Classicism in the architecture of France 17th century. Palaces of France: Versailles (Versailles)
Chapters "The main stages of French art", "French architecture of the XVII century", "French architecture of the late XVII and XVIII century", "The general state of architecture in Europe in the XVII and XVIII centuries" section "Architecture of France XVII - XVIII BB" from the book of Auguste Shuizi "Architecture History" (Auguste Choisy, Histoire de L "Architecture, Paris, 1899). According to the publication of the All-Union Academy of Architecture, Moscow, 1935
The main stages of new art
Let's refund to the French architecture on the outcome of the XVI century, to the time of the cessation of religious wars. The architecture is experiencing all the transformation of the period of return to the world and prosperity: it is modest and calculated after the League wars, wasteful at Richelieu, majestic and solemn until excessive in Louis XIV, cold and strict on the eve of the revolution. Consider sequentially those tools that she used either apart or at the same time.
French architecture of the XVII century
Stone and Brick Architecture and Her Forms
The combination of bricks and stone. - under Henrich IV decorative effects are often achieved by such constructive techniques in which the color contrasts give, with low costs, the facades of the lively and diverse type; Such is the design of the walls in the form of a frame of crazy stones with a filling of coarse masonry.
The filling surface is covered with colored stucco: according to the tradition, which comes from the early Renaissance, the framing of openings is connected through all the floors ( fig. 437.), forming from the foundation to lug-free long white stripes, stand out on a red wall background and on a blue background of slate roofs.
Using always with simple means, this architecture is striving at the same time both to color contrasts and clear contours, to the patterned outlines of the roofs and lugar; She enjoys little profiling and absolutely avoiding small details: there are some contours and the game of paints.
To the earliest monuments of this style applies meyen Palace on St. Antoine Streetascending to the era of Heinrich III.
Then follow: with Henrich IV palace Cardinal Burbon in the Abbey Saint-Germain de Pré, buildings on the dofina area and in the area of \u200b\u200bVagesov ( fig. 437.); under Louis XIII - the main core of the Versailles Palace; One of the latest examples of this style - palace Mazarini (National Library), built by Francois Manzar in the Minority of Louis XIV. To the same architecture belongs and palace Rambuy.
Application in the stone architecture of forms arising from a combination of stone and bricks. - To the previous group, as a derivative of it, there is a number of buildings built entirely of stone, but borrowing decoration in the most described mixed design.
As examples of this peculiar transfer of forms, we give: under Louis XIII - schillo Palace on St Anguan StreetBuilt J. Dyserto, Sorbonne and Cardinal Palacebuilt Lemerce; At the beginning of the reign of Louis XIV - palace d "Omon on the street ZhuiBuilt Fr. Mansar..
Decorating orders
The architecture of the brick and stone, obviously imbued with the desire for savings, is most suitable for buildings from which nothing is required, except for elegant simplicity. For monumental structures, it is resorted to warrant decorations, and in France, as in Italy, hesitate between the two decisions: whether these decorations do in accordance with the scale of the whole facade, or on the scale of only the floor that they decorate. From here in the warrant architecture there are two currents that we will follow below.
Decoration, linked to the scale of the floors. - when decoration is linked to the scale of the floors, then various orders are placed in each floor; These are the facilities Talk (the Department of Ionna), erected at the end of the reign of Heinrich IV.
With Louis XIII, the tradition of applying small orders continues S. de Challet in Luxembourg Palace And on the facade Saint-Zheree..
On the same method builds Lemerce Central Pavilion B. Louvrian yard And in the palace Liankur(fig, 438.) - its main work, from which only some drawings reached us.
At the beginning of the reign of Louis XIV Lepotre applies the same way to decorate bove Palace (Street Francois Miron); With this way we meet in the castle Burseta Biscuit (Cat D "OR); the last representative of this system was Fr. Mansard (maison Castle, Haston Haston Pavilion in Blois).
The system of small orders at the beginning of the XVII century enjoyed a success. Attempted in the palace, attempt was made to find a compromise solution: save antablement and destroy pilasters or replace them with pillars.
For all the time of the reign of Henry IV, we meet only one frank application of the traditional system - the Gallery of the Louvre ( fig. 439.). This wonderful composition gives us an idea of \u200b\u200bthe flexibility that art still retained. The lower floor was built before (he dates back to the era of Catherine Medici), and it was necessary to coordinate it with the wing of the palace, the carnis of which accounted for M \\ transition this to the MN mezzanice.
Now consider the opposite system:
Decorating with a colossal warrant. - Among the first buildings, where a few floors were combined into one big pilot warrant, we already called the wing castle ChantiliaRelated to the era of Heinrich II.
We bring a fragment of the facade ( fig. 440, C.). It clearly shows the difficulties associated with this system. Antables reaches an exorbitant value to preserve proportionality with pilasters; The windows are lost and as if styling. For the sake of antablem, they go on concessions to classic proportions, but in order not to detect their windows, they are captured by them part of the roof, turning them into a kind of lug-on, non-facade, not with the roof; Sometimes even try to cover windows by two floors by one framed, as if simulating one common opening.
Thanks to all this compromise, the colossal order becomes one of the usual elements of French architecture. We encounter it with Henrich III in palace Dian de France (Pava Street, in Marhe); In Henrich IV, it was applied to the gallery connecting the Louvre with Tuileries (Fig. 440, L); Built during Louis XIII duchess Savoy Palace (Garasier Street) is an example of ionic pilasters, resolutely emerging from scale. Dorian pilasters of more modest sizes are decorated with the Versailles Palace.
By the beginning of the reign of Louis XIV, more and more resolutely manifests a tendency to large orders. They find the greatness that meets the new properties of the monarchy. Leo and Dorbe apply them in the old southern facade of the Louvre, in the castle in the college of four nations (Institute); LemuE enjoys this solemn form for palace d "avo (Tampl Street); Fr. Mansard applies it on the main facade monastery Minov In St. Anto'an suburb.
Subsequently, Perso, in 1670, borrowed a colossal order as a topic for his Louis Colonnade, and in the XVIII century. Gabriel will repeat this warrant in the palaces in the consent area.
Treatment of facades by Rustami and Panel
Rust processing. - We have already indicated that the consequences of which flow from the use of a colossal order: the need for huge cornices and the need to excessively increase the openings. It is possible to some extent to preserve the greatness, which gives the architectural composition of the order, rising from the very base of the building, if you replace the pilasters with rush blades. The costs are reduced, and at the same time, since the form of the order becomes as it were only implied, the requirements of the proportions are gaining less imperative, which makes it possible to limit and the value of the antablempants, and the magnitude of the windows.
Membership of facades by rustic blades instead of pilasters was used by Lemar in the reign of Louis XIII in castle Richelieu and in the Cardinal Palace; With Louis XIV, these techniques used L. Brunet - for processing facades Houses of disabled, FR. Manzar - for Val de Gara, Perro - for the northern protrusion of the Louvre.
Decoration through a panel. - Architecture does not stop on this path to simplification. In the end, these rusted blades are destroyed; An antablement, whoas the facade, rests on the bare walls, barely decorated with framing, which outlines the boundaries of the intermediate panel.
The courtyard of the disabled house represents an excellent example of such facades, where only the profiles of eaves and the blades remained from orders. In the same spirit Pero decorate
Observatory, FR. Blondez - Gate Saint-Denis, Bull - Gate Saint-Marten.
French architecture of the late XVII and XVIII century
Official style. - Last third of the XVII century. It begins the depletion of taste, the occurrence of decline is felt. In order to prevent it, Kolber in 1671 establishes the Academy of Architecture and instructs it by teaching the theory to fill the gaps of handicraft student. He directs architects in Rome to draw inspiration there, orders the publishing of works on classical antiquity monuments, is trying to revive the art of what elevates the position of his masters. But the dyeing art is powerless to permeate and rapid. LEMERCIA AND FR genera. Mansard dies; The next generation for him still creates several works worthy of the previous period, but in general style becomes a flabby, the execution is mediocre.
In an effort to the false ideal of nobility, it is stopped, following the example of Italians, on monotonous facades, which all the same motives repeat the same motives, - and this cold symmetry is so hidden by the location of the parts of the building, which is behind the same facade and chapels and stairs, and even baths; Even the roofs are masked. The main desire is not to identify anything outside, which would remind of material everyday needs.
This is such an architecture, as if created not for ordinary mortals, I like the king. Jules Arduuen-Mansar completely applied it to the Versailles Palace ( fig. 441., BUT); The facade, which clearly affects all these trends, refers to 1675. The traditions of high art and decline in the XVIII century. - Recent years of the XVII century. marked with a refund to more diverse forms; Then the style of Arduuen-Mansar acquires greater flexibility, it may be to collate to cooperate with him other architects, among which Saint-Simon calls Lassuyrans.
Be that as it may, but before the death of Ardenen-Mansar (1708), as if some revival was observed: he finishes his activities by two masterpieces - the house of
Valids and Versailles Chapel. The distress of the end of the reign of Louis XIV is constrained by this revival, and it is resolutely renewed only after the regency is established. From now on, there are, so to speak, two architectures: one continues the strict traditions of the previous period, the other comes on the path of the sophisticated grace, which very truthfully reflects the sophistication of the modern society to it.
The style of a new school, Rococo genre, is established only by 1730 and finds the main expressant in the face of Buffran; The classic school style has its own representatives of Gabriel, Suffro, Finally, Louis and Antoine.
In continuation of the whole second half of the reign of Louis XV, both schools exist completely independently: while Nancy Palaces are overloaded with Rococo style decorations, the consent area is distinguished by the majestic advantage and the grandeur of its magnificent outlines ( fig. 441, B., 1750) Indoor school of the middle of the XVIII century. Louis XVI is exhaled by time: the philosophical movement directs the minds towards antiquity. Tastes are completely changed, and the cleanliness of the forms are trying to surpass even School of Gabriel and Suffro. With the approach of the revolution, fell into dryness, and together with the revolution begins the crisis of art, the way out of which is barely planned only in our era.
The overall state of architecture in Europe in the XVII and XVIII centuries
In the XVII and XVIII centuries. Europe is influenced by partly modern Italy, partly France. In general, French influences dominate; Thus, French architects are elevated for German princes most of their palaces: in Berlin, in Munich, in Stuttgart, in Mann-Game.
Inigo JonesFrom which the classical architecture begins in England, apparently, developed his style by directly studying the monuments of Italy and founded the school whose successor in the XVIII century. Chambers appeared, the builder of the Palace Somerset.
Ren (S. Wren), Architect Cathedral St. Paul in London, adjoins the school who created the house of persons with disabilities in France; Built by him Cathedral of St. Paul, in turn, served as a major sample for America when building a capitol in Washington.
In Russia in the XVIII century. It is manifested mainly by Italian influence - in the palaces of St. Petersburg.
As for Italian art, the szvuk whose is all modern architectural schools, then its last creatures were: Bernini Colonnade on St. Peter, majestic, but not a strict facade attached by architect al. Galilee Church San Giovanni Ying Latherso, and cold facilities Vavuteli in Caserta.
Architecture
The second half of the XVII century is the time of the highest flourishing architecture of French classicism.
One of the reasons for the leading value of architecture among other types of art in the second half of the XVII century was rooted in its specific features. It was the architecture with the monumental character of its forms and durability with the greatest force to express ideas of a centralized national monarchy during its maturity. This era, the social role of architecture was especially bright, and its ideological importance and organizing the role in the artistic synthesis of all types of visual, applied and garden and park arts.
The organization of the architecture of the architecture, the director of which was appointed a prominent architect and theoretics of Francois Blondez (1617 - 1686), was greatly influenced by the development of architecture. Its members were outstanding French architects L. Brian, J. Gittar, A. Lenotr, L. Levo, P. Minyar, J. Ardenen-Mansar and others. The task of the Academy was to develop the main aesthetic norms and criteria for the architecture of classicism, which were guided by architectural.
The development of the economy and trade caused intensive construction in the second half of the XVII century new and further expansion of old French cities. Marshal and Military Engineer-fortifier Sebastian Voban built more than thirty new fortified cities and reconstructed about three hundred old. Among them, the city of Longwi, Vitrite-les-Francois and the city of Ne-Bristy were built anew and had the shape of a square and an octagon surrounded by walls, moats and bastions. Their internal planning was a geometrically proper system of streets and quarters with an area in the center.
On the coast of the Atlantic, the ports of Brest, Rochefort, Lorian and the Mediterranean Sea are being built. With a country royal residence begins to build a city of Versailles.
The architects of the Bullel and Blondez are in 1676 the expansion plan of Paris, so that the appearance of the capital corresponded to the brilliance and the greatness of the monarchy of Louis XIV. It was envisaged to expand the territory of Paris to the North-West; On the site of ancient fortifications, landscaped "Promendes" are designed, which posted the beginning of the future of big boulevards. The front entrances are made and architecturally fixed in the city of the arches in the form of triumphant arches: Saint-Denis, Saint-Martin, Saint-Bernard and Saint-Louis.
According to the projects of J. Ardun-Mansar, new large ensembles of the Square of the Wandom and Victories dedicated to Louis XIV are created. Architect L. Levo in 1664 completes the quadrangular, with a closed courtyard, the composition of the Louvre Arranged by its northern, southern and eastern buildings. Eastern facade of the Louvre, created by K. Perro, F. D. "Orbe and L. Levo, gives the final appearance of this wonderful ensemble. On the left bank of the Seine, the project L. Brune is almost as huge as Louvre and Tuileries, the complex of the disabled house with An extensive green emplant in front of him, completed by the construction of a magnificent Rotional Church in his Center for the project J. Arduna-Mansar.
Major town planning works in Paris, mainly at the end of the previously established ensembles taken by Kolber, significantly changed the appearance of the center of the capital, but in general were isolated from the medieval building system by inclusions that are not organically related to the system of highways and streets. In this approach to the composition of the closed urban ensembles, the influence of the town-planning principles of Italian baroque was affected.
New large ensembles and square are created at this time and in other cities of France - in the tour, according to, Dijon, Lyon, etc.
The features of the architecture of the middle and the second half of the XVII century are affected both in a huge amount of construction of large parade ensembles designed to exalt and glorify the dominant classes of the era of absolutism and the powerful monarch - the King Sun of Louis XIV and in the improvement and development of artistic principles of classicism.
In the second half of the XVII century, a more consistent application of the classical order is observed: horizontal memberships are dominated over vertical; The high separate roofs constantly disappear and the single roof is replaced, often disguised balustrade; The volume composition of the building becomes a simpler, compact, corresponding location and the magnitude of the interior.
Along with the influence of the architecture of an ancient Rome, the impact of the architecture of the Italian Renaissance and Baroque. This latter affects the borrowing of some baroque forms (crouches broken frontons, lush cartoons, volutes), in the principles of solving the inner space (ANfilad), as well as in the increased complication and pompousness of architectural forms, especially in the interiors, where their synthesis with sculpture and painting is often Baroque features in themselves in themselves than classicism.
One of the works of the architecture of the second half of the XVII century, in which the predominance of mature artistic principles of classicism is already clearly felt, is the country ensemble of the Palace and Park in Le Vikont near Melena (1655 - 1661).
The creators of this outstanding work built for the General Controller Fuchus and in many ways anticipating the ensemble of Versailles, were the architect Louis Levo (OK 1612 - 1670), the master of garden-park art Andre Lenotr, who splashed the Palace Park, and the painter Charles Lebed, who took part in Finishing the interiors of the Palace and Mural of Plafon.
According to the composition of the plan, the allocation of central and angular tower-like volumes, topped with high separate roofing, the general open nature of the building - it is put on an island surrounded by water filled with water, - the palace of the village of La Viscount resembles Meson-Luffit.
Nevertheless, in the structure and appearance of the building, as well as in the composition of the ensemble as a whole, undoubtedly more consistently applying classic architectural principles.
This is primarily manifested in the logical and strictly calculated planning solution of the palace and the park as a whole. The large oval shape of the Salon, which is the central unfilament of the parade premises, became the composite center not only the palace, but also the ensemble as a whole, since its position at the intersection of the main planning axes of the ensemble (the main park alley, which comes from the palace, and transverse, coinciding with the longitudinal axis Buildings) makes it a "focus" of the entire complex.
Thus, the building of the palace and the park are subordinated to a strictly centralized compositional principle, which allows to bring a variety of elements of the ensemble to artistic unity and highlight the palace as the main component of the ensemble.
For the composition of the Palace, the unity of the internal space and the volume of the building, which distinguishes the works of mature classic architecture. The large oval salon is highlighted in the volume of the building with a curvilinear rizalitis, topped with a powerful dome roof, creating static and calm of the silhouette of the building. The introduction of a large order of the pilaster, covering two floors above the basement, and a powerful horizontal of a smooth, strict on profiles of the classic antablement achieves a predominance in the facades of horizontal members over the vertical, the integrity of the original facades and the bulk composition, which is not characteristic of the locks of an earlier period. All this gives the appearance of the palace monumental representativeness and parade.
Unlike some restraint of forms in the appearance of the palace, the interiors of the building received a rich and free architectural interpretation. In one of the most press premises - oval salon, a rather strict order of the Corinth pilaster, dismembering the wall, and arched between pilasters arched openings and niches are combined with a magnificent decorated second wall tier, with cargo baroque in drawing by the Caryiats, garlands and cartouches. The interior space is illusory expanded by the favorite Baroque intake - the introduction of mirrors in the niches arranged against the windows. Prospects that open from the windows of cozy living rooms and salons to the surrounding landscape in the space of the parquet and Alley Park are perceived as a kind of logical continuation of the interior space.
The Park Ensemble of the Way Viscount is created according to a strictly regular system. Skillfully trimmed green plantings, alleys, flower beds, paths form clear, easily perceived geometric volumes, planes and lines. Fountains and decorative statues form an extensive partner, spread in front of the facade of the palace on the terraces.
Among other buildings of the left-country palaces, hotels and churches are highlighted in the originality of the composition and features of the mature classic style, the monumental college building of four nations (1661 - 1665), created on the task of Cardinal Maazarini for the training of natives of various provinces of France. In a college of four nations (now the building of the French Academy of Sciences), the level of classic architecture is developing in the city ensemble. Having a college building on the left bank of the Seine, the left discloses powerful, widely deployed semicircles of its main facade in the direction of the river and the ensemble of the Louvre in such a way that the Dome Church, which is the center of the college composition, falls on the axis of the Louvre. This achieves the spatial unity of these major urban complexes, forming one of the outstanding ensembles of the Center of Paris, bound by the river bed.
In the architecture of the college building with its extensive semicircle opened on the CHERA, developed silhouette, the allocation of the composition center, the dominant value of which is emphasized by the enlarged memberships and forms of the input portal and the dome, successfully found the image of a public building of large state importance. Based on the creative processing of the forms of the Palace and Cultic Architecture, the left creates the appearance of a public building with a dome composite center that served as a prototype of many state buildings in the European architecture of the XVIII - XIX centuries.
One of the works in which the aesthetic principles of French classicism and canons produced by the Academy of Architecture received the most complete expression, is the eastern facade of the Louvre (1667-1678), in the design and construction of which Claude Perra (1613 - 1688), Francois D Orbe participated (1634 - 1697) And Louis Levo.
The eastern facade of the Louvre, which is often referred to as the colonnade of the Louvre, is part of the ensemble of the two united in the XVII century - Tuileries and Louvre. The facade of a large length (173 m) has a central and two side rizalitis, between which the dual columns of the Corinthian orders that support the high antablement and forming the shaded loggias are resting on the monumental smooth base with rare window openings. The richest in forms, decor and order members of the central entrance with a three-role portion is crowned with anticipated forms and proportions with a strict triangular fronton. Timpan Fronton is richly decorated with sculpture relief. Side risals with less rich plastic developments are dissected by the dual pilasters of the same order.
Francois d "Orbe, Louis Levo, Claude Perro. Eastern facade of the Louvre (Colonnade of the Louvre). 1667 - 1678
The flat architectural relief of lateral risals creates a logical transition to the lateral facades of the Louvre, which repeat the composition of the Eastern facade, with the difference that the dual Corinth columns are replaced with single pilasters of the same order.
In a simple and laconic volumetric structure of the building, in a clear and logical dismemberment of the volume on rambling and carrier parts, in the details and proportions of the Corinthian orders close to the classic canon, and, finally, in subordination of the composition highly detected Rhythmic order, mature artistic principles of classicistical Architecture of the XVII century. The monumental facade with its enlarged forms and an underlined scale is full of magnitude and nobility, but at the same time it felt the shade of academic coldness and rationality.
An important contribution to the theory and practice of French classicism made Francois Blondez (1617 - 1686). Among his best works should be noted the triumphal arch, called the usually gate of Saint-Denis in Paris. The architecture of the monumental arch, erected into the glory of French weapons, to commemorate the transition of French troops through Rhine in 1672, is characterized by a large conciseness, a generalization of forms and underlined paradity. The great merit of the Blonde is deeply creative processing of the type of Roman triumphal arch and the creation of a kind of composition that has influenced the architecture of such structures in the XVIII - XIX centuries.
The problem of the architectural ensemble, which was almost throughout the century, the focus of masters of classicism of the XVII century, found its expression in French town planning. An outstanding innovator in this area is the largest French architect of the XVII century - Jules Arduen-Mansar (1646 - 1708; from 1668, he wore Ardenen-Mansar surname).
Erected by Arduen-Mansar projects in Paris Square Louis Great (subsequently Vandomskaya; 1685 - 1701) and the Square of Victories (1684 - 1687) are very important for urban-planning practice of the second half of the XVII century. With the form of a rectangle with cut corners (146x 136 m), the Square of Louis Great was conceived as a parade construction in honor of the king.
In accordance with the idea, the dominant role in the composition was played in the center on the square equestrian statue of Louis XIV sculptor of Zhiradona. The facades forming the area of \u200b\u200bbuildings, the same type of composition, with a slightly protruding portico on cut corners and in the central part of the housings, serve as an architectural framework of space space. Connected to the surrounding quarters only two short cuts of the streets, the area is perceived as a closed, isolated space.
Another ensemble is the area of \u200b\u200bvictories, which in terms of the shape of a circle with a diameter of 60 m, - according to the same type of surrounding area of \u200b\u200bthe facades and the location of the monument in the center is close to the Louis Square of the Great. In her compositional intent - a circle with a statue in the center - the ideas of absolutism were also brighter. However, the placement of the area at the intersection of several streets associated with the general system of city layout system deprives its closetness and isolation. The creation of the area of \u200b\u200bvictories Arduuen-Mansar laid the foundations of progressive urban-planning trends in the construction of open, closely related to the planning system of the city of public centers, which were implemented in European urban planning in the XVIII and the first half of the XIX century. Another example of a skilled resolution of large town-planning tasks is the Arduth-Mansair of the Church of the House of Disabled (1693 - 1706), which concludes a huge complex complex, built on the project of Liberal Brune (approx. 1635 - 1697). The house of people with disabilities intended to accommodate war veterans in it, conceived as one of the most ambitious public structures of the XVII century. Before the main facade of the building, located on the left bank of the Seine, stretches the extensive area, the so-called Esplanade of the disabled, which, precast to the river, as if picks up and continues the development of the Right-Bank Ensemble of Tuileries and Louvre in the left bank of the city. A strictly symmetric complex of the house of disabled consists of closed around the perimeter of four-storey buildings forming a developed system of large rectangular and square yards subordinate to a single composite center - a large yard and erected in its central part of the monumental dome church. The formulation of a major compact volume of the church on the main, composite axis of the rolling stove of the complex of buildings Ardaen-Mansar created the center of the ensemble, submitting all his elements and completed him with a common expressive silhouette.
The church is a monumental central construction with a square plan and a dome with a diameter of 27 m, wedding extensive central space. The proportions and order members of the church are restrained and strict. The author is originally conceived by the author of a bribery space of the church with a broken one by several steps of the floor and three crushing dome shells. The bottom with a large opening in the center closes the light openings cut into the second dome shell, creating the illusion of the illuminated celestial sphere.
The dome of the Church of the Disabled is one of the most beautiful and high domes in world architecture, which is also important urban-planning importance. Along with the domes of the Church of Val de Gray and built in the XVIII century, he creates an expressive silhouette of the southern part of Paris.
Complete and comprehensive development Progressive trends in the architecture of classicism of the XVII century are obtained in a grandiose scale, courage and latitude of the artistic plan of the Versailal ensemble (1668 - 1689). The main creators of this most significant monument of the French classicism of the XVII century were architects Louis Levo and Ardenen-Mansar, Master of Garden Art Andre Lenotr (1613 - 1700) and the artist Lebedre, who participated in the creation of the interiors of the Palace.
The initial idea of \u200b\u200bthe ensemble of Versailles, consisting of the city, Palace and Park, belongs to Levo and Lenotra. Both masters began to work on the construction of Versailles since 1668. In the process of implementing the ensemble, their plan has been subjected to numerous changes. The final completion of the Versailal ensemble belongs to Arduun-Mansar.
Versailles as the main residence of the king was to align and glorify the limitless power of French absolutism. However, this does not exhaust the content of ideological and artistic design of the ensemble of Versailles, as well as its outstanding importance in the history of world architecture. Filed by official regulation, forced to submit to the despotic requirements of the king and its approximate, builders of Versailles - the huge army of architects, artists, paintings-inland and garden-park arts - managed to embody in it the huge creative forces of the French people.
Features of building an ensemble as a strictly ordered centralized system based on the absolute composite domination of the palace over all others are due to his general ideological design. The Versailles Palace, located on the High Terrace, converge three wide direct radiation prospectuses of the city forming a trident. Middle Avenue continues on the other side of the palace in the form of the main alley of a huge park. Perpendicular to this main composite axis of the city and the park is located strongly elongated in the width of the palace. The middle avenue of the trident leads to Paris, two others - in the royal palaces of Saint-Clock and Co, as if communicating the main country residence of the king with various areas of the country.
The Versailles Palace was built in three periods: the most ancient part, framing the marble courtyard, is the hunting castle of Louis XIII, started construction in 1624 and in the future heavily rebuilt. In 1668 - 1671, the left chopping his new corps facing the city along the middle ray of the trident. From the side of the marble courtyard, the palace resembles the early construction of the French architecture of the XVII century with extensive Kurdoner, towers, crowned with high roofing, fragility of shapes and details. Construction completes Ardenen-Mansar, which in 1678 - 1687 even more increases the palace of two buildings, southern and northern, with a length of 500 m, and from the central part of the park facade - a huge mirror gallery with a length of 73 m with the lateral halls of war and peace. Next to the mirror gallery, he placed on the side of the marble yard the bedroom of the Sun king, where the axis of the trident Avenue of the city converge. In the central part of the palace and around the marble courtyard, apartments of the Royal Family and the Parade Adoption Halls were grouped. In huge wings, the premises of the court, guardians and the palace church were located.
The architecture of the facades of the palace created by Ardune-Mansair, especially from the park, is distinguished by a big style unity. Strongly stretched styling, the building of the palace is well combined with strict, geometrically correct park layout and natural environment. In the composition of the facade, the second, the main floor with large-scale architects of windows and strict ones and parts and the details of the columns and the pilaster between them, resting on a heavy rushed basement, are distinguished. A crown building The heavy attic floor tells the appearance of the palace monumentality and representativeness.
The premises of the palace were distinguished by luxury and variety of finishes. Baroque motifs are widely used (round and oval medallions, complex cartoons, ornamental fillings over the doors and in common) and expensive finishing materials (mirrors, bronze, marble, gold-plated wooden carving, valuable wood breeds), widespread use of decorative painting and sculptures - All this is designed to impress stunning parade. The reception halls were devoted to the ancient gods: Apollon, Diana, Mars, Venus, Mercury. Their decorative decoration reflected the symbolic meaning of these rooms associated with the glorification of virtues and the merits of the king and his family. During balls and receptions, each of the halls served as definite goals - the place of banquets, the games in billiards or maps, the concert hall, the interior for musitization. In the Apollo Hall, who surpassed the luxury of the finishes, the rest was the royal throne - a very high cast of cast silver under the canchine. But the largest and front room of the palace is a mirror gallery. Here, through wide arched openings, a magnificent view of the main alley of the park and the surrounding landscape. The internal space of the gallery is illusively expanded by a number of large mirrors located in niches against windows. The interior of the gallery is richly decorated with marble Corinth pilasters and a magnificent stucco cornice, which serves to the transition to an even more complex in composition and color solving a huge ceiling of the painter of Lebed.
The spirit of official solemnity reigned in Versailles. The premises were luxuriously furnished. In a mirror gallery in shining silver chandeliers, thousands of candles were lit and a noisy colorful crowd of court filled Palace Anfiladers, reflected in high mirrors. The Venetian ambassador, describing one of the royal receptions in his report from France, says that there was a lighter than the day "and" the eyes did not want to believe in unprecedented bright outfits, men in feathers, women in lush hairstyles. " He likes it to "sleep", "enchanted kingdom."
Unlike the architecture of the facades of the palace, which did not devoid several baroque representativeness, as well as overloaded with decorations and the gilding of interiors, made by Andre Lenotr, the layout of the Versailles Park, which is the most outstanding model of the French regular park, is distinguished by the amazing cleanliness and harmony of forms. In the park layout and the forms of its "green architecture" Lenotr is the most consistent expressant of the aesthetic ideal of classicism. He saw in the natural environment the object of reasonable human activity. The natural landscape of Lenotr converts into a flawlessly clear, complete architectonic system based on the idea of \u200b\u200brationality and order.
The general view of the park opens from the side of the palace. From the main terrace, the wide staircase leads on the main axis of the ensemble composition to the Laton Fountain, the Royal Alley bores it to the Apollo fountain with an extensive oval pool.
The composition of the Royal Alley ends flowing away far to the horizon with a huge water surface of the cruciform channel and then converging to the main beam, then the prospects formed by the stripped trees and bosets diverging from it. Lenotr gave the park West Eastern orientation, thanks to which in the rays of the rising sun, reflected in the Big Channel and pools, it seems particularly great and radiant.
In organic unity with the park layout and the architectural appearance of the palace there is a rich and diverse sculpture of the park.
Versailal Park Sculpture is actively involved in the formation of the ensemble. Sculptural groups, statues, Herma and Vases with reliefs, many of which were created by outstanding sculptors of their time, closed the prospects for green streets, framing squares and alleys, form complex and beautiful combinations with a variety of fountains and pools.
Versalya Park, with its clearly pronounced architectonic construction, wealth and variety of forms of marble and bronze sculptures, foliage of trees, fountains, pools, geometrically clear lines of alley and shapes of lawns, flower beds, bosets, resembles a large "green city" with an imfilads of various areas and streets . These "Green Anfiladers" are perceived as a natural continuation and the development of the inner space of the palace itself.
The architectural ensemble of Versailles complemented the building of the Arduen-Mansar built in the park on the project (1687 - 1688) - an intimate royal residence. A feature of this small, but monumental in its appearance of a single-storey building is a free asymmetric composition; Parade living rooms, galleries and residential premises are grouped around small landscaped courtyards with fountains. The central entrance part of the trianone is arranged as a deep loggia with twisted columns of an ionic order supporting overlap.
As a palace, so especially the park of Versailles with his wide promenade, an abundance of water, easy dismisability and spatial scope served as a magnificent "scenic platform" for a wide variety of, unusually colorful and lush spectacles - fireworks, illuminations, balls, ballet divertisses, performances, masquerade Processions, and channels - for walking and the festivities of the Fleet. When Versailles was built and did not yet become the official center of the state, his "entertainment" function prevailed. In the spring of 1664, the young monarch in honor of his favorite Louise de Lavalier established a series of festivities under the romantic name "Enjoy the Enjoyed Island". At first, in these peculiar eight-day festivals, in which almost all kinds of arts participated, there were still many vitality and improvisation. Over the years, the festivities have taken an increasingly ambitious character, reaching its apogee in the 1670s, when a new favorite was reigned in Versailles - the wasteful and brilliant Marquis de Mont-Dran. In eyewitness stories, in a variety of engravings, fame of Versailles and his holidays were divided into other European countries.
Chapter "Art of France. Architecture". Section "Art 18th Century". Universal art history. Tom IV. Art of 17-18 centuries. Posted by: L.S. Aleshina; Under the general edition of Yu.d. Kolpinsky and E.I. Rotenberg (Moscow, State Publishing House "Art", 1963)
If the 17th century in the architecture of France is marked by the grandiose construction works for the king, the main result of which was the creation of the monumental ensemble of Versailles, where the style of classicism itself detects the elements of the internal connection with the baroque architecture, then the 18th century brings with them new trends.
Construction has moved to cities. The new needs of the era set the problem of creating a type of urban residential building-mansion. The development of bourgeois relations, the growth of trade and industry, the strengthening of the role of the third class in public life has put forward the task of the construction of new public buildings - stock exchanges, commercial premises, public theaters. Increasing the role of cities in the economic and political life of the country, the emergence of new types of private and public structures put new demands in the creation of the city ensemble.
Passed changes and architectural style of the era. The very unity of the figurative decisions of the outdoor appearance and the internal space at the beginning of the 18th century is characteristic of the last century classicism. Disintegrate. This decay process is accompanied by the separation of construction practices and theoretical teachings, the difference in the principles of interior design and facade. Leading architects in their theoretical works are still worshiping the antiquities and the rules of three orders, but in direct architectural practice they depart from strict requirements of logical clarity and rationalism, the subordination of the private whole, clear constructiveness. The work of Robert de Cotta (1656-1735), the successor of Jules Ardune-Mansar at the post of royal architect (he completed the construction of an excellent on its strict, noble architecture of the Chapel of the Versailles Palace), is a convincing example of this. In those constructed in the 1710s. Parisian mansions (Hotel de Toulouse and the hotel D Estre) notice the relief of architectural forms, free development of the decor.
The new style, called Rococo or Rocail, cannot be considered only on the one hand, seeing only the reactionary and unpromising generation of the subcounting class. In this style, not only the hedonistic aspirations of aristocracy were reflected. Rococo was peculiar to some progressive tendencies of the epoch; From here - the requirements of a more free and appropriate actual life planning, more natural and living development, internal space. The dynamics and ease of architectural masses and the decor opposed the heavy pompous interviewing of the interiors in the era of the highest power of French absolutism.
At the beginning of the 18th century. The main construction is still conducted by aristocracy, but its character changes significantly. The place of mansions, so-called hotels occupy the place of the manoring castles. The weakening of absolutism affected the fact that the nobility leaves Versailles and settles in the capital. In the green emissions of Paris - Saint Germain and Saint Support - one after the other throughout the first half of the century, luxury mansions and hotels with extensive gardens and services are being built. Unlike the Palace Constructions of the previous century, haunting the goals of impressive representativeness and solemn greatness, in the now mansions created, much attention is paid to the actual convenience of life. Architects refuse the chain of large halls drawn by solemn anfilat, in favor of smaller rooms, which are more naturally located in accordance with the needs of the private life and public office of the hosts. Many high windows lightly illuminates indoor rooms.
For its location in the city of the first half of the 18th century. Presented to a large extent the transitional phenomenon from the country estates to the urban home. This is a closed architectural complex, a peculiar estate inside the city district, associated with the street only with the front gate. The house itself stands in the depths of the site, leaving the facade to the extensive courtyard, devoid of low office space. The opposite facade is facing the garden that retains regular layout.
In hotels of the first half of the 18th century. The most brightly manifested the characteristic contradiction of the French architecture of this era - the discrepancy between the outdoor architecture of the interior decor. The facade of the building, as a rule, retains traditional order elements, treated, truth, more freely and lightly. Registration
the same inner premises often completely breaks with the laws of tectonics, merging the wall with the ceiling in a holistic, which does not have certain boundaries of the inner space shell. It was not by chance that the artists-decorators who know how to interior with an amazing subtlety and perfection acquired at this time. The period of early and mature rococo knows the whole Pleiad of the masters, creating exquisite masterpieces of indoor decorations (housing Marie Opener, 1672-1742; Zust Eagle Maissonier, 1693-1750, and others). Often the building was built with one architect, but was drawn up to others. But even when all the work was carried out by one master, his approach to the decision of the external appearance of the hotel and its inner premises was fundamentally different. One of the most prominent architects Rococo Germain Bofran (1667-1754) In his treatise, "Livre D" Architecture "(1745) directly said that at present the interior decor is a completely separate part of the architecture that is not considered to the decor of the outside of the building. In He consistently conducted this thesis. In the architecture of Lunevil's castle, in the hotels in Naiai, built in the 1720s., Following the traditions of classicism - it is clearly distinguished by the central part, underlined by portico with columns or pilasters. About Rococo style they say only a few Molding details Yes Comparative facilitation of order elements.
Completely differently solves its interiors. A brilliant example is the internal decor of the hotel Subiz (1735-1740). Not belovering the appearance of the mansion, which was performed by the Demamer in 1705-1709. In classical traditions, Bofran informs the hotel rooms the character of elegant bonbonniells. Carved panels, stucco ornaments, scenic panels with a solid carpet ripe walls and ceiling. The effect of these exquisitely elegant, whimsally light shapes should be particularly impressive in contrast with a more restrained architecture of the facade.
Cult construction during this period was incomparably less important than secular. Basically ended the construction of the preceding century.
Such is the Church of Saint Rosh in Paris, started by Robert de Cott at the end of the 17th century. and finished after the death of this architect his son J.-R. de Cott.
The more interesting Paris Church of Saint-Sulpis, launched also in the 17th century. By 20th. 18 V. He remained unfinished main facade. It was designed several architects. The project of the famous Decorator Maissonia (1726), who tried to move the rocial principles to the outdoor architecture, was rejected. In 1732, another decorator, Jean Nicola Servandoni (1695-1766), who applied in his solutions to classical forms, defeated the competition for the facade project. His intention and lay down the basis for further construction. The facade of the church is dissected for two tiers, each of which has its own warrant. On both sides of the facade towers towers.
From the second quarter of 18 V. An increasingly prominent role in French construction began to play rich trading cities of the province. It was not limited to the construction of individual buildings. The entire system of the old feudal city with a chaotic building, with a confusing grid of the streets included in the close framework of urban fortifications, has contradicted with the new needs of growing trading and industrial centers. The preservation of many key positions behind absolutism has led, however, at first a fairly compromise decision of urban planning problems. In many cities, the reconstruction of individual parts of the Old Town comes at the expense of the device of royal space. The tradition of such areas goes back to the 17th century, when they were created not in order to streamline chaos of the medieval city, but as an open place to install the statue of the king. Now the reason remained as it were for the same - all that have arisen in the 18th century. During the monarchy of the square, it was designed to serve to install a monarch monument, "but the architects themselves pursued much broader town planning tasks.
One of the first squares of the new type associated with the redevelopment and development of entire urban areas was the area in Bordeaux. The designer and the builder was Jacques Gabriel (1667-1742), a representative known from 16 V. The dynasty of architects, the father of the famous architect Jacques Anja Gabriel.
Work on the planning and building area was launched in 1731. The plot for it was allocated on the shore of a wide garonna. The architect is widely and versatile developed the possibility of creating a new ensemble covering a significant part of the city and connecting it with a natural environment.
His work in Bordeaux Jacques Gabriel began with the demolition of old unbreakable buildings on the banks of the river and the device of the magnificent embankment. The city turned face to Garonne - his main decoration. This turn was intended to fasten the area, widely opened to the river, and the layout of two streets joined in the area. Using the planning principle of Versailles, the architect applied it to a new public and artistic organism - the city, solving it on a broader basis. The buildings located on the sides of the Square were intended for the trade and economic needs of the city: on the right - the stock exchange, on the left - the Tax Department building. The architecture is distinguished by restraint and elegant simplicity. The construction of the stock exchange and the central pavilion between the two streets was completed after the death of Jacques Gabriel his son. A number of innovative principles of Bordeaux Square - its open character, its conversation to the river, connection with the city quarters with the help of rays-streets - Jacques Anzh Gabriel soon brilliantly developed at work on the area of \u200b\u200bLouis XV in Paris.
If the area of \u200b\u200bthe Square in Bordeaux gave a solution that has anticipated many planning principles of subsequent time, then another wonderful ensemble of the middle of the 18th century. - A complex of three squares in Nancy, to a greater extently associated with the past, - as it were, the methods of organizing the organization of the Baroque era.
Three different in the outlines of the area are the rectangular area of \u200b\u200bStanislav, the long area of \u200b\u200bthe Carrier and the oval area of \u200b\u200bthe government - form a closely combined and internally closed organism, existing only in a very relative connection to the city. Oval Kurdoner Palace of Government is separated by Arcade from the surrounding space of the city and the park. The active movement of it can, essentially, develop only forward through the Boulevard Square of the Carrier and the Triumphal Arch, so that, going to the Stanislav Square, is immediately a barrier to the monumental building of the Town Hall. The impression of two monumental kurdoners, eating in front of the magnificent palaces and interconnected straight alleys. It is characteristic that the streets overlooking Stanislav Square are reconded with lattices. The charm of the ensemble is created by the festive architecture of palaces, amazing in the skill forged with the gilding lattices, fountains at two corners of the square, weathered in a single elegant-elegant rococo tonality. Planner of the square and architect of the main buildings was the student of Bofran Emmanuel Ere de roots (1705-1763), who worked mainly in Lorraine. Built in 1752-1755, this complex in its forms and planning principles looked already some anachronism in comparison with the new movement in the architecture, which began at the end of the first half of the 18th century.
This is a movement, the impact of which the plan of the square was already noted in Bordeaux, was expressed in refusal of extremes and quiet Rococo in favor of a more intelligent orderly architecture, in strengthened interest in antiquity. The connection of this movement with the strengthening of the position of the bourgeoisie is undoubted.
Just by the frontier of the first and second half of the century, there is a performance of encyclopedists who nominated the criterion of the mind as the only measure of all things. From these positions, the entire feudal society is criticized and its generation is Rococo style, as devoid of logic, rationality, naturalness. Conversely, all these qualities are seen in the architecture of the ancients. In these years, rubbing devoted to the monuments of ancient architecture appear. In 1752, a well-known amateur and patron Count De Cyleus begins to publish the work of the "Assembly of Egyptian, Etruscan, Greek and Roman antiquities." Two years later, Architect David Lerua goes to Greece and then releases the ruins of the most beautiful buildings of Greece. " Among the theoretics of architecture, the abbot of a lie, whose published in 1753 "Etudes on architecture" caused a lively response in wide circles of French society. Speaking from the standpoint of rationalism, he advocates reasonable, that is, a natural architecture. The pressure of educational, ultimately democratic ideas was so great that he had its impact on official artistic circles. The leaders of the artistic policies of Absolutism felt the need to oppose the positive program of encyclopedists, their convincing criticism of the illogy and unnaturalness of the art of Rococo. The royal power and the Academy are making certain steps to snatch the initiative from the hands of the third class and head the emerging movement. In 1749, a peculiar artistic mission led to the brother of the Alludal Favorite Louis XV Madame Pompadur, the future Marquis Mariny, who performed the position of director of royal buildings was sent to Italy. He was accompanied by engraver and architect Jacques Germain Suflo - the future builder of Paris Pantheon. The purpose of the trip was to familiarize themselves with Italian art - this cradle of the beautiful. They visited shortly before the starting excavation of Herculaneum and Pompeii. Souflo, also studied antique monuments of Pestum. All this trip was a sign of new phenomena in art, and its consequence there were a further turn to classicism and more acute struggle with rocial principles, even in various types of decorative art. At the same time, this journey gives a vivid evidence of how differently understood the appeal to the ancient heritage and which various conclusions were made from here by representatives of the dominant class and the artists themselves. The results of Italian impressions and reflections turned out from Mariny in the words: "I don't want the current excesses at all, a little of the old one, a little bit of the other." He adhered to this compromise artistic policy in the future throughout his long-term activities of the head of elegant arts.
Its companions on the trip - Koshen and Suflo - took a much more progressive and active position. The first published on returning the treatise "Review of antiquities of Herculaneum with several reflections on painting and sculpture of ancient" and then led a very sharp struggle against the principles of rocker art, for the rigor, purity and clarity of architectural and decorative forms. As for the soufflo, his additional trip to the Pestum and studying at the site of two wonderful monuments of Greek architecture testify to his deep interest in antiquity. In its construction practice, on returning from Italy, the principles of classicism completely and uncompromisingly triumph.
The creativity of the most captive masters of the French architecture of Jacques Anza Gabriel (1699-1782) is also blossomed into this transitional era. Gabriel's style seems to meet the requirements of Marigna, but this is an extremely distinctive and organic phenomenon generated by natural, "deep" development of architecture of France. The master was never in Italy, nor all the more in Greece. The Creativity of Gabriel as it were, as it were, and developed the line of French architecture, which was outlined in the late buildings of Jules Ardune-Mansar (Great Trianon and Capella in Versailles), in the eastern facade of the Louvre. At the same time, he learned the progressive trends that were kept in Rococo architecture: its approach to person, intimacy, as well as the exquisite subtlety of decorative parts.
The participation of Gabriel in the town planning works of his father in Bordeaux well prepared him to solve the ensemble tasks held by the middle of the 18th century. An ever more prominent role in architectural practice. Just at this time, attention to Paris is intensifying to Paris, to the problem of turning it into the city, a worthy title of the capital.
Paris had excellent architectural monuments, a number of areas created in the previous century, but all these were separate, closed in themselves, isolated islands of organized building. In the middle of the 18th century there is a square, which played a huge role in the addition of the ensemble of the Paris Center, is the current area of \u200b\u200bconsent. With his appearance, she is obliged to a whole team of French architects, but its main Creator was Jacques Anzh Gabriel.
In 1748, on the initiative of the metropolitan merchant, the idea of \u200b\u200bthe monument of Louis XV was put forward. The Academy announced a competition for the creation of an area for this monument. As we can see, the beginning was quite traditional, in the spirit of 17 V.- The Square was intended for the statue of the monarch.
As a result of the first competition, neither one of the projects was not chosen, but it was finally established place for the square. After the second competition held in 1753, only among the members of the Academy, the design and development was charged by Gabriel so that he would take into account other suggestions.
The site chosen under the square was an extensive wasteland on the seashore of the Seine on the outskirts of Paris, between the garden of the Tuilry Palace and the beginning of the road leading to Versailles. Gabriel is unusually fruitful and promising used the benefits of this open and coastal location. His square was the axis of the further development of Paris. It turned out to be possible due to its versatile orientation. On the one hand, the area thinks as it were in anticipation of the palace complexes of Tuileries and the Louvre: it is not for nothing about the borders of the city three provided for by Gabriele - Alley of the Elysee fields, the mental intersection point of which is located in the entrance gate of the Tuilder Park. In the same direction - the person to the palace - the equestrian monument of Louis XV is focused. At the same time, only one side of the square is accented architecturally accentuated. It provides for the construction of two majestic administrative buildings, and the Royal Street is designed between them, the axis of which is perpendicular to the axis of the Elysee fields - Tuileries. At the end, the church of the architect Kontana D "Ivry, his portico and a dome, who closed the perspective, is very soon starting to build the perspective. Parties from their buildings, Gabriel designs two more streets parallel to the royal. Thus, another possible direction of movement, connecting the area with other quarters growing city.
Very witty and completely new solves Gabriel Borders of the Square. Insupping only one northern direction, putting forward the principle of free development of space, his connection with the natural environment, he is at the same time seeking to avoid the impression of his amorphousness, uncertainty. From all four sides, he designs the shallow dry rally, eliminated by the greenery of lawns, bordered by stone balustrades. Gaps between them give an additional clear focus of the rays of the Elysee fields and the axis of the royal street.
In the guise of two buildings closed by the northern side of the consent area, the characteristic features of Gabriel's creativity are well expressed well: clear, calm harmony of whole and parts, easily perceived by the eye logic of architectural forms. The lower tier construction is heavier and massive, which is emphasized by a large rustic wall; He carries two other tiers, combined by Corinthian columns, is a motive that is ascending to the classic Eastern Louvre facade.
But the main merit of Gabriel consists not so much in the workshop of the solution of the facades with their rising over powerful arcades of the lower floor by slim cannelled columns, and in a specific ensemble sound of these buildings. Both of these buildings are unthinkable and a friend without a friend, and without space space, and without a structure that is at a significant distance - without the church Madeleine. It is on her who are focused both buildings of the area of \u200b\u200bconsent - it is not by chance that each of them has no accented center and is as it were from one of the wings of a whole. Thus, in these buildings, designed in 1753 and began to be constructed in 1757-1758, Gabriel outlined such principles of a volume and spatial solution that will be developed during the mature classicism.
Pearl of French architecture 18 V.- Small Tranony, created by Gabriele in Versaille in 1762-1768. The traditional theme of the country castle is solved here completely in a new way. A small square in terms of building is drawn to the space by all four of its facades. There is no one preferred emphasis on the main facades, which was still so characteristic of the palaces and the estates. Each party has an independent value, which finds an expression in different solutions. And at the same time, this difference is not a cardinal - it's like variations of one topic. The facade overlooking the open space of the parquet, perceived from the furthest distance, is interpreted the most plastic. Four point-based columns that combine both floors form a slightly protruding portico. A similar motive, however, in a modified form, - the columns are replaced by pilasters - it sounds in two neighboring sides, but every time otherwise, due to the level difference, the building has two floors, in the other - three. The fourth facade, addressed to the lounges of the landscape park, is very simple - the wall is dissected only by rectangular windows different in each of the three magnitude tiers. So buying means Gabriel seeks the striking wealth and saturation of impressions. Beauty is extracted from the harmony of simple, easily perceived forms, from the clarity of proportional relationships.
The internal layout is also solved with great simplicity and clarity. The palace consists of a number of small rectangular rooms, the decorative decoration of which, built on the use of straight lines, light cold colors, stamps of plastic products, corresponds to the elegant restraint and noble grace of outdoor appearance.
The work of Gabriel was a transitional, binding link between the architecture of the first and second half of the 18th century.
In buildings 1760-1780s. The newest stage of classicism is formed by the younger generation of architecture. It is characterized by a decisive turn to the antiquity that has become not only an inspirational of artists, but also the treasury forms used by them. The requirements of the intelligence of architectural work reach the abandon from decorative decorations. The principle of utilitarianism, binding together with the principle of naturalness of the building, the model of which is the ancient facilities, is as natural as the utilitarian, all forms of which are dictated by a reasonable necessity. Column, antablement, frontoth, which became the main means of expressing the architectural image, their constructive, functional value is returned. Accordingly, the scale of order memberships is enlarged. For park construction, the same desire for naturalness is characteristic. There is a refusal of a regular, "artificial" park and a flourishing of the landscape garden.
The characteristic phenomenon of these pre-revolutionary decades is the predominance of public structures in the construction of public structures. It is in public buildings that the principles of new architecture are brighter. And it is very significant that one of the outstanding architectural works of this period is Pantheon - very soon turned from the building of the cult destination to the public monument. The construction of him was conceived by Louis XV as the Church of Paris Patrone - St. Genevieve, the place of storage of her relics. The development of the project was charged in 1755 Jacques Jacques Suflo (1713-1780), just recently returned from a trip to Italy. The architect understood his task much wider than his customer. He submitted a plan that provided for in addition to the church an extensive area with two public buildings - faculties of law and theology. In the future work, Soufflo had to abandon this idea and limit his task with the construction of the church, the entire appearance of which testifies, however, that the architect has thought of her as a building of a large public sound. Crusading in terms of building is crowned with a grand dome on the drums surrounded by columns. The main facade will emphasize a powerful deep hex column with a fronton. All other parts of the walls are completely deaf, without opening. Clear logic of architectural forms is clearly perceived at the first glance. Nothing mystical and irrational - everything is reasonable, strictly and simple. The same clarity and strict sequence are peculiar and the spatial solution of the temple interior. The rationalism of the artistic image, expressed so solemnly and monumentally, turned out to be extremely close to the worldwind of revolutionary years, and the finished church was turned into 1791 in a monument to the great people of France.
Of the facilities built in Paris in the pre-revolutionary decades, the Surgical School of Jacques Honduan is allocated (1737-1818). The project, over which he began to work in 1769, was distinguished by a big latitude of the plan, which is generally a characteristic feature of the architecture of these years. Together with this building, Honduen conceived the restructuring of the whole quarter. And although the plan of Honduen did not receive complete implementation, the very building of the surgical school, ended in 1786, was decided with a scope. This is an extensive two-story building with a large courtyard. The center of the building is marked by an impressive portist. The most interesting part of the inner premises is the large semicircular hall of an anatomical theater with the raising the amphitheater of the benches and the capped arch - a peculiar combination of half of the Roman Pantheon with the Coliseum.
A new widespread type of social structure was theater during this period. And in the capital and in many provincial cities, one after the other theatrical buildings are crushed, plotted by their appearance as an important part in the architectural ensemble of the city community center. One of the most beautiful and significant structures of this kind is the theater in Bordeaux built in 1775-1780. Architect Viktor Louis (1731-1807). The massive volume of rectangular outlines is put on the open area of \u200b\u200bthe square. The twelve-column porticist decorates one of the narrow sides of the theater building, informing the solemn representativeness of his main entrance facade. On Antablement, the portico installed statues of the music and goddesses, determining the appointment of the building. The theater's front staircase, first the single-sample, dismembering the two sleeves leading to the opposite sides, served as a sample for a variety of later French theatrical buildings. Simple, clear and solemn architecture of the theater in Bordeaux, a clear functional solution of its internal space makes this building by one of the most valuable monuments of French classicism.
In the years under consideration, the activities of a number of architects begins, whose creativity as a whole has already belongs to the next period of French architecture, inspired by the ideas of the revolution. In some projects and buildings, those techniques and forms that will be characterized by the characteristic features of the new stage of classicism associated with the revolutionary era are scheduled.
In the first half and the middle of the XVII century, the principles of classicism are developing in the French architecture and gradually rooted. This contributes to the state system of absolutism.
Construction and control over it are focused in the hands of the state. A new post "Architect King" and "First Architect King" is introduced. Huge funds spend on construction. Public institutions control the construction not only in Paris, but also in the provinces.
Urban planning works are widely deployed throughout the country. New cities arise as military outposts or settlements near palaces and castles of kings and rulers of France. In most cases, new cities are designed in the form of a square or a rectangle in terms of either in the form of more complex polygonal forms - five, six, eight, etc. Countries formed by defensive walls, moats, bastions and towers. Inside, it is planned strictly regular rectangular or radial-ring system of streets with city square in the center. As examples, you can specify the city of Viteter-les-Francois, Saarloui, Hanrishmon, Marle, Richelieu, etc.
The restructuring of old medieval cities is underway based on new principles of regular planning. Direct highways are laid, urban ensembles and geometrically the right areas are built at the site of a dislocative network of medieval streets.
In the town planning of the classicism era, a major urban ensemble with the development carried out according to a single plan is becoming the main problem. In 1615, the first planning work in the northwestern part of the city is being conducted in Paris, Notre Dame and Saint-Louis islands. New bridges are erected and the boundaries of the city are expanding.
The principles of classicism, the soil for which were prepared by the architects of French and Italian Renaissance, in the first half of the XVII century they had no integrity and uniformity. They were often mixed with the traditions of the medieval French architecture and the influences of the Italian Baroque, for the construction of which are characterized by ramped eaves, a complicated form of triangular and curvilinear frontoths, an abundance of sculptural decor and a carton, especially in the interior decoration.
Medieval traditions were so strong that even the classic orders acquired a peculiar interpretation in the construction of the first half of the century. The composition of the order is its location on the surface of the wall, proportions and parts - obeys the structure of the wall that has begun in the gothic architecture, with its clearly dedicated vertical elements of the carrier building frame (stences) and large window openings located between them. Semi-colonels and pilasters, filling the simpleness, are grouped in pairs or beams. This motive combined with the unit of the facades with the help of angular and central risals into separate tower-like volumes, blocked by high pyramidal roofs, gives the building vertical aspiration, which is not characteristic of the classical system of orders and a clear calm silhouette of the volume.
In the development of Paris and other cities of France, especially in the formation of the silhouette of the city, the role of churches and monastic complexes are significant. In one of Paris, more than twenty churches are built at this time. Their architecture is distinguished by a great variety.
Baroque techniques are combined with the traditions of French gothic and new classic principles of understanding of beauty. Many cult facilities built on the Basilical Church installed in the Italian Baroque, received magnificent main facades, decorated columns and pilasters, with numerous dermisters, sculptural inserts and volitions. An example is the sorbonna church (1629 - 1656, Architect J. Lemercia) is the first cult building of Paris, crowned with a dome.
The predominance of classic trends affected such structures as the Church de la Visatasion (1632 - 1634) and the Church of the Minov Monastery (started in 1632) created by F. Mansar. For these buildings, the simplicity of the composition and the restraint of the forms, departure from the baroque samples of the basilical plan and the interpretation of the facades as a magnificent architectural scenery.
Along with Lemar, the largest arch of the first half of the century was Francois Mansar (1598 - 1666), which built a large number of country palaces-locks, city mansions (hotels), as well as religious buildings. Its outstanding works should be attributed to the Palace of Meson-Laffith (1642 - 1650), erected not far from Paris for the President of the Paris Parliament Rene de Langei. Unlike traditional compositions of earlier country locks, there is no closed courtyard formed by the main building and service filties. All office premises are placed in the ground floor of the building. Scoped in the form of the letter "P" around the opened in the park of Kurdoner, the building is well reviewed from all sides.
Francois Mansar. Palace Meson-Laffet near Paris. 1642 - 1650. Main facade
Francois Mansar. Palace Meson-Laffith. Central part of the main facade
The monumental volume of the palace, topped in an ancient tradition of high pyramidal roofs over the side and central risals, is distinguished by compact solidity and expressive silhouette. The building is surrounded by water with water, and its location, as it were, on the island in a beautiful water frame, is well connecting the palace with a natural park environment, emphasizing his deputy in the ensemble composition.
Here, these traditional elements of medieval castle architecture lose the fortification meaning and become purely architectural and composite and decorative techniques. Unlike earlier locks, the internal space of the building is characterized by a large unity and conceived as a system of interconnected rooms and seating areas with balconies and terraces, which go to the park and the garden and the garden, and the architectural trim. In strictly ordered interior construction, the features of classicism already clearly manifest.
Smaller residential and economic premises located in the base and third floors do not violate the spatial unity of interiors, rich and solemn. The facade dismemberment system used by the Manzar is a strict doric order in the first floor and easier ionic - in the second presents the workshop attempt to lead to the unity of classic and traditional medieval forms.
The architecture of the Meson-Luffyt Palace complements the regular French park with an extensive parter, bosets and dense green plantings.
In the first half of the XVII century, first-class garden architects and the theorists of garden-park art appear, the development of which was hand in hand with the construction of magnificent country and urban palaces. Such is the dynasty of the architects of Molles, creating large garden-park ensembles - Tuileries, Saint-Germain-An-Le in Paris, Fontainebleau, etc.
During the formation of a regular French park, the gardener becomes an architect and sculptor, he thinks with spatial categories and creates elements of wildlife - skillfully covered bushes and trees, flowering surfaces of the parquet, green lungs, water stroits of ponds and pools - the likeness of "green cities" with many diverse , leaving the distance of streets and squares, decorated with sculpture, pools and grotts. Nature here is entirely subordinate to the person, ordered and is given to architectonic unity with buildings. This is the difference between French parks from the parks of baroque Italian villas, where natural elements in their natural diversity only complemented the architecture.
The large work of Francois Manzar is also the Church of the Walm Monastery Val de Gracc (1645 - 1665), built after his death. The composition of the plan's composition is based on a traditional diagram of dome basilica with a wide central nave, overlapped with a cylindrical arch, a testing and dome on the mediumland. As in many other French cult facilities of the XVII century, the facade of the building dates back to the traditional solution of the church facade of the architecture of Italian baroque. Raised on the high drum dome of the church - one of the three highest domes of Paris.
Francois Mansar. Church of Val de Gras in Paris. 1645 - 1665. Facade
Francois Manzar was built a number of city mansions of French nobility, with a typical front courtyard for them, adjacent to the street, and the main building in a depth located between the yard and the garden. The facades of these mansions were shaken by floor orders or an order for their entire height; The corners of the building were processed by various forms of Rust, window and doorways - platbands. This, for example, mazarini mansion in Paris. In 1630, Francois Mansar introduced a highly broken shape of the roof into the practice of building a highly broken roof shape using a attic under housing (a device that was named by the author name "attic").
In the first half of the 18th century, carved wood, bronze, stucco, sculpture, painting were widely used in the first half of the XVII century.
Thus, in the first half of the XVII century, both in the field of urban planning and in the formation of the types of buildings themselves is the process of aging new style and conditions are created for its heyday in the second half of century.
Clodmerro (1613-1688)
French scientist, architect and theoretics of art, one of the leaders of baroque classicism. Born in Paris on September 25, 1613 in the family of Judges of the Paris Pierre Pierro Parrel parliament and was the younger brother of the theorist of art and writer Charles Perra (1628-1703), a famous French writer, a poet, and artistic critic, a member of the French Academy since 1671. Having received a scientific degree of doctor of medicine in 1642, Claude Perro worked for a long time as a doctor, and then taught in the 1650s anatomy and physiology at the University of Paris.
It was also engaged in mathematics, physics, mechanics and archaeology. Since 1675, he worked on the "Treatise on Mechanics" (published in 1700), a peculiar technical encyclopedia, where PRA included many different military, chronometric, hydraulic and weighing devices of their own invention, and in the 1680s published his work "physical experiments" . Claude Perra was a member of the Academy of Sciences (since 1666) and the Academy of Architecture (since 1672).
First of all, Claude Perro - a theoretical scientist - advanced in architectural practice thanks to related relations (Charles Perra was secretary of Jean-Batista Kolbera, who since 1664, the post of the main inspector of royal buildings since 1664). After, on the initiative of Kolbera (from 1667), work began on the expansion of the Louvre, Claude Persian actually headed these works, pushing into the background of other members of the Commission - Louis Levo and Charles Lebed. From the initial, more large-scale projects (provided for the unification of the Louvre with Tuileries to the Unified Complex) by 1678, only the main (oriental) facade and the more modest, overlooking the South South were carried out. In the conditions of the then tense academic controversy about the paths of development of national art, the eastern facade of the Louvre was a genuine building-manifesto, opposing strife of the Roman baroque crystal stylistic purity of their open galleries from the pair of Corinthian columns over a smooth basement; However, the dynamic spatial scope of this structure still remained a pure baroque feature. Among other architectural works of Perra - as stylistically strict building of the Paris Observatory (1667-1672). In 1671, Perra became one of the founders of the Royal Academy of Architecture in Paris. In 1673, he fulfilled the translation of the architectural treatise Vitruvia for a long time considered the best, and issued an annotated translation of the ancient work Witruvia "ten books about architecture", as well as in 1683, an architectural study "System of five types of columns according to the ancient method."
The peak of the development of classicism in the French architecture of the XVII century. Became Versailles Palace and Park Ensemble - Grand Paradinary Residence of the French Kings, erected near Paris. The history of Versailles begins in 1623 with a very modest hunting castle like the feudal, erected by the desire of Louis XIII of bricks, stone and roofing slate. The second stage of construction (1661-68) is associated with the names of the largest masters - architect Louis Levo (approx. 1612-70) and the famous decorator of gardens and parks Andre Lenotra (1613-1700). Creing and expanding the original modest lock, the left creates the composition of the composition with an impressive facade, which goes into the park, which works Lenotr. The colossal order, which has long been from the typical and favorite levelers, is placed on the ground floor. However, the architect was trying to make some freedom and liveliness in a solemn architectural spectacle: the Garden Facade of Levo had a terrace on the second floor, where the mirror gallery was later constructed. As a result of the second construction cycle, Versailles had developed into a holistic palace-park ensemble, which was a wonderful example of the synthesis of arts - architecture, sculptures and gardening arts. In 1678-89. Versal's ensemble was rebuilt, under the leadership of the largest architect of the century of Jules Arduen-Mansar (1B4B-1708). Arduuen-Mansar even more increased the palace, erecting two wings for five hundred meters each at right angles to the southern and northern facades of the palace. Over the terrace of Levo Ardenen-Mansar, two more floors were told, creating a famous mirror gallery along the western facade, closed by the halls of war and peace (1680-86). Arduuen-Mansar also built two ministerial buildings (1671-81), which formed the so-called "courtyard of ministers", and connected these hulls with a rich gilded lattice. All architect buildings designed in a single style. The facades of the enclosures were divided into three tiers. The lower sample of the Italian Palace-Palazzo Renaissance was trimmed by RUST, the average is the largest - filled with high arched windows, between which columns and pilasters are located. The upper tier is shortened, it ends with a balustrade (a fence consisting of a number of figured columns connected by railings) and sculptural groups that create a lush decoration, although all the facades have a strict look. All this completely changed the appearance of the structure, although Arduuen-Mansar left the same height of the building. Contrasts were gone, freedom of fantasy, nothing left, except for the extended horizontal of a three-story building, one in some kind of facades with the basement, front and attic floors. The impression of the grandinality that this brilliant architecture produces is achieved by a large scale of the whole, simple and calm rhythm of the whole composition. Arduuen-Mansar knew how to combine various elements in a single artistic integer. He possessed an amazing sense of the ensemble, striving for rigor in the decoration. For example, in the mirror gallery, he applied a single architectural motive - uniform alternation of simpleness with openings. Such a classic basis creates a sense of clear form. Thanks to Arduuen-Mansar, the expansion of the Versailles Palace was proposed by laws. An extension received a strong relationship with central buildings. The ensemble, outstanding in architectural and artistic qualities, was successfully completed and had a great influence on the development of world architecture.
Francois Giradon born on March 17, 1628 in the provincial town of True in the family of the founder and well knew this craft. According to the local tradition of Francois, already at fifteen years, he painted the chapel of St. Jules from the northern gate of True scenes from the life of the saint. This statement gave a reason to one of the biographers of Giradon, Marietta, argue that "he picked up a brush earlier than the cutter."
Francois teacher was almost an unknown sculptor Bodsson, which, in all likelihood, was distinguished among other masters of the city. It is not by chance that it is for the BODESON with the order to decorate the church of Saint-either and Villemor turned a native of Troita Cavalier Segeye. Being a friend of artists, he played a big role in the artistic life of Paris. True by assessing the ability of Giradon, Segeye sent him to Rome, providing material support.
In the capital Italy, Francois met with the artist P. Minyar. However, engraving Philipp Tomassen, who became his teacher, had the greatest impact on the formation of Creativity of Giradon. From the masters of sculpture, a young artist fucked by a less "classic" Flemish F. Dukeneua and Northergyan Jambolone, who in his eyes embodied the tradition of the great masters of the Renaissance, Bentlavs them. The work of the largest Italian baroque master of the XVII century is great importance for the creative growth of the French sculptor - Lorenzo Bernini. Recent studies talk about the work of Giradon in his workshop.
In Rome, Giradon lived only a few months. After the death of Tomassen, he returned to his homeland. Here he fulfilled his first major work - decorating one of the most beautiful hotels in the city. In about 1652, Zirandon went to Paris. In the capital of France, along with other masters, he begins to work on orders for the Royal Building Directorate.
In 1657, Giradon enters the Royal Academy of Painting and Sculpture, and in two years he becomes her professor. In many ways, the sculptor has achieved a quick success than a close connection with Charlin Lebed. Giradon shared the views of the latter on art. Already at the beginning of the fifties, he joined the academic group of Lebedin. Biogradon's biographers argue even that since 1662 his attention to the work of Lebedin passed into blind worship.
"This is difficult to agree if you consider that among the friends of Giradon, Rasin, Konde and other bright, talented personals of the era," said S. Morozov. - Rather, we can talk about a really huge influence of labed ideas on the sculptor. In Paris, in the immediate vicinity of Lebedin, his own manner, temperament, talent and even Giradon's genius. Here he learned to the free "appeal" with mythology and symbolism. Creating his works, Giradon rethought antiquity in the modern spirit, which is characteristic of classicism of the second half of the XVII century. The sculptor managed to enlist the support of influential persons - Kolbera and architect A. Maneneur. One of the biographers of Giradona noted that later he lost a lot with the death of his patrons, who saw the old man in him and trusting the works that other masters could not perform. "
The sixties for Giradon became especially fruitful. All major orders focused in the hands of people who are sympathetic to the master. Lebedre received first the post of the first painter of the King, later the director of the royal manuff of tapestries and furniture, and Kolber headed the Royal Building Directorate. It is not surprising that Girardon was able to fruitful work. He decorates the Apollo Gallery Arch in Vikkont, decorates Fontaineblo, but the true glory of Giradonon bring works performed by him in Versailles.
Inherent in Giradon, the skill of the relief manifested itself in composite images on decorative vases intended for Versailles ("Triumph Galatei", "Amphitrite Triumph").
With the decoration of the parade residence of Louis XIV, launched in those years, the two most famous works of the sculptor are connected: "Apollo, who is serving the nymphs" ("Spirit of Apollo", 1666), the first to glorify his sculptural group, and became the apogee of his glory "Abduction Prosepsy" (1699).
Giradon was performed by the model of the "Badalni Apollon" in 1666, but the work on transferring it to the marble took another five years. She took place in his own workshop of the sculptor, where T. Renogen helped him. During this period, Zhiradon made a second trip to Italy: Colmber instructs him to follow the decoration of the Royal Fleet, built in Toulon. From Toulon, the sculptor went to Rome and stayed there until May 1669.
The second trip to Rome, no doubt, is associated with the beginning of work on the Apollo group. This sculpture is the most "antique" from all created by the master. Giradon embodies the power, strength and the majestic beauty of antiquity. The contemporaries of the sculptor could not help but notice it. They compared it with great masters of antiquity. It is natural that it was Zhiradona that the restoration of numerous ancient statues in royal meetings was instructed, and among the most responsible works - the replenishment of missing hands in the Laocoon group.
In 1679, Felibian's swimsuit was described by Felhibien: "The Sun, completing his way, descends to Fetide, where six her nymph serves him, helping to restore the strength and refreshing, a group of seven big marble figures, four of which Francois Giradon and Three Tom Renoden. " "The sculptor captured not only the plot," S. Morozova notes, "but also the possibility of his interpretation. None of the ancient groups, with the exception of the Fernese Bull and Niobide, did not include more than three figures. The antique statue of Apollo Belvedere served as a sample when creating a giradon figure of the main character, which is given in an integral scale compared to the images of the nymph behind his back. But the success of the group was predetermined not only by turning to the ancient pattern. Its expressiveness is in the harmonic combination of naturalness and ideal beauty, modernity and finely perceived antiquity, in the unity of high intellectuality and expressed in it the 17th century. "
Following the installation of Apollo Group in the romantic rocky grotto, designed by Gubert Robert, has followed new orders for Versailles. Only in 1699, his other work was established, it is undoubtedly belonging to the best creations of the French art of the XVII century - "Abduction of Proserpines".
The sculpture is placed in the center of round, elegant for the forms and proportions of the colonnade created by architect Ardune-Mansar. On the pedestal of the cylindrical shape, the relief with the image of the chase of the Ceres behind Pluto, taking the transcelnation in the chariot, the sculptural group is elevated on the composite and dynamic construction. In accordance with the appointment of this work, Zhiradon focuses on the decorative expressiveness of the sculpture: designed for bypass from all sides, the group has a great wealth of plastic aspects.
"Despite the influence of Bernini," writes S. Morozov, "Giradon in his sculpture is largely opposite to him. He develops a group of three figures, combining it vertically, seeking the unity and integrity of the composition. The skill of the sculptor is that the group is carved from a single block of stone, and with what accuracy and naturalness, he managed to transfer the swift movement and glow of passions in the plastic! According to the brightness of the idea and the genilation of the embodiment, this group is often compared with the outstanding creation of classicism of the 17th century - the tragedy of J. Rasin "Iphigeni".
Giradon worked in other types of monumental sculpture. So, he owns a tombstone monument to Rickel in Sorbonne Church (1694).
In 1692, in the center of Paris, on the Vandom Square, a monument was established to King France - Louis Xiv Giradon created a monument to the king, who said herself: "The state is me." The shreddish courtes called him "king the sun."
The king is depicted by solemnly stepping horse, he is in the robe of the Roman commander, but in the wig. The idea of \u200b\u200bthe greatness and power of the All-Russia monarch was embodied in idealized Louis. The sculptor found the necessary proportional relations of the statues and pedestal, as well as the entire monument as a whole - with its space surrounding space and its architecture, so that the equestrian statue turned out to be a genuine center of the majestic architectural ensemble.
From different places in Square, the monument was visible in different ways. Those who looked at him in front saw a wide step of a horse, muscles playing under his skin, a face with inflating nostrils, a majestic rider figure. When looking at the side view, the viewer first of all draws attention to the imperative extended hand gesture. Giddely collapsed head, face framing lush curls. But, despite the fashionable French wig, on the rider, the clothes of the Roman commander - a richly decorated shell, tunic, cloak. If you look at the monument at the back, you can see the curls and deep folds of the raincoat on the shoulders on the shoulders, on which the sunlight plays and sharp shadows protrude.
This work of Girardon for the entire XVIII century served as a model for equestrian monuments of European sovereigns.
After a hundred years, in the days of the Great French Revolution, the monument as a symbol of royal power was destroyed. But its model has been preserved. She is in the Hermitage, taking a central place in the French Art Hall of the second half of the XVII century.
It can be said that Girardon, together with Sulz and Kuazievox, express all the XVII century - the era of classicism.
L.S.aleshin
If the 17th century in the architecture of France is marked by the grandiose construction works for the king, the main result of which was the creation of the monumental ensemble of Versailles, where the style of classicism itself detects the elements of the internal connection with the baroque architecture, then the 18th century brings with them new trends.
Construction has moved to cities. The new needs of the era set the problem of creating a type of urban residential building-mansion. The development of bourgeois relations, the growth of trade and industry, the strengthening of the role of the third class in public life has put forward the task of the construction of new public buildings - stock exchanges, commercial premises, public theaters. Increasing the role of cities in the economic and political life of the country, the emergence of new types of private and public structures put new demands in the creation of the city ensemble.
Jules Arduuen-Mansar, Robert de Cott. Capella in the Versailles Palace. 1699-1710 Inner view
Passed changes and architectural style of the era. The very unity of the figurative decisions of the outdoor appearance and the internal space at the beginning of the 18th century is characteristic of the last century classicism. Disintegrate. This decay process is accompanied by the separation of construction practices and theoretical teachings, the difference in the principles of interior design and facade. Leading architects in their theoretical works are still worshiping the antiquities and the rules of three orders, but in direct architectural practice they depart from strict requirements of logical clarity and rationalism, the subordination of the private whole, clear constructiveness. The work of Robert de Cotta (1656-1735), the successor of Jules Ardune-Mansar at the post of royal architect (he completed the construction of an excellent on its strict, noble architecture of the Chapel of the Versailles Palace), is a convincing example of this. In those constructed in the 1710s. Parisian mansions (Hotel de Toulouse and the hotel D Estre) notice the relief of architectural forms, free development of the decor.
The new style, called Rococo or Rocail, cannot be considered only on the one hand, seeing only the reactionary and unpromising generation of the subcounting class. In this style, not only the hedonistic aspirations of aristocracy were reflected. Rococo was peculiar to some progressive tendencies of the epoch; From here - the requirements of a more free and appropriate actual life planning, more natural and living development, internal space. The dynamics and ease of architectural masses and the decor opposed the heavy pompous interviewing of the interiors in the era of the highest power of French absolutism.
At the beginning of the 18th century. The main construction is still conducted by aristocracy, but its character changes significantly. The place of mansions, so-called hotels occupy the place of the manoring castles. The weakening of absolutism affected the fact that the nobility leaves Versailles and settles in the capital. In the green emissions of Paris - Saint-Germain and Saint Super - one by one throughout the first half of the century there are luxury mansions-hotels with extensive gardens and services (Fig. On page 258). Unlike the palace structures of the previous century, haunting the goals of impressive-improvement and solemn greatness, in now the mansions created now much attention is paid to the actual convenience of life. Architects refuse the chain of large halls drawn by solemn anfilat, in favor of smaller rooms, which are more naturally located in accordance with the needs of the private life and public office of the hosts. Many high windows lightly illuminates indoor rooms.
For its location in the city of the first half of the 18th century. Presented to a large extent the transitional phenomenon from the country estates to the urban home. This is a closed architectural complex, a peculiar estate inside the city district, associated with the street only with the front gate. The house itself stands in the depths of the site, leaving the facade to the extensive courtyard, devoid of low office space. The opposite facade is facing the garden that retains regular layout.
In hotels of the first half of the 18th century. The most brightly manifested the characteristic contradiction of the French architecture of this era - the discrepancy between the outdoor architecture of the interior decor. The facade of the building, as a rule, retains traditional order elements, treated, truth, more freely and lightly. Registration
the same inner premises often completely breaks with the laws of tectonics, merging the wall with the ceiling in a holistic, which does not have certain boundaries of the inner space shell. It was not by chance that the artists-decorators who know how to interior with an amazing subtlety and perfection acquired at this time. The period of early and mature rococo knows the whole Pleiad of the masters, creating exquisite masterpieces of indoor decorations (housing Marie Opener, 1672-1742; Zust Eagle Maissonier, 1693-1750, and others). Often the building was built with one architect, but was drawn up to others. But even when all the work was carried out by one master, his approach to the decision of the external appearance of the hotel and its inner premises was fundamentally different. One of the prominent architects Rococo Germain Bofran (1667-1754) In his treatise, "LIVRE D" Architecture "(1745) directly said that at present the interior decor is a completely separate part of the architecture that is not considered to be the decor of the outside of the building. In He consistently spent this thesis. In the architecture of Lunevil's castle, in hotels in the Naji, built in the 1720s., Following the traditions of classicism - clearly allocated central part, underlined by portist with columns or pilasters. About Rococo style they say only a few Molding details Yes Comparative facilitation of order elements.
Jean Corton. Hotel Matignon in Paris. Plan.
Pierre Demamer. Hotel Subiz in Paris. 1705-1709 Facade.
Completely differently solves its interiors. It is a brilliant example - internal decor of the hotel Subiz (1735-1740). Not belovering the appearance of the mansion, which was performed by the Demamer in 1705-1709. In classical traditions, Bofran informs the hotel rooms the character of elegant bonbonniells. Carved panels, stucco ornaments, scenic panels with a solid carpet ripe walls and ceiling. The effect of these exquisitely elegant, whimsally light shapes should be particularly impressive in contrast with a more restrained architecture of the facade.
Cult construction during this period was incomparably less important than secular. Basically ended the construction of the preceding century.
Such is the Church of Saint Rosh in Paris, started by Robert de Cott at the end of the 17th century. and finished after the death of this architect his son J.-R. de Cott.
Jean Nicola Servandoni. Church of Sulpis in Paris. 1733-1745 Facade.
The more interesting Paris Church of Saint-Sulpis, launched also in the 17th century. By 20th. 18 V. He remained unfinished main facade. It was designed several architects. The project of the famous Decorator Maissonia (1726), who tried to move the rocial principles to the outdoor architecture, was rejected. In 1732, another decorator, Jean Nicola Servandoni (1695-1766), who applied in his solutions to classical forms, defeated the competition for the facade project. His intention and lay down the basis for further construction. The facade of the church is dissected for two tiers, each of which has its own warrant. On both sides of the facade towers towers.
From the second quarter of 18 V. An increasingly prominent role in French construction began to play rich trading cities of the province. It was not limited to the construction of individual buildings. The entire system of the old feudal city with a chaotic building, with a confusing grid of the streets included in the close framework of urban fortifications, has contradicted with the new needs of growing trading and industrial centers. The preservation of many key positions behind absolutism has led, however, at first a fairly compromise decision of urban planning problems. In many cities, the reconstruction of individual parts of the Old Town comes at the expense of the device of royal space. The tradition of such areas goes back to the 17th century, when they were created not in order to streamline chaos of the medieval city, but as an open place to install the statue of the king. Now the reason remained as it were for the same - all that have arisen in the 18th century. During the monarchy of the square, it was designed to serve to install a monarch monument, "but the architects themselves pursued much broader town planning tasks.
One of the first squares of the new type associated with the redevelopment and development of entire urban areas was the area in Bordeaux. The designer and the builder was Jacques Gabriel (1667-1742), a representative known from 16 V. The dynasty of architects, the father of the famous architect Jacques Anja Gabriel.
Work on the planning and building area was launched in 1731. The plot for it was allocated on the shore of a wide garonna. The architect is widely and versatile developed the possibility of creating a new ensemble covering a significant part of the city and connecting it with a natural environment.
His work in Bordeaux Jacques Gabriel began with the demolition of old unbreakable buildings on the banks of the river and the device of the magnificent embankment. The city turned face to Garonne - his main decoration. This turn was intended to fasten the area, widely opened to the river, and the layout of two streets joined in the area. Using the planning principle of Versailles, the architect applied it to a new public and artistic organism - the city, solving it on a broader basis. The buildings located on the sides of the square were intended for the trade and economic needs of the city: to the right - stock exchange, on the left - the situation of the Tax Department. The architecture is distinguished by restraint and elegant simplicity. The construction of the stock exchange and the central pavilion between the two streets was completed after the death of Jacques Gabriel his son. A number of innovative principles of Bordeaux Square - its open character, its conversation to the river, connection with the city quarters with the help of rays-streets - Jacques Anzh Gabriel soon brilliantly developed at work on the area of \u200b\u200bLouis XV in Paris.
Emmanuel Ere de roots. Stanislav Square ensemble, Karrier Square and Government Square in Nancy. 1752-1755 Aerial photography.
If the Ensemble of the Square in Bordeaux gave a solution that has anticipated many planning principles of subsequent time, then another wonderful ensemble of the middle of 18 V.- Complex of three squares in Nancy, to a greater extent associated with the past, as it were, contributes to the methods of organizing the Baroque era.
Emmanuel Ere de roots. Government Square in Nancy. 1752-1755 General form.
Three different in the outlines of the area are the rectangular area of \u200b\u200bStanislav, the long area of \u200b\u200bthe Carrier and the oval area of \u200b\u200bthe government - form a closely combined and internally closed organism, existing only in a very relative connection to the city. Oval Kurdoner Palace of Government is separated by Arcade from the surrounding space of the city and the park. The active movement of it can, essentially, develop only forward through the Boulevard Square of the Carrier and the Triumphal Arch, so that, going to the Stanislav Square, is immediately a barrier to the monumental building of the Town Hall. The impression of two monumental kurdoners, eating in front of the magnificent palaces and interconnected straight alleys. It is characteristic that the streets overlooking Stanislav Square are reconded with lattices. The charm of the ensemble is created by the festive architecture of palaces, amazing in the skill forged with the gilding lattices, fountains at two corners of the square, weathered in a single elegant-elegant rococo tonality. Planner of the square and architect of the main buildings was the student of Bofran Emmanuel Ere de roots (1705-1763), who worked mainly in Lorraine. Built in 1752-1755, this complex in its forms and planning principles looked already some anachronism in comparison with the new movement in the architecture, which began at the end of the first half of the 18th century.
This is a movement, the impact of which the plan of the square was already noted in Bordeaux, was expressed in refusal of extremes and quiet Rococo in favor of a more intelligent orderly architecture, in strengthened interest in antiquity. The connection of this movement with the strengthening of the position of the bourgeoisie is undoubted.
Just by the frontier of the first and second half of the century, there is a performance of encyclopedists who nominated the criterion of the mind as the only measure of all things. From these positions, the entire feudal society is criticized and its generation is Rococo style, as devoid of logic, rationality, naturalness. Conversely, all these qualities are seen in the architecture of the ancients. In these years, rubbing devoted to the monuments of ancient architecture appear. In 1752, a well-known amateur and patron Count De Cyleus begins to publish the work of the "Assembly of Egyptian, Etruscan, Greek and Roman antiquities." Two years later, Architect David Lerua goes to Greece and then releases the ruins of the most beautiful buildings of Greece. " Among the theoretics of architecture, the abbot of a lie, whose published in 1753 "Etudes on architecture" caused a lively response in wide circles of French society. Speaking from the standpoint of rationalism, he advocates reasonable, that is, a natural architecture. The pressure of educational, ultimately democratic ideas was so great that he had its impact on official artistic circles. The leaders of the artistic policies of Absolutism felt the need to oppose the positive program of encyclopedists, their convincing criticism of the illogy and unnaturalness of the art of Rococo. The royal power and the Academy are making certain steps to snatch the initiative from the hands of the third class and head the emerging movement. In 1749, a peculiar artistic mission led to the brother of the Alludal Favorite Louis XV Madame Pompadur, the future Marquis Mariny, who performed the position of director of royal buildings was sent to Italy. He was accompanied by engraver and architect Jacques Germain Suflo - the future builder of Paris Pantheon. The purpose of the trip was to familiarize themselves with Italian art - this cradle of the beautiful. They visited shortly before the starting excavation of Herculaneum and Pompeii. Souflo, also studied antique monuments of Pestum. All this trip was a sign of new phenomena in art, and its consequence there were a further turn to classicism and more acute struggle with rocial principles, even in various types of decorative art. At the same time, this journey gives a vivid evidence of how differently understood the appeal to the ancient heritage and which various conclusions were made from here by representatives of the dominant class and the artists themselves. The results of Italian impressions and reflections turned out from Mariny in the words: "I don't want the current excesses at all, a little of the old one, a little bit of the other." He adhered to this compromise art policy in the future throughout his many years of the head of the head of elegant arts.
Its companions on the trip - Koshen and Suflo - took a much more progressive and active position. The first published on returning the treatise "Review of antiquities of Herculaneum with several reflections on painting and sculpture of ancient" and then led a very sharp struggle against the principles of rocker art, for the rigor, purity and clarity of architectural and decorative forms. As for the soufflo, his additional trip to the Pestum and studying at the site of two wonderful monuments of Greek architecture testify to his deep interest in antiquity. In its construction practice, on returning from Italy, the principles of classicism completely and uncompromisingly triumph.
The creativity of the most captive masters of the French architecture of Jacques Anza Gabriel (1699-1782) is also blossomed into this transitional era. Gabriel's style seems to meet the requirements of Marigna, but this is an extremely distinctive and organic phenomenon generated by natural, "deep" development of architecture of France. The master was never in Italy, nor all the more in Greece. The Creativity of Gabriel as it were, as it were, and developed the line of French architecture, which was outlined in the late buildings of Jules Ardune-Mansar (Great Trianon and Capella in Versailles), in the eastern facade of the Louvre. At the same time, he learned the progressive trends that were kept in Rococo architecture: its approach to person, intimacy, as well as the exquisite subtlety of decorative parts.
The participation of Gabriel in the town planning works of his father in Bordeaux well prepared him to solve the ensemble tasks held by the middle of the 18th century. An ever more prominent role in architectural practice. Just at this time, attention to Paris is intensifying to Paris, to the problem of turning it into the city, a worthy title of the capital.
Paris had excellent architectural monuments, a number of areas created in the previous century, but all these were separate, closed in themselves, isolated islands of organized building. In the middle of the 18th century there is a square, which played a huge role in the addition of the ensemble of the Paris Center, is the current area of \u200b\u200bconsent. With his appearance, she is obliged to a whole team of French architects, but its main Creator was Jacques Anzh Gabriel.
In 1748, on the initiative of the metropolitan merchant, the idea of \u200b\u200bthe monument of Louis XV was put forward. The Academy announced a competition for the creation of an area for this monument. As we can see, the beginning was quite traditional, in the spirit of 17 V.- The Square was intended for the statue of the monarch.
As a result of the first competition, neither one of the projects was not chosen, but it was finally established place for the square. After the second competition held in 1753, only among the members of the Academy, the design and development was charged by Gabriel so that he would take into account other suggestions.
The site chosen under the square was an extensive wasteland on the seashore of the Seine on the outskirts of Paris, between the garden of the Tuilry Palace and the beginning of the road leading to Versailles. Gabriel is unusually fruitful and promising used the benefits of this open and coastal location. His square was the axis of the further development of Paris. It turned out to be possible due to its versatile orientation. On the one hand, the area thinks as it were in anticipation of the palace complexes of Tuileries and the Louvre: it is not for nothing about the borders of the city three provided for by Gabriele - Alley of the Elysee fields, the mental intersection point of which is located in the entrance gate of the Tuilder Park. In the same direction - the person to the palace - the equestrian monument of Louis XV is focused. At the same time, only one side of the square is accented architecturally accentuated. It provides for the construction of two majestic administrative buildings, and the Royal Street is designed between them, the axis of which is perpendicular to the axis of the Elysee fields - Tuileries. At the end, the church of the architect Kontana D "Ivry, his portico and a dome, who closed the perspective, is very soon starting to build the perspective. Parties from their buildings, Gabriel designs two more streets parallel to the royal. Thus, another possible direction of movement, connecting the area with other quarters growing city.
Very witty and completely new solves Gabriel Borders of the Square. Insupping only one northern direction, putting forward the principle of free development of space, his connection with the natural environment, he is at the same time seeking to avoid the impression of his amorphousness, uncertainty. From all four sides, he designs the shallow dry rally, eliminated by the greenery of lawns, bordered by stone balustrades. Gaps between them give an additional clear focus of the rays of the Elysee fields and the axis of the royal street.
Jacques Anzh Gabriel. Development of the northern side of the area of \u200b\u200bconsent (before Square of Louis XV) in Paris. 1753-1765
In the guise of two buildings closed by the northern side of the consent area, the characteristic features of Gabriel's creativity are well expressed well: clear, calm harmony of whole and parts, easily perceived by the eye logic of architectural forms. The lower tier construction is heavier and massive, which is emphasized by a large rustic wall; He carries two other tiers, combined by Corinthian columns, is a motive that is ascending to the classic Eastern Louvre facade.
But the main merit of Gabriel consists not so much in the workshop of the solution of the facades with their rising over powerful arcades of the lower floor by slim cannelled columns, and in a specific ensemble sound of these buildings. Both of these buildings are unthinkable and a friend without a friend, and without space space, and without a structure that is at a significant distance - without the church Madeleine. It is on her who are focused both buildings of the area of \u200b\u200bconsent - it is not by chance that each of them has no accented center and is as it were from one of the wings of a whole. Thus, in these buildings, designed in 1753 and began to be constructed in 1757-1758, Gabriel outlined such principles of a volume and spatial solution that will be developed during the mature classicism.
Gabriel. Small trianon in Versaille. Plan.
Jacques Anzh Gabril. Small trianon in Versaille. 1762-1768
Pearl of French architecture 18 V.- Small Trianon, created by Gabriele in Versaille in 1762-1768 .. The traditional topic of the country lock solved here completely in a new way. A small square in terms of building is drawn to the space by all four of its facades. There is no one preferred emphasis on the main facades, which was still so characteristic of the palaces and the estates. Each party has an independent value, which finds an expression in different solutions. And at the same time, this difference is not a cardinal - it's like variations of one topic. The facade overlooking the open space of the parquet, perceived from the furthest distance, is interpreted the most plastic. Four point-based columns that combine both floors form a slightly protruding portico. A similar motive, however, in a modified form, - the columns are replaced by pilasters - it sounds in two neighboring sides, but every time otherwise, due to the level difference, the building has two floors, in the other - three. The fourth facade, addressed to the lounges of the landscape park, is very simple - the wall is dissected only by rectangular windows different in each of the three magnitude tiers. So buying means Gabriel seeks the striking wealth and saturation of impressions. Beauty is extracted from the harmony of simple, easily perceived forms, from the clarity of proportional relationships.
The internal layout is also solved with great simplicity and clarity. The palace consists of a number of small rectangular rooms, the decorative decoration of which, built on the use of straight lines, light cold colors, stamps of plastic products, corresponds to the elegant restraint and noble grace of outdoor appearance.
The work of Gabriel was a transitional, binding link between the architecture of the first and second half of the 18th century.
In buildings 1760-1780s. The newest stage of classicism is formed by the younger generation of architecture. It is characterized by a decisive turn to the antiquity that has become not only an inspirational of artists, but also the treasury forms used by them. The requirements of the intelligence of architectural work reach the abandon from decorative decorations. The principle of utilitarianism, binding together with the principle of naturalness of the building, the model of which is the ancient facilities, is as natural as the utilitarian, all forms of which are dictated by a reasonable necessity. Column, antablement, frontoth, which became the main means of expressing the architectural image, their constructive, functional value is returned. Accordingly, the scale of order memberships is enlarged. For park construction, the same desire for naturalness is characteristic. There is a refusal of a regular, "artificial" park and a flourishing of the landscape garden.
Souffloy. Pantheon in Paris. Plan.
Jacques Germain Soufflo. Pantheon (before the church of St. Genevieve) in Paris. Started in 1755. General view.
The characteristic phenomenon of these pre-revolutionary decades is the predominance of public structures in the construction of public structures. It is in public buildings that the principles of new architecture are brighter. And it is very significant that one of the outstanding architectural works of this period is Pantheon - very soon turned from the building of the cult destination to the public monument. The construction of him was conceived by Louis XV as the Church of Paris Patrone - St. Women's wife, the place of storage of her relics. The development of the project was charged in 1755 Jacques Jacques Suflo (1713-1780), just recently returned from a trip to Italy. The architect understood his task much wider than his customer. He submitted a plan that provided for in addition to the church an extensive area with two public buildings - faculties of law and theology. In the future work, Soufflo had to abandon this idea and limit his task with the construction of the church, the entire appearance of which testifies, however, that the architect has thought of her as a building of a large public sound. Crusading in terms of building is crowned with a grand dome on the drums surrounded by columns. The main facade will emphasize a powerful deep hex column with a fronton. All other parts of the walls are completely deaf, without opening. Clear logic of architectural forms is clearly perceived at the first glance. Nothing mystical and irrational - everything is reasonable, strictly and simple. The same clarity and strict sequence are peculiar and the spatial solution of the temple interior. The rationalism of the artistic image, expressed so solemnly and monumentally, turned out to be extremely close to the worldwind of revolutionary years, and the finished church was turned into 1791 in a monument to the great people of France.
Of the facilities built in Paris in the pre-revolutionary decades, the Surgical School of Jacques Honduan is allocated (1737-1818). The project, over which he began to work in 1769, was distinguished by a big latitude of the plan, which is generally a characteristic feature of the architecture of these years. Together with this building, Honduen conceived the restructuring of the whole quarter. And although the plan of Honduen did not receive complete implementation, the very building of the surgical school, ended in 1786, was decided with a scope. This is an extensive two-story building with a large courtyard. The center of the building is marked by an impressive yurt. The most interesting part of the inner premises is the large semicircular hall of an anatomical theater with the raising the amphitheater of the benches and the capped arch - a peculiar combination of half of the Roman Pantheon with the Coliseum.
A new widespread type of social structure was theater during this period. And in the capital and in many provincial governments, one after another theatrical buildings are growing, plotted in their appearance as an important part in the architectural ensemble of the city community center. One of the most beautiful and significant structures of this kind is the theater in Bordeaux built in 1775-1780. Architect Viktor Louis (1731-1807). The massive volume of rectangular outlines is put on the open area of \u200b\u200bthe square. The twelve-column porticist decorates one of the narrow sides of the theater building, informing the solemn representativeness of his main entrance facade. On Antablement, the portico installed statues of the music and goddesses, determining the appointment of the building. The theater's front staircase, first the single-sample, dismembering the two sleeves leading to the opposite sides, served as a sample for a variety of later French theatrical buildings. Simple, clear and solemn architecture of the theater in Bordeaux, a clear functional solution of its internal space makes this building by one of the most valuable monuments of French classicism.
In the years under consideration, the activities of a number of architects begins, whose creativity as a whole has already belongs to the next period of French architecture, inspired by the ideas of the revolution. In some projects and buildings, those techniques and forms that will be characterized by the characteristic features of the new stage of classicism associated with the revolutionary era are scheduled.