"History of the copper rider"

Charity wall newspaper for schoolchildren, parents and teachers "briefly and clearly about the most interesting." Issue 98, August 2016.

Ekaterina II, Denis Didro, Dmitry Golitsyn, Etienne Falcon, Yuri Felten, Ivan Bakmeister, Alexander Radishv, Ludwig Nikolai, Lewis Carroll and many others: quotes from correspondence and memories.

The wall newspapers of the charitable educational project "Briefly and clear about the most interesting" (site site) are designed for schoolchildren, parents and teachers of St. Petersburg. They are delivered free of charge to most educational institutions, as well as in a number of hospitals, orphanages and other institutions of the city. The project's publication does not contain any advertisement (only the logos of the founders), politically and religiously neutral, are written in a slight language, well illustrated. They are conceived as informational "torment" of students, the awakening of cognitive activity and desire for reading. The authors and publishers, without claiming the academic completeness of the filing of the material, publish interesting facts, illustrations, interviews with famous figures of science and culture and hope to increase the interest of schoolchildren to the educational process..ru. We thank the Department of Education of the Administration of the Kirovsky District of St. Petersburg and all who disinterestedly helps in the spread of our wall newsletter. Special thanks to Nadezhda Nikolaevna Efremova, Deputy Director for Research for the materials and consultations provided.

In 2016, it marks 300 years since the birth of the French sculptor Etienne Mauris Falcon. His only monumental work is a monument to Peter I famous for the whole world on the Senate Square, known to all as a copper rider. In our wall newspaper - the main stages of creating this may be the brightest symbol of St. Petersburg. To face the atmosphere of an enlightened Ekaterinin era atmosphere, we tried to provide the word to direct participants and eyewitnesses of the events described. Secrets of the copper rider disclosed during the restoration, as well as the fascinating history of his pedestal - "Thunder" - we are planning to discuss in our following issues.

"Holding in amazement"

Senate square. Figure unknown author.

"The monument to Peter the first in Leningrad is an outstanding work of Russian and global plastics. Almost two hundred years ago erected on the banks of the Neva, he became a bright example of the celebration of educational ideas, "the doctor of art history, Professor Abraham Kaganovich, begins his fundamental book of art [1975). - The time was not domineering over the monument, it only further approved his incredit historical significance and aesthetic value. The monument not only glorifies the hero, an outstanding statesman - in a bright figurative form in it are captured by those changes that occurred in Russia in the first quarter of the XVIII century, at the time of state transformations, fundamentally changed the life of the country ... Of great interest is not only the content of the monument, His plastic dignity, but also the history of its creation. "

In the same enthusiastic tone (and emphasizing a special interest in the history of the monument to create a monument) and earlier authors were expressed. So, the librarian of the Imperial Public Library, the writer and theologians Anton Ivanovsky in the book "Conversations about Peter Great and his employees" (1872) exclaimed: "Which of us, passing through Petrovskaya Square, did not stop the monument to Peter I ... which, by beauty , majesty and high idea does not have an equal on the whole globe ... how much it was necessary to consume work and incredible efforts - to build this wonderful monument, leading to amazement not only us, but also foreigners? The history of the construction of this monument is so entertaining and at the same time learned ... "On the creation of a copper rider, whole volumes were written on the creation of a copper rider (the most interesting books are listed in the end of the wall newspaper), so we very briefly note here the key points of this" entertaining and instructive history ", trying to adhere to the memories of contemporaries and evaluations of recognized specialists.

"Not made art such"

What did not like Catherine Statue of work Rastrelli?

Monument to Peter I work B.K. Rastrelli in front of Mikhailovsky castle.

In 1762, Ekaterina II began to reign. The Senate immediately suggested to build a monument to her. The young Empress judged that he would do more wisely, perpetuating his memory not, and Peter the Great - converter of Russia, thereby emphasizing the continuity of its board.

It is noteworthy that by the time when there was a need to build an equestrian monument to Peter I in St. Petersburg, the equestrian statue of Peter I in St. Petersburg ... already. We are talking about the sculpture of the authorship of the Italian sculptor Bartoléo Karlo Raströley. He made a model of a monument while Peter I, after having previously done a wax cast mask directly from the face of the emperor and thereby achieving the greatest portrait similarity. In 1747, the sculpture was cast in bronze, but after which she, forgotten, was kept in the barn. Catherine, having examined the monument, came to the opinion that "not made by art that would be to present such a great monarch and serve to decorate the metropolitan city of St. Petersburg." Why?

With the death of Empress Elizabeth Petrovna in Russia ended the era of Barócco. Surprisingly, how fast even the most beautiful creations can get out of fashion! Empress Ekaterina Great and her companions have not yet attracted lush "curls", the time of classicism has occurred. In art, the simplicity and clarity of the image began to be valued, the rejection of decorative details, respect for the free personality of the enlightened hero, the motives for the conquest of wild prejudices and climbing the ugly ignorance to the bright mind. It is natural that during this period architects rated the pristine beauty of the natural stone. So, "The image created by Rastrelli, where the Terrible Emperor dominated, - Caganovich concludes, - in many respects it looked like an anachronism. The age of enlightenment could not accept such a limited interpretation. It was necessary to have a new, deeper and modern solution of the monument. "

"Experienced and talented brewber"

Why is the choice fell on Falcone?

The sculptural portrait of Etienne Falcone, made by his student Marie-Ann Collo (1773). Museum of the city of Nancy, France.

According to Mikhail Dustyev in his famous book "Old Petersburg. Stories from the former life of the capital, "in 1765, Catherine ordered the Russian Messenger in Paris, prince Dmitry Golitsyn, to find her" experienced and talented brewber ". The famous French sculptors were considered as candidates for the role of the creator of the monument of the monument of the monument: the famous French sculptors were considered: Augusten Fipja, Guy Kusta (Jr.), Louis Claude Wasse and Etienne Falcon (the emphasis on the French tradition is placed on the last syllable). The presence of an impeccable artistic fuss of Golitsyn confirms, in particular, one of his friends, the philosopher-enlightener Deni Didro: "Prince ... incredibly succeeded in the knowledge of art ... he has high thoughts and a beautiful soul. And a person with such a soul does not have a bad taste. " Didro recommended Golitsyn (as well as the Catherine itself, since they consisted in a friendly correspondence) to stop their choice on Falcone: "Here is a brilliant person, full of all sorts of qualities, characteristic and unusual genius. It has the abyss of a thin taste, mind, delicacy, charms and graces ... He is not a clay, processes marble, and at the same time reads and reflects ... This person thinks and feels with greatness. "

On August 27, 1766 (250 years ago), Falcore signed a contract for the manufacture of "equestrian statue of a colossal size" in St. Petersburg. In September of the same year, accompanied by his student Marie-Anne, he went from Paris to St. Petersburg, where he arrived at about a month and immediately began to work. Secretary of the Russian Historical Society Alexander Polovtsov in the preface to the "Penpise of Empress Ekaterina II with Falcette" (published in 1876) indicated: "The artist who took such a difficult thing and such a long journey was not one of those who fled to Russia foreigners who were not lucky at home, And who thought to find a lightweight bread in the barbaric, in their opinion, the country, no, the falconet was exactly fifty years, and in these fifty years he managed to earn an honorable place among his fellow citizens ...

On September 10, 1766, Falcette left Paris; The things were sent by the sea ... It turns out that on 25 boxes alone only contained the artist's belongings, the rest were filled with books, engravings, marble, as well as castlers and pictures for the Academy of Arts. " Finding out a friend, Didro exclaimed: "Remember, Falcone, that you should or die at work, or create something great!"

"Didro gave me the case to acquire a person who, I think there is no equal: it's a falcon; He will soon begin the statue of Peter the Great, and if there are artists who are equal in art, then I feel free to know that there are no such that could be compared with him for feelings: in one word, he has a heart friendly friend, "so Catherine herself responded about the coming sculptor.

"Great affairs and memorable adventures"

What is "bad" in ancient statues?

The statue of the Roman emperor Mark Aurelia in Rome is the only equestrian statue survived with antiquity.

One of the projects of the monument to Peter I B.K. Rastrelli "With Allegoric Figures." Detail of the "Plan of the Capital City of St. Petersburg ..." Mikhail Makhaeva (1753).

Catherine's environment initially was inclined to copy the composition of one of the equestrian monuments to the kings and commander established by that time in Europe. This is, above all, the statue of the Roman emperor Mark Aurelia in Rome (160-180s); Statue of Italian Congreon (mercenary) Bartolomo Colloni in Venice (Sculptor Andrea Verrocko, 1480s); Statue of the Kurfursta (ruler) of Brandenburg Friedrich Wilhelm in Berlin (Sculptor Andreas Gaiter, 1703); The statue of the King of France Louis XIV in Paris (Sculptor Francois Giradon, 1683; destroyed during the French revolution 1789-1799) and other outstanding works.

So, Jacob Schlyanin, the leader of the Russian Academy of Sciences and the memoirist, wrote: "It is put by His Majesty a statue on horseback, and the pedestal to it will decorate the bas-reliefs that glorify his great things and the memorable adventures." At the corners of the pedestrian, the statues of the vices were assumed that Peter "with a fatal bravery lowered", namely: "Rough ignorance, insane superstition, begging tape and evil deception." As a reserve, there was an option with the statues of the "heroic spirit, unwarved courage, victory and immortal glory."

Architect Johann Schumacher offered to build in front of the Winter Palace or in front of the Kunstkamera building "in mind at the courtyard, at the board, at the Admiralty, and especially walking on the Neva-River of ships ... Building ... White marble, cast metal and red gold-plated copper and with convex work ", Surrounded by allegorical figures of the seas and rivers," we show the space of this state. "

Baron Bilinstein offered to put a monument on the bank of the Neva - so that Peter watches the right eye to the Admiralty and to the side of the whole empire, and the left - on the Vasilyevsky island and the conquered ingermanlandia. Falcone was poisoned that this is possible only with squinting. "The right and left eyes of Peter the Great I am very mocked; It is more stupid, "Ekaterina eg. "You seem to think, the gracious sovereign," wrote Falcone Baron, "that the sculptor is deprived of the ability to think, and that his hands can act only with the help of someone else's head, and not his own. So find out what the artist is the Creator of his work ... Let him advice, he listens to him because in the smartest head is always enough space to put a delusion. But if you are the official distributor of ideas, then you will only be funny. "

Even Didro recommended Falcone An intricate solution: "Show them your hero ... driven barbarism ... with half-layer, half braided in braids with hair, with a body covered with wild skin, throwing a fierce threatening look at your hero, fear him and getting ready to be extruded hooves his horse; So that I saw on the one hand, the love of the people stretching his legislative to his legislator, who defends him and blessed, so that on the other side I saw a symbol of the nation, spread on Earth and calmly enjoying peace, rest and carelessness. "
Ivan Bezzka, President of the Academy of Arts, Head of the Commission on the Stone Building (as well as an official appointed by Catherine to respond for everything as regards the construction of the monument to Peter), insisted that Falcée takes the statue of the Aureliya Statue. Their dispute went so far that Falcone was forced to write a whole treatise "Observations on the Statue of Mark Aureliya". Along with a deep analysis of the ancient sculpture, Falcone ironically notices that in such a position, the horse will not be able to make a single step, as the movements of all his legs do not correspond to each other.

Catherine, as she could, supported Falcone: "Listen, throw ... Statue of the brand of Aureliya and bad reasoning of people who do not sense anyone, go their dear, you will make a hundred times better, listening to your stubbornness ..."

"Ancient not in such extent was superior to us, they did everything not so excellent, so that we did not have to do something," the sculptor considered. Unrivaled courage and confidence in their own forces, to move away from centuries-old traditions to portray the rulers in military armor calmly sitting in the same poses on measuring hiding horses surrounded by allegoric figures.
The place for the monument was determined on May 5, 1768, when Betskaya declared Senate: "Her imperial majesty, hesitantly deign the monument to put on the square between the Neva River, from the Admiralty and at home, in which the Government Senate is present."

"Hero on emblem cliff"

How was the plan of Falcone born?

Engraving "Equestrian statue of Peter the Great" from the album "Suit of the Russian Empire" (London, 1811).

Snake under the hooves of the horse is a symbol of defeated envy.

Still in Paris, Falcone thought of the project of the future monument and made his first sketches. "That day, when I sketched at the corner of your desk, the hero and his horse jumping through the emblematic rock, and you were so satisfied with my idea," he wrote to Didro later. - The monument will be completed simply. Barbarism, love of the folk, and the nation symbol will not be there. Petr great himself plot and attribute: There is only his show. The hero I imagine not a great commander and the conqueror, although he was, of course, and the other. It is necessary to show humanity a more beautiful sight, the Creator, the legislator, the benefactor of his country ... My king does not hold the rod in his hand, he extends his benefactor over the country over which he rushes, he rises to this rock, which serves as the basis - the Emblem of Difficulties which he overcame. So, this deceic hand, this jump on a steep rock, is the plot that the Great Petr gives me. "

Serious meditation caused the clothes of the future rider. The European Costume, and Roman Toga, and Military Armor, and the old Russian robe are offered as options. About modern clothing, Ivan Bammeister, the librarian of the Academy of Sciences, who personally knew Falcone, in his wonderful work "Historical news about the keen ending image of Peter the Great" (1783): "French clothes for the heroic isoiced image is completely obscene, standing and sea buckle" . Antique and knight clothing "is a masquerade, when I was hoping for a person who was not a Roman, and especially when I was portrayed not in the form of a warrior ... If this is an old Moscow caftan, then it is not enough for someone who announced the war beard and caftanes. If Peter put on the clothes he wore, then she would not give the opportunity to pass the movement and ease in a large sculpture, especially in the equestrian monument. Therefore, the costume of Peter is the clothes of all peoples, all people, of all time - in a word, a heroic costume, "the Falcone concluded.

Snake as an important element of the composition also appeared as a result of long reflection. "This allegory gives the subject all the powerful strength he did not have before ... Peter the Great redeemed envy, it is undoubtedly; He courageously overlooked her ... Such is the fate of all the great man, - convinced Ekaterina Falcon. "If I had ever made the statue of your Majesty, and if the composition would allow it, then I would have thrown envy at the bottom of the pedestal." The empress answered evasively: "Allegoric Snake neither like nor don't like me. I wanted to find out all sorts against the snake objection ... "And there were a lot of objections: someone believed that the snake was too" smooth "and better would" be done with more curvators ", someone - that she is too big or too small. And the beets in conversations with Catherine represented a snake only as a manifestation of whims of the sculptor. Soon, it turned out that the wise Falcone wondered the snake not only as a bright artistic image, but also as part of the supporting structure: "People ... perhaps, too sensitive to a little bold, but a simple leak of my inspiration, it is believed that the snake should be removed ... but these people Do not know how me, that without this, a happy episode of the support statue would be very unreliable. They did not make me strength with me. They do not know that, if they obey their advice, then the monument would be unstable. " Snake's fate decided by these words of Catherine: "There is one old song in which it says: if necessary, it is necessary, here is my answer regarding the snake."

As Kaganovich, "the rider crushed his passionate energy, the rapidness of his impulse, the deadly obstacle, the clutch of envy, cunning and betrayal, which prevented the free movement of progress."

Let us finally serve as a significant remark of Lewis Carroll (author "Alice in Wonderland") from his "Diary of Travel to Russia" (1867): "If this monument was stood in Berlin, Peter would undoubtedly be busy with the immediate murder of this monster, but Here he does not even look at him: Obviously, the "murderous" principle is not recognized here. "

"Made his main job!"

How was the work done on the model?

Adolf Charleman. M.-A.Kolllo sculpts the head of Peter I, fragment (1867). Filter "Copper Horseman" (1981).

Picture of the model of the monument of Peter Great, made by the artist Anton Losenko in the Falcon Workshop (1770). Museum of the city of Nancy (France).

Falcone arrived in St. Petersburg at the end of 1766 and, at the beginning of next year, coordinating the composition of the future monument, began to make it a "small model". A year later she was ready and received the highest approval. On February 1, 1768, a "big model" was launched - in the natural value of the future bronze statue.

The selfless and thoughtful work of the master over each detail is emphasized by his memories: "... when I had the idea of \u200b\u200bconveying a horse in gallop in a gallop sculpture and on the climb, I did not turn to my memory and even less to my imagination to fulfill the exact model. I studied natural. To do this, I instructed to make a hill, which I gave that slope that my pedestal had to have. I made rider jumping: first - more than once, and more than a hundred; Second - at different times; Third - on different horses. For the eyes can grab the effects of such quick movements only with a multitude of repeated impressions. After reviewing the movement of the horse in the welfare Favorites, I moved to the study of details. I looked at, looked, drew each part - from below, on top, in front, from behind, on both sides, because there are no other means to get accurate knowledge of the subject; Only after these stys, I thought that I saw and able to transfer a horse rising up in a gallop, convey the true shape of the muscles and ligaments ... "(Note that the camera was invented only after 60 years).

In the contract, Falcone, especially stipulated the possibility of the unhindered choice of horses and simulators. The sculptor chose the best stallions of the court stables - they were handsome diamond and whim. The name of one of the riders - Athanasius of the TVists is known. According to legend, Petr Melissino also picked up Falcone, "face and physique very similar to the emperor." Consulted the sculptor major expert horses English Ambassador Lord Katropard.

An essential problem was to cut the head of the emperor.
"In order ... to portray the features of the original in the model of so much exactly how much, it was possible, he received on the highest command from the Academy of Sciences, a very similar from the gypsum poured the head of Peter the Great, he also discharged also from the Bolon cast from the bright image that the imperial image is extremely ; Above this, he was allowed to look at the will on an image located in the academy, filmed from the face of the emperor himself, "the Bakmeister testified. Apparently, after several unsuccessful attempts to make a sculptural portrait of Peter, fully responsible for the plan, Falcone instructed this task Marie-Anne Collo, with which she, being a portrait, brilliantly coped.

In July 1769, the clay model in the natural value of the future monument was performed. Until the spring of next year, it was "translated into plaster." "I made my main job! - wrote Falcone to a friend. - Oh, if the monument given by me by the end was the great husband, they were depicted if the monument did not speculate neither art, nor my fatherland, then I could say with Horatius: "Not all I die!"

"An excerpt of the Great Epic Poem"

What did the audience say when opening the model?

So I remember the monument to Peter the Grand Japanese traveler Dikekoku Kodayy, who visited St. Petersburg in 1791. National Tokyo Museum.

Falcone appealed to the Academy of Arts and invited Russian artists to discuss the shortcomings of the model, "which can still be there, in order to correct them," after which the model was exhibited "whole two weeks for a national spectacle." "St. Petersburg Vedomosti" wrote about this: "On May 19, from 11 to 2 and after lunch, from 6 to 8 hours, two weeks will be shown the model Peter led. In the place of the former Winter Palace, which is in the Nevskaya perspective, the structure.
"Finally, the curtain rose," Falcone wrote with excitement. - I, of course, in the authorities of the public; My workshop is packed by bitkom. "

"Other her praised, others are hooli," the Bakmeister testified. - The front of the neck of the horse, according to the notes of the connoisseur, is made by a quarter of an inches thicker than it would be worth it to be ... an insightful husband, maybe not without reason, noticed that the fingers of the outstretched hand are very expanded. Should from this, as some thought they were copulated together? This hand would not express anything and did not mean anything. Others found that the content of the magnitude of the head in the argument of the legs is incorrectly ... it also seemed like a simple apparel of obscene ... "Someone Yakovlev" found the horrible mustache emperor. " The Synod Prosecutor was outraged by the fact that "man and a horse twice as much as they usually happen." A certain Englishman demanded a "written writing", in order to understand the "meaning of the rock and the position of the horse". Ludwig von Nicholas, in the future, President of the Academy of Sciences, recalled: "Falcone ... a lot having fun over the judgments of his visitors. One kind small exclaimed: "My God! What did this man think? Of course, Peter I is called great, and so he was. But not the same giant! " One secret adviser Falcone met near the door, and as usual, his opinion asked. "Oh, oh, - the one began at first glance. - How could you make such a rough mistake? Don't you see that one leg is much longer than another? " - "I am grateful to you for your remark, but let's explore the case more." - Falcone led him to the other side. - "That's time! Now another longer! " Two men stopped in front of the statue: "Why is Peter so stretches his hand into the air?" "" Fool you, "the other objected," he tales, it rains or not. "" Next, Nikolai wrote: "Falcone drew exceptional attention to the horse, and the image of Peter considered it almost secondary. He felt that in creating a horse he could surpass the ancient sculptors, and in the image of Peter barely reach the old masters. The Russian people, who was expected to be a monument to Peter, not his horse, did not like it, especially when he instructed his student, Mademoiselle Call, cut the head of the hero, the main part of all work. "

Similar criticism and amused, and hurts Falcone. "Laugh over fools and go expensive. That and my rule, "His Catherine pushed. However, enthusiastic reviews were much more.
"Today I have seen the famous equestrian statue of Peter I," said French diplomat Marie Corberon, is the best of all the likes that I know. You know all the disputes, brands and ridicule, they are caused; I can assure you that she will make you forget all this. " Here is the testimony of one English traveler: "This work combines simplicity with the greatness of the concept ... This is the monument to the only one in his own way, and he greatly expresses the character of both a person and the nation he ruled." Teacher Falcone, Jean-Louis Lemoan (he received a small copy of the sculpture by mail) wrote: "I always considered the falconeta very talented and firmly was convinced that he would create a magnificent monument to the Russian king, but what I saw, exceeded all expectations" .

Didro, who visited Petersburg in 1773-1774, responded, as expected, enthusiastically: "This work, as a true wonderful work, is distinguished by the fact that it seems beautiful when you see it for the first time, and in the second, third, fourth time It seems even more beautiful: you leave it with regret and always be happy to come back to him. " "The hero and horse make together an excellent centaur, whom the human and thinking part of the fierce animal are surprisingly awesome." And yet: "The truth of nature has kept all the purity of its; But your genius merged with her gloss all the increasing and amazing poetry. Your horse is not a snapshot with a beautiful one of the existing horses, just as Apollo Belvedere is not a repetition of the most beautiful of the people: the other is the essence of the work and the creator and the artist. He is colossable, but light, he is powerful and graceen, his head is full of mind and life. How much I could judge, it is filled with extreme observation, but a deep study of details does not harm a common impression; Everything is done wide. No tension, no work you do not feel anywhere; Think that this is the work of one day. Let me express the hard truth. I knew you for a person very skillful, but I did not assume anything like you in my head ... You managed to do in my life ... Excerpt the Great Epic Poem. "

Probably, the sculptor was most rejoiced by the words of the empress about the "smart beast, which occupies the middle ... workshop": "This horse, despite you and between your fingers touching clay, rides right to the offspring, which, of course, better than contemporaries will appreciate its perfection" .

"Densing like"

History of Thunder

The medal "daringity is like", minted in honor of the unique transportation of thunder-stone - from Lakhtinsky swamps to the Senate Square.

"The ordinary foot, on which most of the sculptures are approved," the Bakmeister wrote, "does not mean anything and not able to excite the viewer in the soul of a new reverent thought ... Favorite foot down to the logged image of the Russian hero should be a wild and inconvenient stone ... New, daring and much expressing think! The stone itself should remind the then condition of the Power and about the difficulties, which the Creator of Osoy, in the work of his intentions, should be overcome ... Almost six, the nature of the terrible magnitude of the stone was taken away from St. Petersburg ... The nature of the terrible size of the stone was incited Surprise, and the thought of transporting it to another place led to horror. "

The huge stone was digging, the levers were waters to the platform, dragged them to special rails to the shore of the Finnish Gulf, immersed on a specially designed barge and delivered to St. Petersburg. The history of the Thunder is so exciting that we decided to devote to her one of the following issues of the wall newspaper.

Detailed description of the casting statues

Making a gypsum form for subsequent casting statue of Louis XIV. Iverdon Encyclopedia (1777).

Wax copy of the statue of Louis XIV with a tube system - for pouring bronze, extinguishing wax and output steam. Iverdon Encyclopedia (1777).

The shape covered with iron hoops, prepared by the beginning of the casting statue of Louis XIV. Iverdon Encyclopedia (1777).
Inscription on pedestal in Latin. Can you translate it? And lower line?

The technology of casting small statues of bronze was known in the III Millennium BC. Initially, the model of the future statuette was made (for example, from a tree). The model was covered with clay layer. After hardening, this clay shell cut into two halves, neatly disconnected, the model was removed, and the halves were connected again and wrapped with wire. The hole in the thus thus obtained was drilled and poured inside the molten bronze. It remained to wait until the bronze freeze, remove the form and admire the resulting statuette.

In order to save expensive metal, learned to make hollow figurines. In this case, the shape of the inside was deceived by a layer of soft wax and the remaining emptiness fell asleep with sand. Under the shape, the fire was bred, the wax melted and flowed. Now the molten bronze is filled from above occupied the volume in which the wax was previously located. Bronze froze, after which the form was disassembled, and the sand from the inside the statuettes were poured through a predetermined hole.

Approximately the same principle acted and Falcone (taking into account the fact that in the end the eight-toned five-meter commander was to be turned out, and not a small statuette). Unfortunately, no Falcone, nor anyone from his environment made sketches (or they have not yet been detected). Therefore, we will give pictures here illustrating the casting of the monument to Louis XIV in Paris.

"From a large model of the logged image, it was primarily to remove the gypsum form," says Bakmeister. This means that the model from all sides was cooled by a thick layer of semi-hardened gypsum, trying to fill every fold. Pre-model cooked with fat so that the gypsum to it is not adhesive. After this gypsum form hardened, it was disengaged into pieces, numbered them and removed from the model. A layer of molten wax was applied to the inner surface of each piece of tassel.
Falcone understood: To provide a statue of stability, its center of gravity should have been made as low as possible (like a doll-nevosha). For this wall statue, there should be thick, heavy, and from above - very thin, not more than 7.5 mm. Taking into account this and the wax on the form was applied to different thickness. Then the pieces of shapes, cooked from the inside wax, re-assembled, in the right places strengthening the steel frame. The emptiness inside was filled with a special solidifying composition of plaster and herched brick. Now, carefully removing the gypsum form, Falcone got the opportunity to carefully examine the wax copy of the future statue to make the last amendments. "The remaining any non-noted error in a large model could then be corrected, each trait in the face is given to be more perfection. The maiden conflees exercises particularly in the correction made by her model head of the rider. A few weeks have been used on this work. "
Now there should be a set of wax rods to the most secluded corners of the future statue. In the future, melting inside the clay mass, each such a wax rod turns into a tube - spontaneous. The sprues united in five large pipes. Special tubes were intended to drain the molten wax, as well as for air output - as the shape of the bronze is filling. All these numerous tubes "were lightened tightly to the model and produced a view of a branched tree."

All this design with the greatest precautions "it was necessary to cut the clay composition. SEW SHOW MATERIAL FOOT WATCH SMALL OTHER ARE UNDERSTANT WAS POSSIBLE IN THIS HALF; The dry and hardened boron was covered alternately with brick, then glue and earth as long as she did not become the axis of inches thick. In order to strengthen the clay form, they wrap it with iron stripes and rims. The last remaining work was the melting of wax. " Around this new, straightforward, the forms were divorced by a huge bony, who burned eight days, after which the whole wax (and it was 100 pounds!) Output, freeing the place for the next fill with bronze, and the form itself hardened and became even stronger.

"Mixing time was approaching. Another day was flooded by a melting furnace, watching over Krayu was being taken to a cannon castle Master Haylov. The next day, how copper was already completely melted, the five main pipes were open, and copper was allowed "(it should be noted that earlier the words" copper "were called all the closest metal, and bronze, including). "The lower parts of the form have already been filled out, which promised the best success, but suddenly copper from the clay form left and spilled on the floor, which began to burn. The amazed Falconet (and what artist would not wondered, seeing nine-year-old work in a few minutes destroyed that he honor him dies, and that he had already triumph himself) hurried before all from there, and the danger suffered the same and others follow him soon. One Heilov, who looked at the flowing copper, remained to the end ... And picked up the leaked copper to the last drop in the form, without being afraid of the numerous danger, which his life was susceptible. Six a bold and honest act of the casting master Falconet was so much that he ran into him at the end of the case, kissed him heartily and had his own gratitude to his gifting a gift from his own wallet ... However, the casting of this can be read for the best, which is hardly where Done. For neither in the rider nor in a horse can not be seen in copper shells or cracks, but everything is so clean, as wax. " As a result of this accident, the upper part of the monument was still spoiled. "The head of the rider on the shoulders did not succeed, that I broke this ugly part of bronze. The upper half of the horse head is horizontal in the same position, "the falcon said. In 1777, he made a plot - this time flawlessly.

"Many still needed labor in order to separate the cast so that it was possible to put it in many ways. The composition filling the inside of the form ... and excess iron appliance to remove it; It was necessary to cut off the pipes located along the entire surface, which served to the expiration of wax, to the emergence of air and to spill molten copper; To twist the Corre from Mix Copper with Glinu, and beat it with special instruments; pour the gaps and cutsets with copper; To give unevenly or thickly outstanding parts a commensurate thickness and try to spend the entire sculpture of an exemplary way ... Finally, Falconet enjoyed pleasure, seeing his creation completely ended. " In memory of these events on the fold of the Petra raincoat I, the sculptor left the inscription: "Lepil and cast Etienne Falcona Parisant of 1778."
Alas, at this stage, Falcone's relationship with the environment of Catherine, primarily with Petsky, was so spoiled that the master was forced to leave St. Petersburg forever, without waiting for the opening of his main creation. Bakmaister wrote with bitterness: "The intention of various circumstances ... made him further in St. Petersburg stay unpleasant, despite all respect, which he deserved his art and learning. His departure was given to his will, and after a twelve-year-old stayed here he went in September 1778 ... "

Completion of unfinished works requested Yuri Féliten - academician, the main architect "office of the buildings of its imperial majesty of houses and gardens", who worked with Falcore for several years. I wonder what remained to do? "Under the leadership of Felten, - reports Kaganovich, - in front and behind the cliffs were ... Two stones are pressed, somewhat extended pedestal and attached to him that he retains to this day. Installation of a statue on a pedestal undoubtedly represented a greater complexity. However, in this case, Felten did not encounter excessive difficulties, as it is known that calculations when casting were so accurate, and the casting itself was performed with such skill that the rider set up vertically and was still unrelated, preserved reliable stability. " Also, Felten had to, according to his "dontociation" of the construction of buildings, "... part of the snout to make a model, pour and strengthen on the stone. Around the monument to choose an area of \u200b\u200blarge pieces of wild stone and embossed it with a lattice with decent decorations ", as well as" on both sides of the pedestal to strengthen the inscription. " By the way, Falcone was against the fence: "The circle of Peter the Great will not be any lattice - why squeeze it into a cage?"

The inscription on the pedestal also has a curious story. Didro offered this option: "Peter first devoted a monument to Catherine the second. The resurrection value led this tremendous rock with a tremendous effort and threw it under the legs of the hero. " Falcone insisted in the letter Catherine insisted on a shorter inscription: "Peter first erected Catherine the second" and clarified: "I would very much whatever ... I could not write anything more ... Thanks to the newest bad disassens began to make endless inscriptions, the chatter is crushed when One species word would be enough. " Catherine, the royal stroke by removing the word "erected", presented the descendants in Petersburg, a laconic and deeply in meaning motto: "Peter the first Catherine Two".

"This simple, noble and high inscription expresses everything that only the reader needs to think," Bakmeister summarizes.

"The image of the monarch appeared in the highest perfection"

Description of the opening of Monument

Opening of the monument to Peter I on the Senate Square in St. Petersburg. Engraving A. K. Melnikova with a picture A. P. Davydova (1782). State Hermitage.

View of St. Isaac Bridge. Colored lithography (1830-e years). The impression of the monument to Peter the Great strengthened also by the fact that directly opposite it was posted a flood bridge over Neva (existed in 1727-1916 with interruptions).
"For him everywhere the rider copper with heavy hooks jumping ..." Illustration A.N. Benua (1903) to the poem "Copper Horseman" A.S. Pushkin.

The many descriptions of this spectacular holiday have been preserved; The most valuable for us is the memories of eyewitnesses. Let's listen to Ivan Bakmayster: "... Everyone expected with the pleasure of that day, in which this monument is popularly relevant to open. Her imperial majesty deigned to determine the 7th of August of the month of 1782 for this festival ... The opening of this monument took out exactly a hundred years later on joining the All-Russian throne of the hero, who was erected in honor. Before the solemn discovery of the sculpture ... It was posed about his linen fence, which were depicted on the coils were multiple paints of stones and mountainous countries. The weather was ... First overcast and rain; But despite this, the people of all parts of the city were glasses ... thousands of. Finally, as the sky began to be glad, the audience began to gather great crowds in the deliberately made in case of this gallery. Admiralty shaft and all windows near the lying houses were filled with viewers, even the roots of houses were covered. At noon, the shelves were touched at noon from their places under the leadership of their commander and took the place shown by him ... The number of troops stretched to 15,000 people ... In the fourth hour, her imperial majesty was seduced on the boat. Soon after this was a monarchyn on the balcony of the Senate. Her favorable appeals to himself the views of the countless many people, performed a reverent surprise. The signal resulted in exempted - at the very moment the fence was shoved without visible land benefits, and the sculpture image of the Great Monarch appeared in the highest perfection. What a disgrace! " (Did you notice the dear reader, for this word? Linguistic gift straight from the XVIII century! You can spend your own small study - why exactly the author wrote). "The Great Catherine, full of feelings for the attached fets of his ancestor for the bliss and glory of Russia, worsens his head to him. The eyes are performed by tears! .. Then there were nationwide exclamations. All shelves congratulated the stupid image of the hero of the heel to the drums and the return of honor, the adherence was banned and proclaimed three times congratulations, with the thunder of the guns from the fortress, from the Admiralty and with the imperial yachts, who were immediately decorated with flags and announced joyful this celebration in all parts of the city to which it should always be precious and saints. At the end of the day, the whole city was covered, and the Petrovskaya Square, a great multitude of lights.

Alexander Radishchev, the author of the famous "Travel from St. Petersburg to Moscow", also impressed by the opening of the monument, wrote to a friend: "Yesterday it happened with the magnificence of the dedication of the monument, Peter first in honor of the erected ... The statue represents a powerful rider, on horse razov, seeking a mountain Cool, Koryu Verch, he already reached, crushing the snake, in the way of the horse and stained with his rapid rhystage of the horse and the rider to stop the concerned ... The steepness of the mountain is the essence of the obstacles, Koi Petr had, producing his intentions into action; Snake, on the way lying, - cunning and evil, who were looking for the death of him for the introduction of new morals; Ancient clothing, animal skin and the entire simple horse and rider jacket - the essence of simple and gross morals and unenfections, Koi Peter found in the people, which he was converted; Head, wedding laurels, because the winner was before, rather than the legislator; The view of the courageous and powerful and strength of the converter; A handful hand, patronizing how Didro calls her, and the gaze is a fun - the essence of an inner assurance that has reached the goal, and the hand is shy, that a strong husband, having overcome all the desire of his oppusive flavors, his cover gives it to everyone who is called him. Here, a kind friend, a weak image of the fact that, looking at the image of Petrov, I feel. "

No need to say that nowadays the immortal creation of Falcone continues to cause admiration. Art historian Solomon Wolves writes in his book "History of Culture of St. Petersburg from the ground to this day": "Although almost everyone understood and recognized the high advantages of the monument, it was unlikely that the first spectators were clear that in front of them one of the greatest works of sculpture of the XVIII century. And of course, by order of the statue of equestrian Peter and, as we move, opening all new and new aspects of his image - a wise and decisive legislator, a fearless commander, an adamant, not tolerant monarch, - the crowd did not guess that in front of her the most important, eternal, forever the most Popular symbol of their city. "

"However, no one is so deep and finely admitted the creation of a sculptor as Pushkin," Kaganovich rightly concludes. Boldinskaya in the fall of 1833, the monument of Peter Great forever became a copper rider for us. The composer Ringold Gliere's impressed by Pushkin's intimate poem created the same ballet, whose fragment became the official anthem of St. Petersburg.

"Protect stone and bronze"

How to behave with monuments?

An employee of the State Museum of Urban Sculpture inflicts a special restoration agent on the statue.

Copper rider today.

Since 1932, the study, protection and restoration of the copper rider (along with the rest of monumental art monuments in our city) is under the jurisdiction of the State Museum of Urban Sculpture. The Deputy Director of the Museum on the scientific work of Nadezhda Nikolaevna Efremova told us about the culture of treatment of monuments.

"Monuments are the most affordable appearance of fine art. To see, for example, a picture or theatrical formulation, you need to make some efforts. And monuments are always before us - on the squares of the city. Monuments are difficult to live in the modern world. Negative impacts are enhanced, which the author could not even foresee. For example, vibration. After all, monuments were created at the time when heavy transport did not go through the streets. Another problem is the permission of groundwater fluxes as a result of economic activity. As a result, water flows under a heavy pedestal, leading into motion components of its stone blocks. At the same time, the gaps between them increase and the seams that we process with the help of special mastics are destroyed. Monuments, although made of metal and stone, in general, defenseless in front of a person. I saw on the festive days, people climbed the neck of the horse, grabbing his front legs, not understanding that the metal thickness is insignificant here. To sell bronze even soles boots - simpler simple. From such an unusual voltage in the metal there are invisible cracks. In our climate - from the temperature difference, from the water that fell into the water - any microcracy is rapidly growing. It is also very important not to disturb the pantine - the thinnest film covering the bronze. Coloristic patina features - business card of each monument. And if someone (it is not clear why) scratches or sucks to shine some kind of statue, he not only makes bronze unprotected, but also destroys the unique tint of patina, which is extremely difficult to reproduce. Falcone from the very beginning abandoned the installation of the fence: "If you need to protect the stone and bronze from crazy and children, on that there are sentries in the Russian Empire." Not fisking on the "hourly" it would be good for us to realize that any contact with the monument (except visual) goes to harm. "

In one of the following issues, we will continue the conversation about the secrets of the copper rider disclosed in its last restoration.

What to read about the copper rider?

Kaganovich, A. L. Copper Horseman. The history of the creation of the monument. L.: Art, 1982. Publishing House 2-e, copy. and add.

Ivanov, G. I. Stone-Thunder: East. Tale. (To the 300th anniversary of St. Petersburg). St. Petersburg: Stroyzdat, 1994.

Arkin, D. E. Copper Horseman. Monument to Peter I in Leningrad. M.-L.: Art, 1958.

Creating a model and casting of a monument to Peter I in St. Petersburg. Extract from labor I. G. Bakmayster 1782-1786.

Opening of the monument to Peter I in St. Petersburg. August 7, 1782 Removing from I. G. Bakmayster from labor. 1786

Lewis Carroll. Diary of Traveling to Russia in 1867. Translation N. Demurova

Radishchev A.N. Letter to a friend, resident in Tobolsk / Post. P.A.Fremov // Russian Starina, 1871. - T. 4. - № 9.

Catherine Catherine II Correspondence with Falconet. Text of letters in French, with translation into Russian. Collection of imperial Russian historical society. Volume 17. S.-PB, 1876. Electronic version - on the website of the Presidential Library on the application.

Shubinsky S. N. Historical essays and stories. SPB: Type. M. Khan, 1869.

Ivanovsky, A. Conversations about Peter Great and his employees. SPB: Type. House of charity Molets. Poor, 1872.

Figure A. P. Losenko from the Falconetov monument to Peter Great. P. ettinger. According to the materials of the monthly for lovers of art and the old days, March 1915

Newspapers for holidays by selecting the corresponding menu item there. We remind you that our partners in their organizations distribute our wall newspapers for free.

Your George Popov, Editor Website

On August 27, 2016, the premiere of the cartoon "Copper Horseman" took place in the "Seagull" film center, created by the children of the Cartoon Studio in theory and under the guidance of our friend Lena Pilipovskaya. In close contact with our project. Excellent cognitive cartoon Categories Mustlook!

Monuments are the most interesting and spectacular way to give tribute and due to the historical past. They admire admirers of art, creativity and history. There are monuments that have a telephone name, but many people do not know who is on the pedestal. For example, a monument - who is depicted on it?

Monument to the copper rider is an excellent example of the personification of the spirit of history in life. You need to plunge a little in history!

"Copper Horseman" - who is depicted on horseback?

Many people, even by the nature of the activities, not related to history, probably heard of the copper rider. But who is depicted on the rider, "it remains an open question for the majority.

This issue is clogged by many topics of forums and blogs on the Internet. Who is depicted on the monument on this occasion do not stop.

Let's not tomorrow for you. At the monument "Copper Horseman" in St. Petersburg, Peter first is depicted. The author of the Montument Falcone sought to recreate the Figure of Peter in motion so that it was seen not only the Great Communion and the leader of the Russian people, but also of this legislator and the conventor of life.

Peter's head is a wreath. It is he who emphasizes the fact that Peter is a winner and a commander. The monument for history is unique in that it has three supports on which it keeps.

Now, on the question of the monument "Copper Horseman" who is depicted, you can safely answer - the king Peter is the first!

Why in St. Petersburg?

The monument to the copper rider is an important element for the culture and architecture of Russia. Often you can find a question about who is depicted on the monument "Copper Horseman" in Moscow? But there is no such monument in Moscow.

So, where there is a monument "Copper Horseman", who is depicted on it, we figured out. And it is not located in Moscow, but in St. Petersburg. He was erected by Catherine the second in honor of the pedestal you can find the inscription: "Peter first from Catherine of the second summer of 1782".

The one who is depicted on the monument "Copper Horseman" in St. Petersburg is an outstanding personality for the city. So thought Catherine and therefore decided to capture the creator of the city forever. Thus, the Empress decided to pay tribute not only by the city of St. Petersburg, but also his immediate founder Peter I. By the way, that is why the "copper rider" was made in St. Petersburg in honor of the founder of the city. Its weight is eight tons, and the height is five meters.

History - Beginning

The initiative to create a monument entirely and fully belongs to Catherine the second. By order of Empress, Golitsyn Alexander Mikhailovich turned to Voltera and Didro for help and consultation in the construction and design of such a significant object for Russia. Catherine very trusted Voltera and Didro, because their opinion was considered weighty.

Etienne-Maurice Falcone - it was this person that they recommended that they are Catherine to design and build an object. And Falcone, in turn, always dreamed of creating a huge monument, which will pass through the century and will be honored. The proposal of the Russian yard was delighted and inspired. The master comes to Russia with Marie Anne Coll. This is his 17-year-old design assistant.

The sculptor concluded a contract for 200 thousand livres. This is a small amount. The Russian courtyard also appealed to other noble masters of their case, but they asked the amount much more.

Later, Felten was appointed assistant to Falcone - a professional-architect who had only to speed up the process of building a pedestal.

Who is depicted on the monument "Copper Horseman", the photo shows perfectly.

"Thunder-stone" - what you need!

The question of finding a suitable stone, which would be placed the huge monument of Peter the first. Stone decided through ads, and the corresponding message was posted in the newspaper "St. Petersburg Vedomosti".

The suitable stone of Grigory Vishnyakov will kindly provide under the monument of Peter. It was a huge block, which he wanted to use for his own needs, but did not even find a tool with which he could split it.

On March 27, 1770, the stone was taken to the shore of the Finnish Bay, and the operation was completed. During transport, there were many problems that threatened to disrupt the entire project. However, everything went successfully.

Transportation of this stone even today is completely unique. It was the most huge stone that has ever moved by a person!

Preparation of the monument

In 1769, the monument from the gypsum was demonstrated to the public. Now the figure of Peter the first expected castings completely.

However, the famous Master and Designer of the Falcone Monument refused to perform this work independently. He has never come across a casting of such a huge monument. Falcone expected the arrival of Ersman, who was a specialist in this matter.

However, the high hopes of the sculptor at Ersman were not justified. He turned out to be a bad specialist and could not cope with the task set before him. Falcone independently took over the casting of the monument.

The very first casting occurred in 1775. Next, the castings were repeated in 1776-1777. For the results of work followed personally Catherine the second.

The second casting passed more successfully than the first. Then, after the completion of Falcone, Peter's inner part of Peter the first wrote "Lepil and cast Etienne Falcone, Parisian." So the work was completed on this magnificent monument.

Installation of the monument

The "Copper Horseman" in St. Petersburg was ready to appear before the people. There was only a question of installing a monument for it to become a public domain, and people could be proud of them.

"Thunder-stone" was long delivered to St. Petersburg. The height of the lump of 11 meters was precisely the one that is necessary for the placement of the monument.

However, the relations of Falcone and Catherine the second to this point completely spoiled. Falcone did not have anything else, how to leave their St. Petersburg to Paris.

Fedor Gordeyev has already been engaged in the ultimate installation of the monument. It did not cause him a lot of difficulties, and on August 7, 1782, the opening of the Monument Peter was the first. Falcone was never invited to open his Russian children. The opening was attended by Catherine's second, which gave an order to open a monument that is on this day!

Baturin's story

It was a year 1812. It was a time when the Russian army fought with the Army of Napoleon. There was a high probability that the French troops will burst into St. Petersburg and Moscow and destroy all the property of culture, which is in Russia.

Obsessed by these thoughts, Emperor Alexander First ordered to take out the entire cultural heritage of the city from St. Petersburg. The monument "Copper Horseman" at the Senate Square was also included in the list of Alexander.

At this time, a certain Baturin is declared, which was then in the rank of simple major. He achieved a personal date with Prince Golitsyn to tell him a dream, who pursued him for several last days. In a dream, Major is located on the Senate Square. To him turns the head of the monument of Peter the first and says that he does not export him from his native St. Petersburg. Only with him Petersburg safe, and no one will touch him.

Surprised by such a Baturin, Golitsyn immediately goes to Alexander and tells him about the vision. Alexander was "killed," but still canceled the order about the removal of the "copper rider" from St. Petersburg.

Thoughts of Paul

The story is common, which is associated with Peter the Great and Futive Emperor Paul first.

Paul walked in the evening through the streets of St. Petersburg when it seemed to him that someone was going next to him. At first he accepted this for the game of imagination, but after began to really feel the presence of another person.

"Pavel, I am who accepts participation in you!", "The figure, located nearby. Paul was amazed. He clearly saw the figure of Peter first in a raincoat and a hat.

This meeting occurred in the Senate Square. Leaving, Peter said that once Paul see him again here.

Over time, it happened. Paul received an invitation to the opening of the monument in St. Petersburg. On the monument "Copper Horseman" who is depicted? For this question, Paul knew the answer for sure.

"Copper rider in culture"

Bright monuments and monuments are often reflected in the stories of writers, in poete verses and in the drawings of famous artists. The description of the "copper rider" in St. Petersburg in the Senate Square was no exception.

The monument made an impression on prominent figures of literature and art of various times, which then showed it in their work.

Fedor Mikhailovich Dostoevsky in the novel "Teenager" repeatedly mentions the "copper rider". He worried in his works for the future of the glorious St. Petersburg, but did not predicted death, because the city was firmly guarded by the spirit of the famous and great Peter Founder.

Mystic Danil Andreev in his "Rose of the World" also recalls the "copper rider". However, he represents Peter sitting on the dragon.

Mentioned in their works of the "copper rider" and other writers. There are many paintings written and dedicated to this monument. Peter the first, immortalized on horseback, made a big impression on artists.

"Copper Horseman" Pushkin

Alexander Sergeevich Pushkin is a person who sincerely admired Russian culture and her heritage. The monument of the copper rider in St. Petersburg could not leave him indifferent. The writer was written the work "Copper Horseman".

In the work it is written, as in 1824, Evgeny lost his beloved during flooding. He is hard to experience this grief. In order to somehow distract from an accident, he wanders in St. Petersburg.

Eugene comes to the monument "Copper Horseman" and for a moment freezes. He recalls that it was Peter first founded the city on the place in which troubles and floods can occur. He begins to accuse Peter in his troubles and in the fact that the construction was incorrect, as well as the choice of place for the construction of St. Petersburg.

Eugene begins to threaten the monument. At this time, the "copper rider" scores from the pedestal and begins to flee the prosecutor. In reality, this happens from Eugene or in the vision, he himself cannot understand.

Coinage

He found his reflection "Copper Horseman" not only in culture, art and literature, but also on state coins of the USSR period.

The idea to minted coins with Peter first belonged to the bank of the USSR during the reign of Mikhail Gorbachev in 1988.

So, in 1988, the USSR Bank begins to process coins. Nominal 5 rubles was awarded a monument to Peter the first in St. Petersburg in Senate Square. The coin was severe - 20 grams. Her circulation was 2 million 300 thousand copies.

This is the only known case with the participation of the monument "Copper Horseman".

Legends, myths and interesting facts

There are busy myths and interesting facts associated with the monument in St. Petersburg. Let's start with myths.

• There is a rumor that one day Peter first wanted to jump the Neva. When he said three times, "all God and mine", then retell the Neva without problems. When he changed the phrase and said "all my and God", then VMIG froze in place and petrified. Since then, there is a monument in the Senate Square.
• Once lying down Peter the first in his bed and seemed to him that the Swedes were coming to Petersburg. He jumped up, jumped to the horse and pushed them to meet them. However, the snake turned around on the way and stopped him in the Senate Square. She did not give him to jump into the water and saved Peter.
• There are myths in which Peter says that only he can truly protect the city from the troubles. So it was during the period of war 1812-1814. And indeed, the city was not touched by the French.

Interesting Facts:

• When transporting stone, the pedestal arose difficulties and contradictions between employees. There were often emergencies. For the transportation of the stone watched all Europe.
• Falcone initially wanted his "copper rider" without a fence. But she still was installed. Currently there is no this fence, and many leave their spution. There is a chance that the fence will still be installed.

"Copper Horseman" is a symbol of the Northern Capital of Russia. In St. Petersburg, it is worth going and see this monument to see with its own eyes. Now that you will be in the city on Neva, you will no longer have a question about who is depicted on the monument "Copper Horseman" in St. Petersburg.

The monument to Peter I was opened on August 7, 1782, its author is a sculptor from France Etienne-Maurice Falcon. It was created at the initiative of Catherine II. By order of the Empress, Russian Messenger in Paris, Prince Golitsyn turned to the Council to Didro and Voltera, who recommended him Falcone. The French sculptor at the time was already 50 years old, he served in a porcelain factory, but always dreamed of creating a work. When a proposal was received from Russia, the master, without hesitation, signed a contract.

In October 1566, Falcone, together with its 17-year-old student Marie-Anne Kollo, arrived in St. Petersburg. Soon he began working on the creation of a gypsum model of a monument in full size. She lasted as much as 12 years and was completed by 1778. Marie Anne Collohe Lepil Peter's head. The king's face expresses the will and courage, it is illuminated by a deep thought. For this work, the collo was taken as members of the Russian Academy of Arts. Catherine II gave her lifetime in 10,000 livres. Snake under the leg of the horse performed Russian sculptor Fyodor Gordeyev.

The base of the monument was the rock, which was given the shape of a raised wave. According to the plan of the sculptor, she had to serve as a reminder that it was Peter I managed to turn Russia into a marine power. Suitable granite blocks found in 12 versts from St. Petersburg. According to legend, lightning came to her, after which a crack arose in the rock. The people of the rock got the name of the thunder. Its weight was about 1600 tons. Thunder-stone was delivered to the capital on the barge for 9 months. Even in the process of transporting the stone, a waveform was granted. On September 26, 1770, the pedestal for the future statue was established on the Senate Square.

How the bronze rider turned into a copper

Master, who would have come up for casting a bronze statue, could not be found for a long time. Foreigners requested a too high price, and the Russians scared her alleged size. Finally, a cannon master Emelyan Haylov took the case. Together with Falcone, they chose the optimal composition of the alloy and made samples. For 3 years, while the preparatory work lasted, the sculptor perfectly mastered the technique of bronze casting.

The monument began to cast in 1774. However, one fill did not cost. The pipe was bunting, according to which the hot bronze entered the form. The upper part of the sculpture was hopelessly spoiled. 3 years left for the preparation for re-fill. Fortunately, this time, the idea succeeded.

However, such a long work on the statue strongly spoiled the relationship of Falcone with Catherine II. As a result, the sculptor went from Russia, and without waiting for the installation of his creation. No more sculpture was created. "Copper rider" bronze statue called Alexander Sergeevich Pushkin in his poem. The name has become so popular that practically turned into official.

It all started with the fact that the Senate of the Russian Empire decided to erect a monument in honor of the reigning Empress Catherine II. However, the far-sighted and understanding sense in the political situation and the mood of the people of Catherine abandoned this honors, saying that it was necessary to make a monument to her before her great predecessor Peter I was immortalized. Today, today the story of creating this masterpiece is remembered not only in St. Petersburg, but also Wherever there are monuments Peter 1.

Catherine II conceived to create something ambitious, and she succeeded. Monument to Peter 1 "Copper Horseman" is a masterpiece and the history of its creation is similar to the adventure novel.

Where to take an architect

To the question of choosing a suitable master Catherine was very serious. In the end, on the recommendation of the professor of the Paris Academy of Denis Didro, with whom she regularly rewritten, and his colleague Voltaire, the master was invited to St. Petersburg. The monument to Peter 1 was to create Etienne Maurice Falcone - the French architect, who used the patronage of the Marquis itself, de Pompadour, who was a legalized favorite of the French king.

The long-awaited opportunity

Falcone all his life dreamed of creating something monumental, but it was necessary to work with the sculptures of ordinary sizes. Therefore, the future author of the monument to Peter 1 with joyfully concluded a contract, despite the small amount of the fee.

He was working on him, in fact, began in Paris. In Russia, the sculptor comes with an already ready sketch and fully formed the idea of \u200b\u200bhow the monument should look like.

Hot spores

However, the problem was that literally everyone who had at least some influence on the adoption of a final decision on the composition of the statue represented it differently. The history of the monument "Copper Horseman" has retained some of these proposals.

Ekaterina herself wanted to see the statue of the emperor, made in ancient Roman style. He had to be dressed in Roman Togu, keep the scepter in his hands and radiate the greatness of the winner warrior.

Representative of the Russian Academy of Sciences, the actual Stat adviser Yakov Yakovlevich Schlyhenin to the allegories. He persistently offered to portray the king surrounded by other statues, which by his plan had to personify victory, prudence and hard work.

Ekaterina II Secretary, Ivan Ivanovich Betskaya, who was President of the Imperial Academy of Arts, wanted the statue to be implemented in a classic pose of a person standing in full height.

Recommended to hire Falcone, also contributed to a boiling bowl of discord, offering to perform a monument in the form of a fountain. So there was a chance that there is where a monument to Peter 1 is located today, it might be risked with an elegant reservoir.

And some very creative advisers suggested that one eye of the emperor was sent to and the other to twelve colleges. It is terrible to imagine what the expression of this person should have been.

However, Falcone was not going to retreat. He wanted the first monument to reflect the real personal qualities of the emperor, and did not turn into a three-dimensional visualization of the collage of flattening epithets sovereign. And the master managed to defend his position.

Creating a model

The next three years at the sculptor went to the creation of a gypsum model. He worked together with a young assistant - his student Marie Anne Kolo, who came from France with him. Much-time Falcone paid the study of the identity and character of the emperor. Considered the gypsum busts and masks of Peter I, made in his life.

The sculptor appealed to General Melissino, which was like an increase in and figure to the king, and he agreed to positive him. But Peter's face I could not have managed. Therefore, he instructed this work with his 20-year-old assistant Marie Ann.

For a valuable contribution to the creation of a monument to Ekaterina II ordered to accept Marie Ann Kolo to members of the Russian Academy of Arts and appointed a very solid life pension.

Work with a horse

And again the sculptor had to withstand the opposition of the court. At this time, the cause of the dispute was the rock of the horse, which should have risen Peter I. Representatives of the nobility insisted that this figure should be vague in the likeness of horses, has long been adopted in antique art.

But the master was not going to create a calm and solemnly solemn harness. The monument to Peter 1 on the horse should have become unique. Etienne Maurice Falcona set himself a difficult task - to portray the rider on a raised animal. For the embodiment of this idea, a wooden platform was built to life, which was to take off the rider, raising the horse on the piles.

From the royal stables, two magnificent ruins of the Oryol breed were chosen. History has kept even their nicknames - whim and diamond. Beretors (this is the name of a specialist, training horseback riding and training horses) Athanasius of Tellekov, Hylov, etc. In the literal sense, hundreds of times a day took off on the platform and noble animals, obedient will of the saddle, each time I got up, having fading for a moment.

This is the nerve and tried to catch Etienne Maurice. He himself shouted squatting, peering into the tremble muscles on the legs of the horse, considering the bending of his neck and a proud look of huge eyes. All seen sculptor immediately sketched, to later be able to safely work with the model.

At first he sketched pictures. The monument to Peter 1 was depicted on them from different angles. Then he endured his plans on paper. And only after that was taken for work on the three-dimensional model of sculpture.

Not one year continued the exercises of the Beretors. During this time, several people managed to change in this position. But efforts were not wasted. Monument to Peter 1 "Copper Horseman" has no analogues in the world.

Thunder

Meanwhile, in parallel, another equally ambitious project was carried out.

The height of the monument to Peter 1 is 10.4 meters. He had to be picked up. Etienne Maurice assumed that it should be a block made in the form of a wave. She had to symbolize the fact that Peter I opened access to the sea for Russia.

However, anything suitable could not find. An optional version of the pedestal of several pieces of granite was already considered. And then someone suggested declare competition for the search and delivery of a suitable stone. The appropriate announcement was immediately printed in the St. Petersburg Vedomosti.

Not so much time passed as the peasant from the village of Lakhta appeared. He said that there is a stone in their forests that meets all the described requirements. In addition, the peasants argued that the sovereign himself Emperor Peter I was not once climbed to this stone, in order to observe the surroundings.

This statement is, by the way, is not deprived of some reason. After all, the village of Lakhta was located the estate of Peter the Great. However, it is not important that the emperor climbed there or not, but an expedition was sent to the stone, authorized to decide whether it was suitable for the target target.

Local peasants called him a thunder. According to legend, a long-time launcher hit the rock and discouraged this piece.

Difficulties transportation

Thunder was recognized as anger to serve as a pedestal, however, its sizes created serious difficulties for transportation. Present a block with a height of 8 meters (as a three-storey house), 13 meters long (as 3-4 standard entrances) and 6 meters width. No matter what severe technique then, of course, it could not be a speech, and the distance to the Senate Square in St. Petersburg (the place where the monument to Peter 1 is worth it today) was very decent.

Part of the path was supposed to do on the water, but to the place of loading on the ship Voton, it was necessary to drag the rough terrain at a distance of 8.5 kilometers.

The output found Ivan Ivanovich Petskaya. According to his proposal, special wooden rails in the shape of grooves were designed. They were shed copper sheets and prepared 32 bronze bowls of a suitable diameter. The mechanism was supposed to work on the principle of the bearing.

Initially, a reduced model was tried. The original was supposed to be ten times more. After successfully passed tests, the production of a mobile mechanism in full-scale value was launched.

Ground part of the way

In the meantime, the first thing with the stone began to remove the stood ground and other layers. This operation made it easier for 600 tons. Five hundred people soldiers and peasants were engaged daily in clearing work.

After that, began to clear the place directly around the thunder, bring it on the forests and prepare the soil for laying rails. This work took four months.

Throughout the path, it was necessary to first clear the road with a width of 20 meters, strengthen it with thick pile, and on top of this, to lay part of the collapsible rails. After the stone moved, the rails were removed from the path traveled and transferred forward.

All Europe watched the promotion of transportation of a giant stone. It was an unprecedented event. Never before such a huge monolith moved to such a distant distance.

Not easy road

With the help of levers, the thunder was emptied to a special platform that was installed on the rails. This operation demanded a lot of time and incredible efforts, but in the end, a piece of the cliff, larger in crude land, not one century, was cut off from his place. So began his long way to the capital, where the monument to Peter 1 "Copper Horseman" was to be established on him.

Thirty copper balls were installed in the rails of rails at a distance of about half a meter. By not one of these balls stopped and did not approach the neighboring neighboring, they should have followed specially designated people for this. They had iron sixs, which, if necessary, could be connected or slowed down a spherical part.

For the first jerk, the design loaded by a stone was managed to move half a meter. During the next one, it turned out to overcome a few more meters. And before the bay, where the thunder-stone was overloaded on a special barge, there were about nine kilometers ....

In order not to waste time, 46 Kamenotesov began to handle the thunder right on the way. Their task was to give the rock a form conceived by Etienne Falcon. At this stage, the sculptor again had to withstand an excessive ideological battle, since all the courtested in one voice stated that it was necessary to leave the stone as it was and did not change it.

However, this time the master managed to insisted on his. And although the opponents tried to imagine this as a foreigner of the foreigner over the beauty of the Russian Nature, Catherine gave permission to handle the pedestal.

In some sources it is indicated that on the road, the boulder gave a crack and split into two parts. Whether this happened as a result of the works of work or for any other reasons, a story silent. We are also unknown to us about the reaction of people who participated in transportation, for this incident. Did they perceive it as a catastrophe or, on the contrary, as a blessing, we will no longer know.

The falling part of the anniversary of the Thunder was left to lie in the glade, where it can be seen today, and the team continued her way to the Finnish bay.

Preparation for transportation on water

Meanwhile, on the shore of the Gulf of Finland, the marina and a special vessel for transporting a huge stone were built. The weight of this cargo would not stand anyone existing then barge. Therefore, the talented ship master of Grigory Ksechepers began to develop the drawings for which the gun should be built - a flat-bottomed vessel, which could keep a considerable weight.

Prama was intended to move heavy artillery. In essence, these were compact mobile fortress, equipped with the entire perimeter by cannons. Moreover, the amount of guns could reach 38 units. Add to this the weight of the nuclei, powder and people who served cannons, and you can get an approximate idea of \u200b\u200bthe carrying capacity of Prama.

However, even this was not enough. It was necessary to design a more powerful ship. In order to be able to immerse the thunder, the guns are climbing, gaining water into it. When the stone was watershed to the ship, the water was traced, and a journey through the sea segment of the path began. Floating passed safely, and on September 26, 1770, the stone was delivered to where the monument to Peter 1 is located and today.

Latest stages of work on the monument

During the action of the whole epic with the transportation of Etienne Falcon, did not cease to work on sculpture. The height of the monument to Peter 1 struck the imagination of the citizens. In truth, many simply did not understand why to build such a merdom. Do not forget that at that time there was no monument to anyone in the country. And the gypsum model, fulfilled in the full amount, which everyone could freely see the workshop freely, caused a lot of reassigns.

But the perplexity of ordinary citizens did not have any comparison with the reaction of masters. When the time came to begin to cast a statue, no one agreed to take this job.

Falcone invited to cast a monument to Peter 1 from bronze, the description of which he gave only in general terms, one skilled French master. However, when he came and saw the scale of work, and also got acquainted with the requirements of the sculptor, it was simply called Etienne crazy and set off the ravoisi.

In the end, Etienne Falcone managed to find a loaf, which agreed to take a truly deer project. When there was a preparation for the transport of thunder, parts for mechanisms, with the help of which transported was carried out, casting cannon cases Master Emelyan Hailov. Already then Falcone noted his diligence and accuracy. And now he invited him to cooperate when casting the monument itself.

The work was difficult. And the case was not just in gigantic sizes. The design of the monument created unprecedented problems. If you look at the monument to Peter 1 in St. Petersburg, then you will see that he has only three points of the support - the hind legs and the tail. Save at the same time the necessary balance is not the easy task. And there was no opportunity to train. Masters had only one attempt.

To ensure the stability of the sculpture, Falcone resorted to several original solutions. First, he introduced a snake into the composition, which the batch of the horse, secondly, by his plan of the wall of the front of the statue was incommensurable thinner thickness of the rest of the monument, and, thirdly, four tons of iron were added to the horse in croup of horses to Keep its equilibrium. Thus, Peter 1 on the horse should have been securely installed.

Catastrophe with casting

For three years, preparatory work continued to cast the statue. Finally, everything was ready, and the masters began to work. The form of the monument was in a special pit. The melting furnace was somewhat higher, from which the pipes were tilted under the tilt. According to these pipes, the hot metal should have been shaped, evenly filling it.

In order for these pipes to burst, the fire was bred under each of them and they were heated continuously. But in the process of casting one of the fires went out. It remained unnoticed, and the cooled pipe gave the crack, through which molten metal began to flow. And this, in turn, led to a fire.

People rushed out of the workshop of the commusive, Falcone fell into fainting, and only one Highov was not confused. He quickly extinguished the beginning fire, he shoved the crack in a fresh clay tube, threw clothes from himself, wet her and wrapped around a cracked pipe.

It was a real feat. And not only because Hylov managed to maintain the composure in an emergency situation. Fighting with fire was not easy. The founder received numerous serious burns and lost his eyes. But thanks to him, most of the statue was saved.

Monument to Peter 1 "Copper Horseman" today

Many historical events were able to see the bronze Peter I, ascertaining a raised horse on forever. The visiting card remains for visitors to St. Petersburg Monument "Copper Horseman". A photo on his background is in a hurry to make tourists, feverishly by shutters of cameras. And the indigenous Petersburgers traditionally come here to spend some of the wedding ceremony.

You may want to see a monument "Copper Horseman" (St. Petersburg) personally. Considering this work of the Great Master, do not let the hurry and bustle, to which we are so accustomed, to deprive you enjoying from the attentive contemplation of this beautiful sculpture. Try to bypass it and look into the details from different sides. You will notice the depth and wealth of the idea in this simple, at first glance, the monument.

Pay attention to the details: Instead of the seat on the back of the horse, you will see the animal skin, and the clothes that the emperor is closed, in fact, did not exist in any historical period. Sculptor tried to combine the original Russian robe with elements of the weeds of ancient Romans. And it should be recognized, he managed to do quite organically.

Having considered the monument "Copper Horseman", photos of which so popular among tourists, without a rush, you will drive away from the ancient capital, not just another photo of the famous sights, and you can truly touch the historical past of the Great Country.

Where is the monument to Peter I "Copper Horseman", and why is it so called? Many will give the answer to the first question, and almost everything will surely think about the second. Meanwhile, the history of one of the symbols of St. Petersburg is to find out.

Since childhood, famous lines "love you, Peter Creating ...", dedicated to St. Petersburg, "Copper Horseman". The poem gave the "People's" name to one of the most famous monuments of Russia - the monument of the Tsar reformer Peter First. This name is firmly entered into everyday life, and few have a report that in fact the horse statue of Peter is cast from bronze.

Essay the memory of the Creator of the Northern Capital was conceived by Catherine the second, which considered himself a follower of his reforms. Enlightened Empress consisted in a friendly correspondence with Voltro and Didro, who gave excellent recommendations to the French sculptor Etienne-Mauris Falcon. The contract was concluded without unnecessary wires, and in 1766 the sculptor arrives in Russia and begins work.

Interestingly, the creation of the Frenchman was fundamentally different from how Russian government ranks were represented and even Catherine herself. According to their idea, Peter the first should have been depicted with the holding ruler, majestically squeezing on horse, like the Roman emperors. Incredible, but the author managed to defend his ideas. Who is depicted on the monument "Copper Horseman" in the end? We see not just a delayer and a military leader, but the great king - the benefactor of his country, who launched her story to develop and prosperity.

The creation of a masterpiece required more than ten years. Initially, a gypsum statue of Peter, sitting on horseback, was created. To cut out the head of the emperor entrusted the assistant Falcone Marie Ann Kollo. The master himself was focused on a horse - such an embodiment of his ideas was important than the plastic horse, the need to accurately transmit her movement. He sculpted from nature - in the room of the former Wooden Palace of Empress Elizabeth, a workshop was created with a special dance, where the riders put their horses on the piles.

For the manufacture of a statue took three years. The next 10 years, the casting of the statue was taken by first the French master Ersman, then Falcone himself, and completed the work of the architect Yu.M. Felten and foundries Master Ekimov. The process was with great difficulties, and Falcone left Russia in 1778, and without graduating from casting.

For the first time, the monument was represented by the public in 1769, after the end of the work on the gypsum statue. The monument in the bronze was solemnly opened in the central anniversary of Peter's first to the throne on August 7, 1782 in the highest presence of Empress Catherine the second. It is noteworthy that the Falcon itself was not on the opening - he was simply not invited.

As a pedestal was chosen a huge thunder-stone found in a small village near St. Petersburg. Delivery he took six months. During this time, the thunder overcame almost eight kilometers on land, then he was immersed on the ship and transported to the Finnish bay to St. Petersburg. The stone weighing 2500 tons and a height of 11 meters was unloaded on a specially built pier and delivered to the place of installation of the monument. All this time, a lot of people worked on the stone to give him a certain form. But Catherine has stopped this work independently, wanting the stone to retain his natural look and gigantic size.

The majestic monument is established at the Senate Square of St. Petersburg near the Admiralty buildings. Many interesting facts are connected with it.

• Falcone insisted that the monument must be installed without a fence. However, the barrage after all appeared. And in our time it is removed, and the monument fully corresponds to the idea of \u200b\u200bthe author.
• Snake, crushed Kony's hoof, was closed by Fedor Gordeev.
• After the opening of the monument, the area was renamed Petrovskaya for a while.
• There is a legend that somehow walking through the Senate Square, the Grand Duke Paul met the Ghost Peter there. The emperor told the heir that he would surely see him here again. This promise was fulfilled.
• Falcone managed to insist on his own and on the issue of choosing the place of installation of his creation. Catherine The second saw a monument in the center of Square, but the author was able to convince her to move the statue closer to the banks of the Neva.
• During the reasons of St. Petersburg at the site of the monument, the first wooden Isaac Church was located.

The magnificent monument has repeatedly inspired poets, writers and artists. His foot was held. And now the copper rider is almost the main symbol of St. Petersburg, forever captured the creator of one of the most beautiful cities on the planet.