin (1700-1763) were sent from St. Petersburg to Moscow. They were engaged in drawing up plans for the Kremlin, Kitay-Gorod and partly the White City in connection with the relocation of the royal court to Moscow and construction along the banks of the Yauza palaces of the court nobility. 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 when one penetrates inside it. In the palace and church premises, along with the stucco decoration of the walls and ceilings, multicolored 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 at 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 of a 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 precisely 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 over 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 commercial areas, and clear city boundaries. 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 ceremonial premises of a one-story palace is especially distinguished by its majestic beauty - Big hall, Oval Hall, Hall of 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 view 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 the Demidov Palace is the cast-iron outer terrace and cast-iron staircases with arched 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 the fence of the 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 garden and park art was replaced by 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.