A.I. Venediktov
The largest phenomena of English architecture of the period under consideration date back to the last thirty years of the 17th century. The successor to the classic of English architecture Inigo Jones was Christopher Wren (1632-1723), who remained the leading master of English architecture during the first quarter of the 18th century.
Ren received a very broad education: before he completely turned to architecture, he studied mathematics and astronomy. Having made a trip to France in 1665, he met Jules Hardouin-Mansart and other French architects and their works, as well as Bernini, who brought the Louvre project to Paris.
After the "Great Fire" of 1666, which destroyed most of London, Wren creates a project for a radical redevelopment of the city, which, however, was rejected by the reactionary authorities. At the same time, Wren received the largest order for the construction of the new Cathedral of St. Paul and the drafting of a hundred burnt-down parish churches, of which he built more than fifty.
Cathedral of st. Paul in London, built by Ren for thirty-six years (1675-1710), became the greatest religious building of the Protestant world (it is longer than Cologne Cathedral in length, the height of the dome is the Florentine Cathedral Sanga Maria del Fiore). Roman Catholic Cathedral of St. Peter, built by many architects for more than a century and a half, was, as it were, intentionally opposed to the London Protestant Cathedral, built by one master in one construction period, in just three and a half decades. Wren's first project with a centric plan in the form of an equilateral cross with a vestibule was rejected by the conservative clergy. The second, completed project, had a more traditional elongated shape with a main room divided by pillars and arches into three naves and a spacious domed space at the intersection of the naves with the transept.
Wren's mathematical knowledge was useful to him in the difficult task of erecting a dome, which he solved brilliantly, with a subtle and deep calculation. The design of the triple dome, resting on eight pillars, is complex and unusual: above the inner brick shell of a hemispherical shape, there is a brick truncated cone, which carries a lantern and a cross crowning the cathedral, as well as a third, wooden, lead-covered outer shell of the dome.
The appearance of the cathedral is spectacular. Two marches of wide steps lead from the west to six pairs of Corinthian columns of the entrance portico, above which there are four more pairs of columns with composite capitals, carrying a pediment with a sculptural group in the tympanum. More modest semicircular porticoes are placed at both ends of the transept. Slender towers are erected on the sides of the main facade (one for the bells, the other for the clocks), behind them, above the middle cross of the cathedral, a huge majestic dome rises. The domed drum, surrounded by columns, seems especially powerful because every fourth intercolumn of the colonnade (the so-called Stone Gallery) is laid with stone. Above the hemisphere of the dome itself, the second, the so-called Golden Gallery, forms a detour around the lantern with a cross. The group of domes and towers towering over London is undoubtedly the most successful part of the cathedral, the main body of which was difficult to perceive in its entirety, as it remained hidden by the disorderly urban development (badly destroyed by bombing during the Second World War).
Ren's creative individuality is revealed no less vividly in those of him. works such as London parish churches. The variety and ingenuity of the square, rectangular, oval plans of these buildings, usually small in size, is amazing, the very configuration of which was often explained by the skillful use of cramped, inconvenient areas allocated for their construction. The architecture of the churches themselves and their bell towers, either close in shape to the Gothic or strictly classical, are extremely diverse. Suffice it to mention the domed church of Saint Stephen (1672-1679), original in terms of the composition of the interior space, or the Church of Saint Mary le Bou (1671-1680) with its slender bell tower, remarkable for its beauty.
Of Ren's civilian structures, one of the most glamorous is the new portions of Hampton Court Palace. In 1689-1694 they built buildings around the so-called courtyard with a fountain and a facade overlooking the park. In this original work, the architect showed high skill, strict taste and the ability to effectively use materials - brick and white Portland stone.
A prolific craftsman, Wren built more than just palaces and churches. He finally developed the plan for the Greenwich Hospital (the original idea of \u200b\u200bwhich belongs, apparently, to Inigo Jones), and also built another hospital in Chelsea. He built up the Temple area in London, built a town hall in Windsor. In Cambridge, he owns the Trinity College Library (Trinity College), which was inspired by St. Mark in Venice. In Oxford, where Wren taught astronomy in his youth, he built the so-called Sheldon Theater - a large round room for lectures and reports, which uses the motives of the architecture of the ancient Roman theater of Marcellus; there he also built a library at Queens College and a courtyard at Trinity College. The motifs of Venetian and Roman architecture used in these buildings received an original interpretation from Wren and went down in the history of English architecture as the creation of a national genius.
In residential country and city houses at this time, a type of brick building with white stone trim was created, which became a model for later English construction. Examples include the Groombridge Place estates in Kent attributed to Wren and the Swan House (Swan House) in Chichester.
In contrast to Inigo Jones, Ren, during his long and fruitful career, managed to realize almost all of his plans. As a true humanist, Ren worked for education and the people, he built not only churches, but also hospitals, libraries, not only palaces, but also modest residential buildings. Wren followed the path foreseen by Jones, but, unlike Jones, who absorbed the spirit of the Renaissance in Italy, in the classicism of Wren, who survived the era of Puritanism, the rational principle is more clearly expressed.
In 18th century English architecture. of great importance was the newly awakened passion for the work of Palladio. By 1742, three editions of Palladio's architectural treatise had already been published. From the middle of the century, the publication of independent studies on ancient architecture began. Robert Wood 1753-1757 published an uvrazh dedicated to the ruins of Palmyra and Baalbek, Robert Adam published in 1764 sketches and measurements of Diocletian's palace in Split in Dalmatia. All of these publications contributed to the development of architectural theory and influenced the architectural practice of the time. New ideas were reflected in major urban planning events, for example, in the planning and development of the city of Bath (1725-1780), the areas of which represent the most complete classicist ensembles in England. Architects of the 18th century are already in most cases professionals and theorists.
John Vanbruh (1664-1726) occupies an intermediate position between the versatile and educated masters of the 17th century and the narrow specialists of the 18th century. A brilliant officer, court wit, fashionable playwright, he remained a gifted dilettante in architecture too.
His main and largest works are those built in the first years of the 18th century. Howard (1699-1712) and Blenheim (1705-1724) palaces.
Already in the first of them, trying to combine Versailles scope with English comfort, he struck his contemporaries primarily by the size of his building, the length of which was 200 m, the depth was almost 130 m, the height of the central dome exceeded 70 m. In the even more grandiose in size Blenheim Palace built for the famous general the Duke of Marlborough (259 X 155 m), the architect tried to improve the somewhat awkward plan of the first building. Observing strict symmetry, he placed two more courtyards on both sides of the huge courdoner, which are connected to the main building by galleries decorated with a colonnade. In the external architecture of the Blenheim Palace, neither the heavy portico of the main entrance, nor the triumphal arch of the park façade, nor the corner towers, which seem to be built on, are pleasing to the eye: the forms here are heavy and rough. The interiors of the palace are inconvenient and uncomfortable. The striving for strict splendor characteristic of classicism is rather mechanically combined in Vanbruh with superficial splendor dating back to the Baroque. In its architecture, in the words of one of his contemporaries, “heavy in form and lightweight in essence,” it is easy to find clear signs of eclecticism.
Nicholas Hawksmoor (1661-1736) was a more modest but more worthy successor to Wren. He led the construction of London churches, of which the most interesting is St. Mary Woolnos Church (1716-1719) with a rustic façade and a rectangular bell tower surrounded by columns, topped with two balustraded turrets. Hawksmoor worked after his teacher in Oxford, where he built a new building of Queens College with a monumental courtyard facade and a peculiar entrance (1710-1719). Finally, even during Wren's life and after his death Hawksmoor in 1705-1715. continued construction of the Greenwich Hospital. Located on the banks of the Thames, this one of the most significant monuments of English architecture in terms of size and artistic merit took on its final form under Hawksmoor.
The large hospital complex, where the naval school is now located, consists of four buildings forming rectangular courtyards with a spacious area between the front buildings, facing the river by porticos of facades. Wide steps, on both sides of which are located the majestic domed buildings, lead to the second square between the second pair of courtyards. Hawksmoor completed the work begun by Jones and continued by Wren with dignity.
William Kent (1684-1748) was the most prominent English Palladian of the first half of the 18th century. Together with Lord Burlington, who fancied himself an architect, he designed and built a villa at Chiswick (1729), the most successful of the many English versions of the Palladium Rotunda villa. Kent felt more at ease during the construction of Holkham Hall Castle (1734), where four wings organically connected with the central building (with a chapel, library, kitchen and guest rooms) overlook the surrounding park. Especially great are the merits of Kent in gardening art, where he is known as the "father of the modern garden."
The most mature work of the architect is the poorly shaped, orderless facade of the barracks of the Horse Guards Regiment (Horses Gards, 1742-1751) in London.
Architect and architectural theorist James Gibbs (1682-1765) is the most prominent personality in English architecture of the first half of the 18th century. After going to school with Philippe Juvara in Turin, he also learned the order and proportional system of Palladio. The most significant of its buildings, both in scale and in artistic merit, is the so-called Redcliffe Library in Oxford (1737-1749), an exceptional centric structure, consisting of a sixteen-sided base, a cylindrical main part and a dome. The massive rusticated plinth is cut through by large arched door and window openings; the round part is dismembered by paired three-quarter columns into sixteen piers with two tiers of alternating windows and niches. A dome crowned with a lantern rises above the balustrade that completes the main cylindrical volume. Fully expressing its purpose, austere and monumental university library is undoubtedly one of the first places among the best monuments of English architecture.
The London churches of Gibbs, the construction of which he continued after Wren and Hawksmoor, are also peculiar - the two-story Church of St. Mary le Strand (1714-1717) with a semicircular entrance portico and a slender bell tower and the Church of St. Martin in de Fields (1721-1726) with an imposing Corinthian portico.
William Chambers (1723-1796) was a consistent representative of Palladianism in England in the second half of the 18th century, when lesser English architects had already abandoned their unsuccessful attempts to adapt plans for Palladian villas to the conditions of the English climate and the requirements of English comfort.
Chambers summed up the passed stage of English architecture in his architectural treatise and his largest building, known as the Somerset House in London (1776-1786). This monumental building, built on arcades of substructures, faces the Strand and the Thames with its rusticated facades (the facade facing the river was completed later, in the 19th century). The premises of Somerset House in 1780 housed the Royal Academy.
The last Palladian, Chambers was the first representative of the academic movement in English architecture.
But Somerset House, especially the façade with the three-arch entrance from the Strand and the imposing courtyard of the building, completes a great and brilliant era in the history of English architecture with dignity.
The merits of Chambers in the field of landscape gardening are also undeniable, where he promoted the English landscape park. After Kent, he worked in Kew Park, where, in addition to classical pavilions, he built a Chinese pagoda as a tribute to the European fashion for the "Chinese" and as a memory of his journey to the Far East in his youth.
Robert Adam (1728-1792), another prominent English architect of the second half of the 18th century, is often contrasted with Chambers. While the Conservative Chambers was a strict guardian of the Palladian traditions in architecture, Adam, a preacher of "new tastes", was to a certain extent an innovator in English art. Perceiving antiquity in a new way, paying particular attention to decorative motives, he, in his own words, "revolutionized ornament." The leading English architects of that time, headed by him, did a lot to ensure that the new artistic trends he pursued spread from interior decoration (their example is the vestibule of Wardour Castle in Wiltshire, created by the architect James Payne, see illustration) to furniture, fabrics, and porcelain.
A typical example of Adam's work is Kedleston Hall Castle (1765-1770), built and decorated by him inside according to the Palladian plan drawn up by other architects (with semicircular wings adjacent to the central building). But located on the main axis, the largest ceremonial rooms of the castle belong, undoubtedly, to Adam. The idea of \u200b\u200ba large hall, where antique statues stand in the niches of the walls behind Corinthian columns made of imitation marble behind the stucco ceiling, and the saloon covered with a dome, the walls of which are dismembered by niches and tabernacles, were probably inspired by the ancient monuments that Adam got acquainted with during his trip to Dalmatia. where he studied Diocletian's palace in Split. Methods of decorating other, smaller rooms - stucco ceilings and walls, decorating fireplaces - met the new refined tastes even more. The exquisite façade of the Boodle Club in London (1765) gives an idea of \u200b\u200bhow Adam designed the exterior of the building.
The architectural activity of Robert Adam was extremely wide. Together with his brothers James, John and William, his permanent employees, he rebuilt entire streets, squares, blocks of London. Having overcome the former Palladian isolation, the isolation of the architectural volume, the Adam brothers worked out methods of forming integral city blocks (mainly residential buildings) on the basis of a single architectural ensemble. These are Fitzroy Square, the Adelphi quarter, named after the Adam brothers themselves ("adelfos" is Greek for "brother"). As a result of later redevelopments and rebuilding of the city (and also after aerial bombardments during the Second World War), little survived from the extensive construction activities of the Adam brothers. But the traditions of their art have long retained their significance in English architecture. The already heavily Hellenized style of the brothers Adam found its continuation in the so-called "Greek revival", the beginning of which dates back to the end of the 18th century, - a direction that was not creatively enough original and to a large extent eclectic. This trend reached its full development in English architecture in the first decades of the next, 19th century.
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Architecture XVIII The art of designing and constructing various buildings, structures and their complexes. Peter and Paul Cathedral (Saint Petersburg, Russia)
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The architecture is divided into Narshkin (Russian) Baroque. Classicism 18th century architectural styles. Baroque Rastrelli F. B. Smolny monastery,
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Architecture Classicism Artistic style in European art of the 17th century. He considered antiquity as an ethical and artistic norm. It is characterized by heroic pathos, plastic harmony and clarity. Baroque. One of the artistic styles of the late 16th and mid-18th centuries, which gravitated towards ceremonial solemnity, decorativeness, tension and dynamism of images. The baroque is characterized by a gravitation towards the ensemble and the synthesis of arts.
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Rastrelli F.B. Russian architect of Italian origin (1700 - 1771) Born presumably in Paris. He received his initial education under the guidance of his father, the sculptor Karl-Bartholomew Rastrelli. I helped him in fulfilling orders. Invited to Russia in 1830. Several outstanding ensembles were built in St. Petersburg, including the Smolny Monastery, as well as the Peterhof (1747-1752) and Tsarskoye Selo palaces (1752-1757), the building of the Winter Palace, St. Andrew's Cathedral in Kiev (1774-1748) and the Smolny Monastery ( 1748-1755)
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Charles Cameron (1746 - 1812) Born in London, the son of a construction contractor. Initially he worked as an artist who created sketches for decorative and applied art, then he was an architectural draftsman and engraver. In 1779 he was invited to Russia to build the thermal baths in Tsarskoe Selo as the most famous researcher of this type of buildings in Europe. In 1779 he was appointed the architect of the imperial court, responsible for the "buildings" of Tsarskoye Selo. His most outstanding works in this ensemble are the thermal complex, which includes Cold Baths, Agate Rooms (1779-1785), the Walking Cameron Gallery and Hanging Garden (1783-1786), and a ramp. From 1779 to 1786 Cameron worked in Pavlovsk for the grand dukes. After the accession of Paul I, Cameron was dismissed from the position of court architect, but in 1800 he was again taken to serve in the Imperial Cabinet. In 1803-1806 he was the chief architect of the Admiralty. He played a significant role in the development of mature classicism in Russian architecture, combining Palladian ideas with the desire for an archaeologically accurate "revival" of antiquity.
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Charles Cameron is an English architect who spent most of his life in Russia (1746 - 1812) Cameron Gallery. Staircase 1782 - 1785 Russia, Tsarskoe Selo
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Charles Cameron is an English architect who worked most of his life in Russia (1746 - 1812) Palace in Pavlovsk 1779 - 1786 Russia, Pavlovsk
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G. Quarenghi is an Italian architect, worked in Russia, a prominent representative of the classicism of the 18th century (1744 - 1817). Born near Bergamo in a family of artists. According to family tradition, he was supposed to become a clergyman, but seeing his son's craving for drawing, his father sent him to Rome, where he became interested in architecture. During his travels to Italy, he met Baron Grimm, who invited the architect to Russia (1780), where Quarenghi became the court architect of Catherine II. He built many structures for the courtyard and courtiers, mainly in St. Petersburg, Peterhof and Tsarskoe Selo; building of the Academy of Sciences in St. Petersburg, Smolny Institute (1806-1808). Along with the buildings, he left a significant graphic heritage. He was engaged in engravings and etchings, prepared and published engraved albums "Hermitage Theater" (1787), "Assignation Bank" (1791), "George Hall of the Winter Palace" (1791), "Hospitable House named after Countess Sheremeteva" (1800s). Quarenghi's buildings are distinguished by the clarity of planning solutions, simplicity and clarity of compositions, monumental plasticity of forms, which is achieved by the introduction of solemn colonnades, which stand out against the background of smooth surfaces of the walls. Quarenghi brought to Russian architecture the highest achievements of Western and Italian architecture and his ardent adherence to the techniques of A. Palladio.
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Bazhenov V.I. the great Russian architect of the 18th century, draftsman, theorist of architecture (1738 - 1799) Bazhenov is the first international name in the history of Russian architecture. He raised Russian architecture to European mastery and brought in its distinctive national features, thanks to which one can speak of "Russian classicism". The generosity of his talent, the breadth of his creative scope were closely intertwined with the failures of his personal fate. non-recognition of contemporaries. But the great architectural designs of Bazhenov, such as the Grand Kremlin Palace, the ensemble in Tsaritsyn, were not realized.
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Bazhenov V.I. the great Russian architect of the 18th century, draftsman, theorist of architecture (1738 - 1799) In 1767, Bazhenov, on behalf of Catherine II, began the reconstruction of the Kremlin. According to Bazhenov's project, the Kremlin was turning into a new center of Moscow. The main part of the palace occupied the space from the Spassky Gate along the Moscow embankment to the Vodovzvodnaya Tower. The Kremlin wall remained only from the side of Red Square. The center of the entire composition was to be the Oval Square - the square of public gatherings. It was connected through huge arches by three beams of avenues running from Troitsky and Nikolsky to the Spassky Gate with smaller squares. However, the colossal size of the proposed palace made the construction economically unrealistic. The Empress soon cooled off to this lap, and in 1775 construction was halted ..
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Bazhenov V.I. In all descriptions of the city published after the 1880s, the Pashkov House is called “the most beautiful building in Moscow”, “the pearl of Russian architecture”. It crowns Vagankovsky Hill opposite the Kremlin. In the 1780s-1790s, after the failures that befell Bazhenov, he accepted private orders for the construction of mansions. Among the customers - the guards lieutenant-captain P.E. Pashkov, the grandson of Denshik Peter 1. That is why this building is still called the Pashkov House. The palace was the center of the city estate, which included outbuildings, outbuildings, a garden with ponds, fountains, and outlandish birds. The building was decorated with statues of ancient gods - Mars, Flora, Minerva. Pashkov Palace 1784 - 1786
The 18th century in the architecture and urban planning of Russia is considered important and significant. It is characterized by three directions - baroque, rococo and classicism, which manifested themselves consistently over the century. During this period, newer cities appear, objects are created, which in our time are considered recognized historical and architectural monuments.
First third of the 18th century. Baroque
In the first third of the century, all architectural transformations are inextricably linked with the name of Peter the Great. During this period, Russian cities have undergone significant changes both in socio-economic terms and in architectural planning. It was at this time that industry developed, which led to the construction of many industrial cities and towns. The political situation in the country and abroad created the prerequisites for the fact that the nobility and merchants that dominated this period were drawn into the construction of public facilities. If before this period the most magnificent and beautiful were mainly churches and royal residences (chambers), then at the beginning of the 18th century in the cities great importance is attached to the appearance of ordinary residential buildings, as well as emerging theaters, embankments, there is a massive construction of town halls, schools, hospitals (so-called hospitals), orphanages. Since 1710, brick has been actively used in construction instead of wooden buildings. True, initially this innovation concerned, first of all, the capitals, while for the periphery stone and brick remained banned for a long time.
Peter I created a special commission, which in the future will become the main body of state design of both the capital and other cities. Civil construction already prevails over church construction. Great importance is attached not only to the facades, but also to the appearance of the entire city - houses are being built with facades along the streets, buildings are being decompressed for fire-prevention purposes, streets are being improved, roads are being paved, the issue of street lighting is being resolved, trees are being planted along the sides. In all this, one can feel the visible influence of the West and the firm hand of Peter, who, by his decrees, practically revolutionized urban planning in those years. Therefore, it is not surprising that in a short time Russia manages to practically catch up with Europe, reaching a decent level in terms of urban planning and urban improvement.
The main architectural event of the beginning of the century is the construction of St. Petersburg. It is from this city and the Moscow Lefortovo Sloboda that serious transformations in the architectural appearance of other cities begin. West-oriented Peter the Great invites foreign architects and sends Russian specialists to study in Europe.
Trezzini, Leblon, Michetti, Schedel, Rastrelli (father) and other eminent architects who are destined to make a great contribution to Russian architecture in the first quarter of the 18th century come to Russia. Interestingly, if at the beginning of their creative career in Russia they clearly followed their principles and Western architectural thinking, then after a certain period of time, historians note the influence of our culture and identity, which can be traced in their later works.
In the first third of the 18th century, the predominant direction in architecture and construction was the baroque. This direction is characterized by a combination of reality and illusion, pomp and contrast. The construction of St. Petersburg begins with the founding of the Peter and Paul Fortress in 1703 and the Admiralty in 1704. Peter set serious tasks for the architects of that period in terms of compliance of the new city with the advanced European principles of urban planning. Thanks to the well-coordinated work of Russian architects and their foreign colleagues, the northern capital has acquired formally western features in merging with traditionally Russians. The style in which numerous pompous palaces, churches, government institutions, museums and theaters were created is now often called the Russian baroque or the baroque of the Peter the Great era.
During this period, the Peter and Paul Cathedral, the summer palace of Peter the Great, the Kunstkamera, the Menshikov palace, the building of the Twelve Collegia in St. Petersburg were created. The ensembles of the Winter Palace, Tsarskoye Selo, Peterhof, Smolny Monastery, and the Stroganovs' palace are decorated in the Baroque style, created in this and later period. In Moscow, these are the churches of the Archangel Gabriel and John the Warrior on Yakimanka, the main entrance to the Kremlin's Arsenal yard is decorated with characteristic elements characteristic of this period. Among the important objects of provincial cities is the Peter and Paul Cathedral in Kazan.
Mid 18th century. Baroque and Rococo
Despite the fact that the death of Peter I was a great loss for the state, it no longer had a significant impact on the development of urban planning and architecture of that period. Russian architects working in St. Petersburg under the supervision of foreigners, adopted their experience, returned to their homeland and those who were sent to study abroad. The country at that time had a strong staff. The leading Russian architects of that period were Eropkin, Usov, Korobov, Zemtsov, Michurin, Blank and others.
The style characteristic of this period is called rococo and is a combination of baroque and emerging classicism. Gallantry and confidence are manifested in him. Rococo is more typical for interior solutions of that time. In the construction of buildings, the splendor and pomp of the Baroque is still noted, and the strict and simple features of classicism are beginning to appear.
This period, which coincided with the reign of Peter's daughter Elizabeth, was marked by the work of Rastrelli the son. Brought up in Russian culture, in his works he demonstrated not only the brilliance and luxury of palace architecture, but also an understanding of the Russian character, Russian nature. His projects, together with the works of contemporaries Kvasov, Chevakinsky, Ukhtomsky, organically fit into the history of Russian architecture of the 18th century. With the light hand of Rastrelli, domed compositions began to appear not only in the capital, but also in other Russian cities, gradually replacing the spire-like ones. The pomp and scale of its palace ensembles are unparalleled in Russian history. But with all the recognition and luxury, the art of Rastrelli and his contemporaries did not last long, and in the second half of the 18th century a wave of classicism came to replace it. During this period, the most ambitious projects were created - a new master plan for St. Petersburg and a redevelopment project for Moscow.
End of the 18th century. Classicism
In Russian architecture in the last third of the 18th century, the features of a new direction began to appear, which was later called Russian classicism. By the end of the century, classicism was firmly established as the main direction of art and architecture. This trend is characterized by the severity of antique forms, simplicity and rationality of designs. Unlike the baroque buildings that filled St. Petersburg and its environs, classicism manifested itself most in the Moscow buildings of that time. Among many, it is worth noting the Pashkov house, the Senate building, the Tsaritsyno complex, the Golitsyn house, the Razumovsky palace, which are considered the most striking examples of the manifestation of classicism in architecture. In St. Petersburg at this time, the Tauride Palace, the Alexander Nevsky Lavra, the Marble Palace, the Hermitage, the Hermitage Theater, and the Academy of Sciences were being built. Kazakov, Bazhenov, Ukhtomsky and many others are considered to be outstanding architects of that time.
The period of the 18th century also includes changes that affected many provincial cities of that time - Yaroslavl, Kostroma, Nizhny Novgorod, Arkhangelsk, Odoev Bogoroditsk, Oranienbaum, now Lomonosov, Tsarskoye Selo, now Pushkin and so on. Petrozavodsk, Taganrog, Yekaterinburg and many other cities, which at that time and subsequently became important industrial and economic centers of the Russian state, originated from the 18th century.
Russian architecture is still ahead. Let's go back to the origins - the first Russian architects, who by their example proved that Russian architecture existed, exists and, hopefully, will exist in the future. In the end, the Russian expanses are a huge field for activity.
Fedor Horse (1540-1606)
Smolensk. Fortress. Tower. XVI-XVII centuries
In fact, the first Russian architect-builder of fortresses. As the son of a peasant, he fled to Europe, where he received a brilliant private education. Then he worked in France, Belgium, Denmark, Poland, Italy, where he has established himself as an excellent master. Fyodor, who returned to Russia, was naturally imprisoned, but was soon released and allowed to create. For a couple of years he built shops and sheds, and then suddenly received an order to build the walls of the White City in Moscow. And then off we go - the walls of the Boldinsky, Pafnutevo-Borovsky and Simonov monasteries, as well as the pearl of Russian architecture - the Smolensk Kremlin. The main "trick" of the Horse was the combination of convenience, strength and beauty - this is how he decorated purely defense towers with kokoshniks and patterns.
And yes, the nickname Horse, perfectly characterized Fedor: he was tall, strong and hardworking.
Dmitry Ukhtomsky (1719-1774)
Bell tower of the Trinity-Sergius Lavra, 1741 - 1768
An incredibly prolific representative of the Rurikovich family, Ukhtomsky is considered one of the brightest Russian architects, who worked in the Elizabethan Baroque style. A boy from an impoverished princely family was sent to Moscow, where he quickly mastered engineering and art history. Starting with a little practice, he soon already built triumphal arches (including the famous Red Gate) and pavilions in honor of the coronation of Elizabeth Petrovna. For her and, according to rumors, her favorite Stepan Apraksin, he erected the famous chest of drawers on Pokrovka, which is considered one of the most interesting buildings in the capital. Ukhtomsky owns the project of the tallest bell tower in Russia, built in the Trinity-Sergius Lavra.
In 1745 he became the chief architect of Moscow and headed his own "team". The prince also developed the first general plan of Moscow, restored the Kremlin and opened the country's first architectural school.
Vasily Bazhenov (1737-1799)
Pashkov's house. 1784 - 1786
Relatively little is known about one of the most famous Russian architects, and the authorship of most of his projects has not been documented. As a boy, Bazhenov was noticed by the famous architect Ukhtomsky at whose school he studied. Then the traditional practice in Europe and the triumphant return home. As a narcissistic perfectionist, he often disagreed with the powers that be. So, having received orders for the restructuring of the Kremlin and the erection of the Tsarist residence of Tsaritsyno, he never completed these projects, and because of the conflict with Catherine II, he was even dismissed from service. Not many of Bazhenov's buildings have come down to us, but each of them is a true masterpiece: the Pashkov house and the Bolshoi Tsaritsinsky Bridge in Moscow, the Mikhailovsky Palace in St. Petersburg, etc.
Petrovsky Traveling Palace, 1776-1780s An example of Russian neo-gothic architecture.
The buildings of the most famous Russian architect are scattered practically throughout the entire historical part of Moscow. From the Senate in the Kremlin to the Petrovsky Travel Palace in the Dynamo metro area. As a student of Bazhenov, Matvey Kazakov took over from his teacher the love of pseudo-Gothic, but most of all he gravitated towards strict symmetry and classicism. Combining both ideas into one, he rebuilt Tsaritsyno and erected dozens of unique buildings in completely opposite styles. And this despite the fact that the architect never left Russia and could only admire the masterpieces of European architects from pictures. Many of the architect's buildings have not survived to this day, but once the style of Matvey Fedorovich determined the appearance of the so-called "Kazakov's Moscow".
The prominent architect met his death in Ryazan in 1812. Upon learning that the fire destroyed his beloved city, Kazakov felt bad and he died.
Osip Bove (1784-1834)
Moscow Triumphal Gates, 1829 - 1834 in honor of the victory of the Russian people in the Patriotic War of 1812.
The first "non-Russian" nationality on our list is an architect. However, in spirit, Osip, nee Giuseppe, was a worthy son of Russia. Born into the family of a Neapolitan artist, he was early introduced to art. During World War II, he participated in the Moscow militia, and after the fire, Bove was assigned to rebuild the central part of the city northwest of the Kremlin. Not surprisingly, the authorities soon noticed his talent and entrusted the Italian with the "facade work" to restore the Mother See. It was thanks to him that Moscow acquired the look of a European city with colonnades of classicist mansions, squares, monuments and squares. His best projects include the complex of the First City Hospital, the Manezh and the Alexander Garden.
Fedor Shekhtel (1859-1926)
The most famous monument of Moscow Art Nouveau, built in 1902 for the millionaire Sergei Ryabushinsky.
It is to this man that Muscovites owe the best examples of Moscow Art Nouveau. German by birth, Franz Albert converted to Orthodoxy at the age of ten and literally fell in love with Russian culture. No wonder it was he who built houses for prominent Old Believers who loved comfort combined with traditional ornaments and motives. Shekhtel worked on the smallest details in his projects - from dozens of options for latches, to staircases and the location of mirrors. Often he was invited to design ready-made buildings. His best Moscow projects include the Ryabushinsky and Morozov mansions, the Yaroslavsky railway station, the building of the Moscow Art Theater. Chekhov and others.
Alexey Shchusev (1873-1949)
Church of the Intercession of the Martha and Mary Convent. 1908 - 1912
The most "comfortable" Russian architect at the turn of the 19th-20th centuries. His legacy includes chapels and temples, as well as the building of the NKVD in Lubyanka and the Komsomolskaya-Koltsevaya metro station. Alexei Shchusev was never afraid to experiment with styles - while his colleagues were guided by French Art Nouveau, he created his own style, gravitating towards the architecture of Novgorod Rus (for example, the Martha-Mariinsky monastery on Bolshaya Ordynka in Moscow).
Even before the revolution, Shchusev received an order for the construction of the Kazan railway station - a kind of tower with turrets. The "Soviets" also had a demand for the architect - the project of Lenin's mausoleum forever immortalized his name and protected him from reprisals. Following the architectural fashion, Shchusev entered constructivism, and then the Stalinist Empire style, invariably winning design competitions. Thanks to him, many Moscow buildings and churches were preserved and restored.
18th century Moscow architecture
Alekseev F. Ya. Cathedral Square in the Moscow Kremlin 1811 - Moscow architecture of the 18th centuryAlready in the 18th century, in Moscow architecture one could see buildings that simultaneously combined the features of both Russian and Western culture, in one place the Middle Ages and the New Age were imprinted. By the beginning of the 18th century, at the intersection of Zemlyanoy Val and Sretenka Street, a building appeared near the gate of the Streletskaya Sloboda, the architect Mikhail Ivanovich Choglokov contributed to this. Once there was a regiment of Sukharev, therefore the tower was named in memory of the colonel, that is Sukhareva.
Sukharevskaya tower, designed by M.I.Choglokov (built in 1692-1695 on the site of the old wooden Sretensky gates of the Zemlyanoy city (at the intersection of the Garden Ring and Sretenka Street). In 1698-1701, the gates were rebuilt in the form in which they reached the beginning of the 20th century, with a high, hipped-roofed tower in the center, reminiscent of the Western European town hall.
The tower changed its appearance enormously in 1701, after rebuilding. It has more details reminiscent of medieval Western European cathedrals, namely clocks and turrets. Here Peter I established a school of mathematical and navigational sciences, and an observatory appeared here. But in 1934 the Sukharev tower was destroyed so as not to interfere with traffic.
In the same period, in the capital and the region (the estate of Dubrovitsy and Ubor), temples in the Western European style were actively built. In 1704 Menshikov A.D. gave an order to the architect I.P. Zarudny for the construction of the Church of the Archangel Gabriel near the Myasnitsky Gate, in another way it was called Menshikov Tower. Its distinctive feature is a high, wide bell tower in the Baroque style.
Dmitry Vasilievich Ukhtomsky made his contribution to the development of the architecture of the capital, he created great creations: the bell tower of the Trinity-Sergius Monastery and the Red Gate in Moscow. Earlier, there was already a bell tower here, but Ukhtomsky added two new tiers to it, now there are five of them and the height has reached 80 meters. Bells could not be placed on the upper tiers due to the fragility of the structure, but they gave grace and solemnity to the building, which was now noticeable from different parts of the city.
Red gate, unfortunately, now you can see only in pictures of textbooks, they have not survived to this day, but they are deservedly the best architectural structures of the Russian Baroque. The way they were built and modified is directly related to the history of the life of Moscow in the 18th century. and is indicative of that era. When in 1709 the Russians won the battle of Poltava against the Swedish army, a triumphal wooden gate appeared on Myasnitskaya Street. In the same place on the occasion of the coronation of Elizabeth Petrovna in 1742 a second gate was built, funds for this were allocated by the local merchants. They stood for a little while before they burned down, but Elizabeth immediately ordered to restore them in stone form, this work was entrusted to Ukhtomsky, which was mentioned earlier.
The gate was made according to the type of the ancient Roman triumphal arch, the inhabitants of the capital loved them very much, therefore they called them Red, from the word "beautiful". Initially, the building ended with a graceful tent, on which the figure of trumpeting Glory with a palm branch flaunted. A portrait of Elizabeth was placed above the aisle, which was eventually decorated with a medallion with a coat of arms and monograms. On the sides, above the additional aisles, there are reliefs in honor of the Empress again, and above them there are also statues as symbols of Vigilance, Grace, Constancy, Loyalty, Trade, Economy, Abundance and Courage. About 50 different images were applied to the gate. When the Square was reconstructed in 1928, this great structure was also mercilessly dismantled; now there is an ordinary gray metro pavilion, associated with a completely different time.
Now they stopped talking about the Peter's era, when the architects finally completed the construction of St. Petersburg, which became the capital. Moving towards the end of the 18th century, all construction again returned to Moscow. Secular houses and palaces, churches, educational and medical institutions were actively erected. The best architects of the times of Catherine II and Paul I were Kazakov and Bazhenov.
Vasily Bazhenov studied at the gymnasium at Moscow University, and then at the new St. Petersburg Academy of Arts. When he finished his studies, he went to inspect Italy and France, and then returned to St. Petersburg, where he was awarded the title of academician. Although Bazhenov's career in St. Petersburg was very successful, he nevertheless went to Moscow to realize the project of Catherine II - the Grand Kremlin Palace. Patriarchal Moscow could not accept such a project, it stood out too much from the general picture of that time.
Alekseev F. Ya. View of the Moscow Kremlin from the side of the Stone Bridge 1811
It was planned to demolish the southern walls of the Kremlin, outdated structures in half, and around what remained - the oldest cultural monuments, churches and bell towers, to erect a new pompous building of the palace in the style of classicism. Bazhenov wanted to build not only one palace, but also a theater, an arsenal, colleges, an area for the people nearby. The Kremlin was to become not a medieval fortress, but a large public place for the city and its inhabitants. The architect presented, first of all, drawings of the future palace, and then its wooden model. This model was sent to Catherine II in St. Petersburg to be approved, and then left in the Winter Palace. The project was approved, even the first stone was laid solemnly with the participation of the Empress, but it was never completed.
In 1775, Catherine II gave a new order to Bazhenov, to build a personal residence near Moscow on the Tsaritsyno estate, which at that time was called Black Mud. The Empress wanted the building to be built in a pseudo-Gothic style. Since 1775, the famous Grand Palace, the Bread House, the Opera House, stone bridges and much more were built that can be seen today.
Alekseev F. Ya. Panoramic view of Tsaritsyno 1800
The Tsaritsyno ensemble was very different from the estates of that time, they had a large number of elements of Gothic architecture, for example, pointed arches, window openings of complex shapes, etc. Bazhenov said that Old Russian architecture is a subspecies of Gothic, therefore there were also elements of the Russian Middle Ages, such as the forked battlements at the top, similar to the end of the Kremlin walls. A characteristic feature of Russian architecture was the combination of white stone details and red brick walls. Inside, everything was specially complicated in the medieval style. The palace looked very rude and gloomy, and when the empress came to look at it, she said with horror that the palace looked more like a prison, and she never returned there. She ordered that the palace be demolished, and with it some other buildings. The task was transferred to another architect, M.F. Kazakov, who preserved the classicist correct form of the building and made the Gothic decoration.
pashkov's house, architect Bazhenov
Many other buildings were ordered from Bazhenov. For example, his work was the house of P.E. Pashkov, which faces the Kremlin, it is distinguished by a classic style, a light facade, brick walls, which further emphasize the power and majesty of the building. The house is located on a hill, in the middle there is a 3-storey building with a neat portico, statues rise on the sides, and a round sculptural composition of the belvedere is located at the top. The galleries are made on one floor, which continue with two-storey wings with porticoes. From the hill you can go down the stairs, at first it led to a garden with beautiful fences and lanterns, and by the 20th century the street was widened and there were no gratings or a garden left. MF Kazakov could not have created to such an extent without the influence of Bazhenov and Ukhtomsky. Catherine II liked Kazakov's work, and she entrusted him with more than one order, this included houses for housing, palaces for the royal family, churches in the style of classicism.
Petrovsky traveling (entrance) palace on Tverskoy tract, architect Kazakov
On the way from St. Petersburg to Moscow, one could stop at the Petrovsky entrance palace, in another way it was called the Petrovsky castle, Kazakov also worked on it and used the pseudo-Gothic style. But all the same, it was not without classicism, the correct symmetrical shapes of the rooms and all the interior design speak about it. Only by the elements of the facade could one recognize the echoes of the ancient Russian culture.
The next building, the construction of which began in 1776, and was completed already in 1787, was again made with the help of Kazakov, it was the Senate in the Moscow Kremlin. The building fully corresponds to the traditions of classicism, but it also reflects the features of Bazhenov's Kremlin restructuring project. The main part of the building is triangular; in the middle there is a large round hall with a large dome, which cannot be overlooked while on Red Square. Bazhenov and his colleagues very much doubted the strength of the dome, and in order to refute this, Kazakov himself climbed onto it and stood motionless for half an hour. On the front side of the building, there is a colonnade that emphasizes the smooth curves of the walls.
An equally significant event was the organization of the graceful Column Hall in the House of the Noble Assembly in Moscow; Kazakov was engaged in its design at the end of the 18th century. The area of \u200b\u200bthe building is of a regular rectangular shape, columns are placed around the perimeter, which do not stand directly under the walls, but at some distance. Crystal chandeliers hang along the entire perimeter, the upper mezzanine is surrounded by a fence made of figured posts connected by a railing. The proportions are strictly observed, which does not allow you to take your eyes off.
Alekseev F. Ya. Strastnaya Square (Triumphal Gates, the Church of St. Dmitry Thessaloniki and the house of Kozitskaya), painting in 1800
Kazakov built a university in the center of the capital, right on Mokhovaya Street, this happened in 1789-1793. A couple of decades later, the building burned down, but it was partially restored by the architect Domenico Gilardi, he did not make his cardinal changes, but left the Cossack principle in the form of the letter "P" and the general plan of the composition.
Moscow University, 1798, architect Matvey Kazakov
Kazakov was very surprised by the fire that had happened, and the news came to Ryazan. He could not bear such a blow and soon died, he was told that the fire had consumed all of his buildings. But in fact, many buildings have survived to this day, by which one can immediately trace the common elements of the architecture of the 18th century - "Kazakov's Moscow".
In the middle of the XVIII century. In the northern part of the territory of the modern Neskuchny Garden, a manor was built, ordered by P. A. Demidov, the son of a Ural breeder and a famous amateur gardener.
In 1756. the main house was built - U-shaped chambers in the plan - the Alexandria Palace. A balcony on columns was placed between the risalits of the garden facade. The yard in front of the house was surrounded by stone services and a cast-iron fence, cast at Demidov's factories.
Alekseev F. Ya. Military hospital in Lefortovo 1800
Alekseev F. Ya. View of the church "Nikola Big Cross" on Ilyinka 1800
Alekseev F. Ya. View of the Church behind the Gold bars and the Terem Palace 1811
Alekseev F. Ya. View in the Kremlin of the Senate, Arsenal and Nikolsky gates, painting 1800 g.
article in preparation
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