New trends in architecture of the 18th century. Russian art of the first half of the 18th century

The main features of the development of architecture of the 18th century in Russia

The 18th century is important in the history of Russian architecture, the flourishing of architecture in Russia:

• Three directions are characteristic, which manifested themselves consistently over the course of the century: baroque, rococo, classicism. There is a transition from Baroque (Naryshkin and Petrovsky) to classicism of the second half of the 18th century.
• Western and Russian traditions, modern times and the Middle Ages are successfully combined in architecture.
• New cities appear, architectural monuments are born, which today belong to the historical and cultural heritage of Russia.
• St. Petersburg is becoming the main center of construction: palaces with facades and ceremonial buildings have been built, palace and park ensembles have been created.
• Special attention was paid to the construction of civil architecture objects: theaters, factories, shipyards, colleges, public and industrial buildings.
• The beginning of the transition to planned urban development is taking place.
• Foreign masters are invited to Russia: Italian, German, French, Dutch.
• In the second half of the 18th century, palace and park buildings become an attraction not only in the capital, but also in provincial and district cities.

The development of the architecture of Russia in the 18th century can be conditionally divided into three time periods, each of which accounts for the development of one direction or another, namely:

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

Let's pay attention in more detail to each of the periods.

The main architectural styles of the 18th century in Russia

First third of the 18th century inextricably linked with the name of Peter I. The cities of Russia during this period underwent changes in terms of architectural planning and in the socio-economic aspect. The development of industry is associated with the emergence of a large number of industrial cities and towns. Much attention is paid to the appearance, facades of ordinary buildings and structures for residential purposes, as well as theaters, town halls, hospitals, schools, orphanages. The active use of bricks instead of wood in construction falls on the year 1710, but it concerns, first of all, capital cities, at the same time, for peripheral cities, brick and stone belong to the forbidden category.

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

Remark 1

Russia occupies a worthy place in urban planning and landscaping, thereby catching up with Europe.

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

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

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

The death of Peter I for the state was an irreparable loss, although in essence it did not have an impact on the development of architecture and urban planning in the middle of the 18th century. Strong cadres remained in the Russian state. Michurin, Blank, Korobov, Zemtsov, Eropkin, Usov are the leading Russian architects of the time.

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

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

Remark 2

The most ambitious projects of the period are the new master plan of St. Petersburg and the redevelopment of Moscow.

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

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

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

Associated with the work of the architect Francesco Bartolomeo Rastrelli (1700-1771).

Buildings built in this style are characterized by extraordinary splendor and elegance. The walls of palaces and temples are richly decorated with fancy stucco moldings, sculptures, columns that support nothing. There are practically no horizontal lines in architecture. The ideal of ba-rocco is a smoothly curved curve. The line of the facade is dynamic: the protrusions of buildings are now and then replaced by recesses. The multicolored coloring gave a unique charm to the Baroque buildings: the ends of the columns and the sculpture shone with gilding, and the snow-white columns stood out clearly against the blue, turquoise, yellow or pink surfaces of the walls.

The interiors of baroque palaces were especially splendid. The walls of the halls were covered with silk fabric, decorated with mirrors, carved gilded stucco. The floors were finished with parquet with a complex pattern. The ceilings were painted by skilled painters. Crystal chandeliers, exquisite doorknobs, intricate fireplaces, clocks, vases, luxurious furniture complemented all this splendor. The palace premises were lined up in a long row of walk-through rooms and halls so that the doorways were located along the same axis. Such a layout responded to the theme of parade processions, which certainly manifested itself not only in the famous "monarch's exits", but also in all rituals, even dances.

Urban planning

During the reign of Catherine, a grandiose city-building program was carried out. New cities were built and old cities were rebuilt. Settlements were based in the Urals, Siberia, Novorossiya. St. Petersburg with its regular planning served as an example of urban planning.

In 1762 was created Commission on the stone building of St. Petersburg and Moscow... She was supposed not only to deal with the urban development problems of the two Russian capitals, but also to develop master plans for provincial and district cities. By 1775, the Stone Construction Commission had approved plans for 216 cities. It should be noted that, while rebuilding the old cities, the architects tried to preserve the monuments of ancient Russian architecture: temples, bell towers, fortifications.

In the second half of the 18th century. the number of public (non-residential) structures erected in cities has significantly increased. Buildings are being built for institutions of city self-government (city dumas, assemblies of the nobility, etc.), hospitals, schools, guesthouses, public baths, warehouses. In large cities, in addition to palaces and mansions, the first profitable houses appear, in which apartments are rented out.

Classicism

The architectural style is changing: the magnificent baroque is replaced by classicism. "Noble simplicity and calm greatness" - this is how the new style, which was established in Russia at the end of the 18th century, is characterized. It is dominated by straight horizontal and vertical lines. All parts of the buildings are symmetrical, proportional, balanced. Columns not only serve as decoration, but also have a constructive purpose - they support the floors. The roofs are made flat. Architects prefer to paint the facades of buildings in restrained colors - yellow, coffee, gray, fawn ... Material from the site

Representatives in St. Petersburg

The largest architects of classicism in St. Petersburg were Jean-Baptiste Wallen-Delamot(Academy of Arts, Gostiny Dvor on Nevsky Prospect), Ivan Egorovich Old(Trinity Cathedral of the Alexander Nevsky Lavra, Tauride Palace), Charles Cameron(Pavlovsk Palace, Cameron Gallery of Tsarskoe Selo), Giacomo Quarenghi(Hermitage Theater, Assignation Bank), Nikolay Alexandrovich Lvov(St. Petersburg Post Office, Nevsky Gate of the Peter and Paul Fortress, Kulich and Easter Church).

N. A. Lvov (1751 - 1803) was known not only as a talented architect, but also as an outstanding scientist, writer, graphic artist, musicologist. He created the first art salon (circle), which included prominent writers, composers, and artists. Lvov was revered as a genius of taste.

Representatives in Moscow

Vasily Ivanovich Bazhenov (1737 / 1738-1799) (Pashkov's house, Tsaritsyno palace complex) and Matvey Fedorovich Kazakov (1738-1812 / 1813) (buildings of the Senate in the Kremlin, the Noble Assembly - now the Column Hall of the House of Unions, Golitsyn Hospital - now 1st Gradskaya).

Pictures (photos, drawings)

• Winter Palace in St. Petersburg. Architect F.-B. Rastrelli. 1750-1762

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  Cathedral of the Smolny Monastery in St. Petersburg. Architect F.-B. Rastrelli. 1748-1764

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  The Great Catherine Palace in Tsarskoe Selo near St. Petersburg. Architect F.-B. Rastrelli. 1752-1756

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  The Picture Hall in the Great Peterhof Palace. Watercolor L.O. Premazzi. 1855 g.

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  A suite of state rooms in the Catherine Palace in Tsarskoe Selo. Architect F.-B. Rastrelli. 1750s

• The main staircase in the Winter Palace. Architect F.-B. Rastrelli. Watercolor K.A. Ukhtomsky. XIX century.

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  Petersburg plan 1776

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  The building of the Academy of Arts in St. Petersburg. Architects A.F. Kokorinov and Jean-Baptiste Wallen-Delamot

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  Tauride Palace in St. Petersburg. Architect I. E. Staroe

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

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

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

1 Biography

2 Works

3 Notes

Biography

Matvey Kazakov was born in 1738 in Moscow, in the family of Fyodor Kazakov, a clerk of the Chief Commissariat of Serfs. The Kazakov family lived near The Kremlin, near Borovitsky Bridge... In 1749 or early 1750 Kazakov's father died. Mother, Fedosya Semyonovna, decided to send her son to the architectural school of the famous architect D. V. Ukhtomskiy ; in March 1751, Kazakov became a student at the Ukhtomsky school and stayed there until 1760. From 1768 he worked under the leadership V. I. Bazhenova v Expeditions of the Kremlin building; in particular, in the years 1768-1773. he participated in the creation of the Grand Kremlin Palace, and in 1775 - in the design of festive entertainment pavilions at Khodynskoe field... V 1775 year Kazakov was approved as an architect.

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

Kazakov also showed himself as a teacher, organizing an architectural school during the Expedition of the Kremlin structure; his students were architects such as I. V. Egotov, A. N. Bakarev, O. I. Bove and I. G. Tamansky. V 1805 year the school was transformed into the School of Architecture.

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

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

Work

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

Monument Vasily Bazhenov and Matvey Kazakov(foreground) in Tsaritsyn work Leonid Baranov

Prechistensky palace v Moscow (1774-1776);

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

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

Novo-Ekaterininskaya hospital (1774-76);

Noble assembly (1775);

House of Archbishop Plato, later Small Nikolaevsky Palace (1775);

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

Philip Metropolitan Church (1777-1788);

Travel Palace (Tver);

House of Kozitsky on Tverskaya (1780-1788);

Temple of the Ascension on the Pea Field (1790-1793);

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

House-estate of Demidov v Gorokhovsky lane (1789-1791) ;

House-estate of Gubin on Petrovka(1790s);

Golitsyn hospital (1796-1801);

Pavlovsk hospital (1802-1807);

House-estate of Baryshnikov (1797-1802);

General plan of Kolomna in 1778;

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

Petrovsky entrance palace (1776-1780);

Governor General's House (1782);

Attributed

Tikhvin church, house of the bishop, towers Staro-Golutvina monastery(1780s)

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

House Musin-Pushkin on Ramble

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

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

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

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

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

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

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

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

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

In 1768-1773, Bazhenov headed the design workshop - the so-called Model House, where work was underway on the project of a grandiose new Kremlin palace. It was assumed that the palace would cover the entire Kremlin hill. Its courtyards-squares were supposed to contain the ancient monuments of the Kremlin. In contrast to the typical methods of palace buildings of the middle of the century, Bazhenov puts forward the solution of general planning problems in the first place. He outlines the creation on the territory of the Kremlin hill of a whole system of squares and driveways connecting them and conceives the entire palace, taking into account the general layout and specific features of the area. In close connection with the new building of the palace (the main building of which was oriented towards the Moscow River), large buildings of the main administrative institutions of Moscow were also conceived. The entrance from Red Square through the Spassky Gate led to the main square (courtyard) in the form of a grandiose open-air hall with amphitheater places for large meetings. The main entrance to the palace was supposed to be located nearby. Bazhenov's project (1767-1775) was not implemented, but the grandiose model he created (now in the State Research Institute of the Russian Academy of Sciences, Fig. 51) had a strong impact on the development of the architecture of that time.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

23. Architectural ensemble of Tsarskoe Selo.

Tsarskoe Selo - a pearl of 18th century architecture

Chapter “Art of Russia. Architecture". Section "Art of the 18th century". General History of Art. Volume IV. Art of the 17th-18th centuries. Author: I.M. Schmidt; edited by Yu.D. Kolpinsky and E.I. Rotenberg (Moscow, State Publishing House "Art", 1963)

The eighteenth century is a time of remarkable flourishing of Russian architecture. Continuing; on the one hand, their national traditions, Russian masters during this period began to actively master the experience of contemporary Western European architecture, reworking its principles in relation to the specific historical needs and conditions of their country. They have enriched the world architecture in many ways, introducing unique features into its development.

For Russian architecture of the 18th century. characterized by the decisive predominance of secular architecture over religious, the breadth of urban plans and decisions. A new capital, Petersburg, was being erected; as the state strengthened, the old cities were expanded and rebuilt.

The decrees of Peter I contained specific orders concerning architecture and construction. So, by his special order, it was ordered to bring the facades of newly built buildings to the red line of streets, while in ancient Russian cities houses were often located in the depths of courtyards, behind various outbuildings.

For a number of its stylistic features, Russian architecture of the first half of the 18th century. undoubtedly can be compared with the baroque style prevailing in Europe.

Nevertheless, a direct analogy cannot be drawn here. Russian architecture - especially of the time of Peter the Great - had a much greater simplicity of forms than was characteristic of the late Baroque style in the West. In its ideological content, it affirmed the patriotic ideas of the greatness of the Russian state.

One of the most remarkable buildings of the early 18th century is the Arsenal building in the Moscow Kremlin (1702-1736; architects Dmitry Ivanov, Mikhail Choglokov and Christoph Konrad). The great length of the building, the calm surface of the walls with sparsely spaced windows and the solemn and monumental design of the main gate clearly indicate a new direction in architecture. The solution of the small twin windows of the Arsenal is completely unique, with a semicircular end and huge outer slopes like deep niches.

New trends penetrated the cult architecture as well. A striking example of this is the Church of the Archangel Gabriel, better known as the Menshikov Tower. It was built in 1704-1707. in Moscow, on the territory of A.D. Menshikov's estate near Chistye Prudy, by architect Ivan Petrovich Zarudny (died in 1727). Before the fire of 1723 (caused by a lightning strike), the Menshikov Tower - like the soon-to-be-built bell tower of the Peter and Paul Cathedral in St. Petersburg - was crowned with a high wooden spire, at the end of which was a gilded copper figure of the archangel. In height, this church surpassed the bell tower of Ivan the Great in the Kremlin (The light, elongated head of this church, which is now in a peculiar shape, was made already at the beginning of the 19th century. The restoration of the church dates back to 1780.).

The Menshikov Tower is a typical Russian church architecture of the late 17th century. a composition of several tiers - "eight" on the "four". At the same time, compared with the 17th century. here new trends are clearly outlined and new architectural techniques are used. Particularly bold and innovative was the use of a high spire in the church building, which was then so successfully used by St. Petersburg architects. Zarudny's appeal to the classical methods of the order system is characteristic. In particular, columns with Corinthian capitals, unusual for ancient Russian architecture, were introduced with great artistic tact. And already quite boldly - powerful volutes flanking the main entrance to the temple and giving it a special monumentality, originality and solemnity.

Zarudny also created a wooden triumphal gate in Moscow - in honor of the Poltava victory (1709) and the conclusion of the Nystadt Peace (1721). Since the time of Peter the Great, the erection of triumphal arches has become a frequent occurrence in the history of Russian architecture. Both wooden and permanent (stone) triumphal gates were usually richly decorated with sculpture. These buildings were monuments to the military glory of the Russian people and in many ways contributed to the decorative design of the city.

With the greatest clarity and completeness, the new qualities of Russian architecture of the 18th century. manifested themselves in the architecture of St. Petersburg. The new Russian capital was founded in 1703 and was built unusually quickly.

From an architectural point of view, St. Petersburg is of particular interest. It is the only capital city in Europe that arose entirely in the 18th century. In its appearance, not only the peculiar directions, styles and individual talents of the architects of the 18th century were vividly reflected, but also the progressive principles of urban planning skills of that time, in particular planning. In addition to the brilliantly resolved "three-beam" layout of the center of St. Petersburg, high urban planning art manifested itself in the creation of complete ensembles, in the magnificent development of the embankments. The indissoluble architectural and artistic unity of the city and its waterways from the very beginning was one of the most important advantages and unique beauty of St. Petersburg. The formation of the architectural appearance of St. Petersburg in the first half of the 18th century. mainly associated with the activities of architects D. Trezzini, M. Zemtsov, I. Korobov and P. Eropkin.

Domenico Trezzini (c. 1670-1734) was one of those foreign architects who, having arrived in Russia at the invitation of Peter I, stayed here for many years, or even until the end of their lives. Trezzini's name is associated with many structures in early Petersburg; he owns "exemplary", that is, standard designs of residential buildings, palaces, temples, various civil structures.

Trezzini did not work alone. Together with him worked a group of Russian architects, whose role in the creation of a number of structures was extremely responsible. The best and most significant creation of Trezzini is the famous Peter and Paul Cathedral, built in 1712-1733. The building is based on the plan of a three-aisled basilica. The most remarkable part of the cathedral is its bell tower directed upwards. Just like the Menshikov tower of Zarudny in its original form, the bell tower of the Peter and Paul Cathedral is crowned with a high spire, completed with the figure of an angel. The proud, light takeoff of the spire is prepared by all the proportions and architectural forms of the bell tower; the gradual transition from the actual bell tower to the “needle” of the cathedral has been thought out. The bell tower of the Peter and Paul Cathedral was conceived and implemented as an architectural dominant in the ensemble of St. Petersburg under construction, as the personification of the greatness of the Russian state, which established its new capital on the shores of the Gulf of Finland.

In 1722-1733. another well-known building of Trezzini is created - the building of the Twelve Collegia. Strongly elongated in length, the building has twelve sections, each of which is designed as a relatively small but independent house with its own ceiling, pediment and entrance. Trezzini's favorite strict pilasters in this case are used to unite the two upper floors of the building and emphasize the measured, calm rhythm of the façade articulations.The proud, rapid rise of the bell tower of the Peter and Paul Fortress cathedral and the calm length of the building of the Twelve Collegia - these beautiful architectural contrasts were made by Trezzini with the impeccable tact of an outstanding master.

Most of Trezzini's works are characterized by restraint and even austerity in the architectural design of buildings. This is especially noticeable next to the decorative splendor and rich design of buildings from the middle of the 18th century.

The activity of Mikhail Grigorievich Zemtsov (1686-1743), who worked at the beginning with Trezzini and by his talent attracted the attention of Peter I. Zemtsov, apparently participated in all major works of Trezzini, was diverse. He completed the construction of the Kunstkamera building, begun by architects Georg Johannes Mattarnovi and Gaetano Chiaveri, built the churches of Simeon and Anna, Isaac of Dalmatsky and a number of other buildings in St. Petersburg.

Peter I attached great importance to the regular building of the city. The famous French architect Jean Baptiste Leblond was invited to Russia to develop the master plan for St. Petersburg. However, the general plan of St. Petersburg drawn up by Le Blond had a number of very significant shortcomings. The architect did not take into account the natural development of the city, and his plan suffered from abstractness to a large extent. Leblond's project was only partially implemented in the layout of the streets of Vasilievsky Island. Russian architects have made many significant adjustments to its layout of St. Petersburg.

A prominent urban planner of the early 18th century was the architect Pyotr Mikhailovich Eropkin (c. 1698-1740), who gave a wonderful solution to the three-beam layout of the Admiralty part of St. Petersburg (including Nevsky Prospekt). Carrying out a lot of work in the "Commission on the St. Petersburg Building" formed in 1737, Eropkin was in charge of building and other districts of the city. His activity was cut short in the most tragic way. The architect was associated with the Volynsky group, which opposed Biron. Among other prominent members of this group, Yeropkin was arrested and executed in 1740.

Eropkin is known not only as a practicing architect, but also as a theorist. He translated the works of Palladio into Russian, and also began work on the scientific treatise "The Position of an Architectural Expedition." The last work, concerning the basic questions of Russian architecture, was not completed by him; after his execution, this work was completed by Zemtsov and IK Korobov (1700-1747) - the creator of the first stone building of the Admiralty. Crowned with a tall thin spire, echoing the spire of the Peter and Paul Cathedral, the Admiralty tower built by Korobov in 1732-1738 has become one of the most important architectural landmarks of St. Petersburg.

Determination of the architectural style of the first half of the 18th century. usually causes a lot of controversy among researchers of Russian art. Indeed, the style of the first decades of the 18th century. evolved difficult and often very contradictory. In its formation, he participated in a somewhat modified and more restrained in form, the style of Western European Baroque; the impact of Dutch architecture also affected. To one degree or another, the influence of the traditions of ancient Russian architecture made itself felt. A distinctive feature of many of the first buildings in St. Petersburg was severe utilitarianism and simplicity of architectural forms. The unique originality of Russian architecture of the first decades of the 18th century. lies, however, not in the complex and sometimes contradictory interweaving of architectural styles, but primarily in the city-planning scale, in the life-affirming power and in the greatness of the structures erected during this most important period for the Russian nation.

After the death of Peter I (1725), the extensive civil and industrial construction undertaken on his instructions faded into the background. A new period began in the development of Russian architecture. The best forces of architects were now directed to palace construction, which took on an extraordinary scale. Since about the 1740s. a distinctly expressed style of the Russian baroque was established.

In the middle of the 18th century, the extensive activity of Bartholomew Varfolomeevich Rastrelli (1700-1771), the son of the famous sculptor K.-B. Rastrelli. The work of Rastrelli the son belongs entirely to Russian art. His work reflected the increased power of the Russian Empire, the wealth of the highest court circles, who were the main customers of the magnificent palaces created by Rastrelli and the team headed by him.

Rastrelli's work on rebuilding the palace and park ensemble of Peterhof was of great importance. The site for the palace and the vast garden and park ensemble, which later received the name Peterhof (now Petrodvorets), was outlined in 1704 by Peter I. himself. In 1714-1717. Monplaisir and the stone Peterhof Palace were built according to the designs of Andreas Schlüter. In the future, several architects were involved in the work, including Jean Baptiste Leblond, the main author of the layout of the park and the fountains of Peterhof, and I. Braunstein, the builder of the Marly and Hermitage pavilions.

From the very beginning, the Peterhof ensemble was conceived as one of the world's largest ensembles of garden and park structures, sculptures and fountains, competing with Versailles. The concept, magnificent in its integrity, united the Grand Cascade and the grandiose staircases that frame it with the Big grotto in the center and towering over the entire palace into one inseparable whole.

Without touching upon in this case the complex issue of authorship and the history of construction, which was carried out after the sudden death of Leblond, it should be noted that the installation in 1735 of the central in compositional role and ideological concept of the sculptural group "Samson tearing the lion's mouth" (authorship has not been established exactly), which ended the first stage of the creation of the largest of the regular park ensembles of the 18th century.

In the 1740s. the second stage of construction began in Peterhof, when a grandiose reconstruction of the Grand Peterhof Palace was undertaken by the architect Rastrelli. Having retained some restraint in the design of the old Peterhof Palace, characteristic of the style of Peter the Great's time, Rastrelli nevertheless significantly strengthened its decorative design in the Baroque style. This was especially pronounced in the design of the left wing with a church and the right wing (the so-called Corps under the coat of arms), which were newly added to the palace. The final of the main stages of the construction of Peterhof dates back to the end of the 18th - the very beginning of the 19th century, when the architect A.N. Voronikhin and a whole galaxy of outstanding masters of Russian sculpture, including Kozlovsky, Martos, Shubin, Shchedrin, Prokofiev, were involved in the business.

In general, the first projects of Rastrelli, dating back to the 1730s, are still largely close to the style of Peter's time and do not amaze with that luxury.

and the pomp that manifests itself in his most famous creations - the Big (Catherine) Palace in Tsarskoe Selo (now Pushkin), the Winter Palace and the Smolny Monastery in St. Petersburg.

Having started to create the Catherine Palace (1752-1756), Rastrelli did not rebuild it entirely. In the composition of his grandiose building, he skillfully included the already existing palace buildings of architects Kvasov and Chevakinsky. These relatively small buildings, interconnected by one-storey galleries, Rastrelli united into one magnificent building of a new palace, the facade of which reached three hundred meters in length. Low one-story galleries were built on and thereby raised to the total height of the horizontal articulations of the palace, the old side buildings were included in the new building as protruding projections.

Both inside and outside, Rastrelli's Catherine Palace was distinguished by an exceptional richness of decorative design, inexhaustible invention and a variety of motives. The roof of the palace was gilded; sculptural (also gilded) figures and decorative compositions towered above the balustrade that encircled it. The façade was decorated with mighty figures of Atlanteans and intricate stucco moldings depicting garlands of flowers. The white color of the columns stood out clearly against the blue color of the walls of the building.

The interior of the Tsarskoye Selo Palace was designed by Rastrelli along the longitudinal axis. The numerous halls of the palace intended for ceremonial receptions formed a solemn, beautiful suite. The main color combination of interior decoration is gold and white. Abundant gold carving, images of frolicking cupids, exquisite forms of cartouches and volutes - all this was reflected in the mirrors, and in the evenings, especially on the days of solemn receptions and ceremonies, it was brightly lit by countless candles (This rare in beauty palace was barbarously plundered and set on fire by the German -fascist troops during the Great Patriotic War of 1941-1945. Through the efforts of the masters of Soviet art, the Great Tsarskoye Selo Palace has now been restored, as far as possible.).

In 1754-1762 Rastrelli is building another large building - the Winter Palace in St. Petersburg, which became the basis for the future Palace Square ensemble.

In contrast to the highly elongated Tsarskoye Selo Palace, the Winter Palace is designed in terms of a huge closed rectangle. The main entrance to the palace was at that time in a spacious courtyard.

Considering the location of the Winter Palace, Rastrelli designed the facades of the building differently. For example, the south-facing façade of the Palace Square that was subsequently formed is designed with a strong plastic accent on the central part (where the main entrance to the courtyard is located). On the contrary, the facade of the Winter Palace, facing the Neva, is sustained in a calmer rhythm of volumes and colonnades, due to which the length of the building is better perceived.

Rastrelli's activities were mainly aimed at creating palace buildings. But in church architecture, he left an extremely valuable work - the project of the ensemble of the Smolny Monastery in St. Petersburg. The construction of the Smolny Monastery, begun in 1748, stretched out over many decades and was completed by the architect V.P. Stasov in the first third of the 19th century. In addition, such an important part of the entire ensemble, as the nine-tiered bell tower of the cathedral, was never completed. In the composition of the five-domed cathedral and a number of general principles for solving the ensemble of the monastery, Rastrelli directly proceeded from the traditions of ancient Russian architecture. At the same time, we see here the characteristic features of the architecture of the mid-18th century: the splendor of architectural forms, the inexhaustible richness of the decor.

Among the outstanding creations of Rastrelli are the wonderful Stroganov Palace in St. Petersburg (1750-1754), St. Andrew's Cathedral in Kiev, the Resurrection Cathedral of the New Jerusalem Monastery near Moscow, rebuilt according to his project, the wooden two-story Annenhof Palace in Moscow, which has not survived to our time, and others.

If Rastrelli's activity took place mainly in St. Petersburg, then another outstanding Russian architect, Korobov's student Dmitry Vasilyevich Ukhtomsky (1719-1775), lived and worked in Moscow. Two remarkable monuments of Russian architecture of the mid-18th century are associated with his name: the bell tower of the Trinity-Sergius Lavra (1740-1770) and the stone Red Gate in Moscow (1753-1757).

By the nature of his work, Ukhtomsky is quite close to Rastrelli. Both the bell tower of the Lavra and the triumphal gate are rich in external design, monumental and festive. Ukhtomsky's valuable quality is his striving to develop ensemble solutions. And although his most significant plans were not implemented (the project of the Invalidny and Hospitalny ensemble in Moscow), progressive trends in Ukhtomsky's work were picked up and developed by his great students - Bazhenov and Kazakov.

A prominent place in the architecture of this period was occupied by the work of Savva Ivanovich Chevakinsky (1713-1774 / 80). A student and successor of Korobov, Chevakinsky participated in the development and implementation of a number of architectural projects in St. Petersburg and Tsarskoe Selo. The talent of Chevakinsky was especially fully manifested in the Nikolsky Naval Cathedral he created (Petersburg, 1753 - 1762). The slender four-tiered bell tower of the cathedral is remarkably designed, enchanting with its festive elegance and impeccable proportions.

Second half of the 18th century marks a new stage in the history of architecture. Like other types of art, Russian architecture testifies to the strengthening of the Russian state and the growth of culture, reflects a new, more sublime idea of ​​man. The ideas of civic consciousness, proclaimed by the enlighteners, the idea of ​​an ideal, built on a reasonable basis, a noble state find a peculiar expression in the aesthetics of 18th century classicism, and are reflected in ever clearer, classically restrained forms of architecture.

Since the 18th century. and up to the middle of the 19th century, Russian architecture occupies one of the leading places in world architecture. Moscow, Petersburg and a number of other cities of Russia are enriched at this time with first-class ensembles.

The formation of early Russian classicism in architecture is inextricably linked with the names of A.F. Kokorinov, Wallen Delamot, A. Rinaldi, Yu.M. Felten.

Alexander Filippovich Kokorinov (1726-1772) was among the direct assistants of one of the most prominent Russian architects of the mid-18th century. Ukhtomsky. As the latest research shows, the young Kokorinov built the palace ensemble in Petrovsky-Razumovsky (1752-1753), famous by his contemporaries, which has survived altered and rebuilt to this day. From the point of view of the architectural style, this ensemble was undoubtedly close to the magnificent palace buildings of the middle of the 18th century, erected by Rastrelli and Ukhtomsky. New, foreshadowing the style of Russian classicism, was, in particular, the use of a severe Doric order in the design of the entrance gates of the Razumovsky palace.

Around 1760, Kokorinov began working together for many years with Wallen Delamot (1729-1800) who came to Russia. Originally from France, Delamot came from a family of renowned architects Blondel. Such significant buildings of St. Petersburg as the Great Guest House (1761-1785), the plan of which was developed by Rastrelli, and the Small Hermitage (1764-1767) are associated with the name of Wallen Delamot. Delamot's structure, known as New Holland - the building of the Admiralty warehouses, where special attention is drawn to an arch thrown over the channel made of simple dark red brick with decorative use of white stone, is executed with a subtle harmony of architectural forms, solemnly stately simplicity.

Wallen Delamot participated in the creation of one of the most distinctive structures of the 18th century. - The Academy of Arts in St. Petersburg (1764-1788). The austere, monumental building of the Academy, built on Vasilievsky Island, has acquired an important role in the urban ensemble. The main façade overlooking the Neva has been majestically and calmly designed. The general design of this building testifies to the predominance of the early classicism style over the baroque elements.

Most striking is the plan of this structure, which, apparently, was mainly developed by Kokorinov. Behind the seemingly calm facades of the building, which occupies an entire city block, there is a complex internal system of educational, residential and utility rooms, stairs and corridors, courtyards and passages. Particularly noteworthy is the layout of the courtyards of the Academy, which included one huge circular courtyard in the center and four smaller courtyards, rectangular in plan, in each of which two corners are rounded.

A building close to the art of early classicism is the Marble Palace (1768-1785). Its author was the Yang architect Antonio Rinaldi (c. 1710-1794), who was invited to Russia. In the earlier buildings of Rinaldi, the features of the late Baroque and Rococo style were clearly manifested (the latter is especially noticeable in the refined decoration of the apartments of the Chinese Palace in Oranienbaum).

Along with large palace and park ensembles in Russia, estate architecture is gaining momentum. Especially lively construction of estates developed in the second half of the 18th century, when the decree of Peter III was issued on the release of nobles from compulsory public service. Having dispersed to their ancestral and newly received estates, the Russian nobles began to intensively build and improve themselves, inviting the most prominent architects for this, and also widely using the labor of talented serf architects. Estate building reaches its peak in the late 18th and early 19th centuries.

The master of early classicism was Yuri Matveyevich Felten (1730-1801), one of the founders of the remarkable embankments of the Neva, associated with the implementation of urban planning work in the 1760s-1770s. Closely connected with the ensemble of the Neva embankments is the construction of the Summer Garden grating, striking in its nobleness, in the design of which Felten participated. Among the structures of Felten, the building of the Old Hermitage should be mentioned.

In the second half of the 18th century. lived and worked one of the greatest Russian architects - Vasily Ivanovich Bazhenov (1738-1799). Bazhenov was born into the family of a sexton near Moscow, near Maloyaroslavets. At the age of fifteen, Bazhenov was in an artel of painters on the construction of one of the palaces, where the architect Ukhtomsky drew attention to him, who accepted the gifted young man into his "architectural team." After organizing the Academy of Arts in St. Petersburg, Bazhenov was sent there from Moscow, where he studied at the gymnasium at Moscow University. In 1760 Bazhenov went abroad as a pensioner of the Academy, to France and Italy. The outstanding natural talent of the young architect already in those years received high recognition, 28-year-old Bazhenov comes from abroad with the title of professor of the Roman Academy and the title of academician of the Florentine and Bologna Academies.

Bazhenov's exceptional talent as an architect, his great creative scope, manifested itself with particular clarity in the project of the Kremlin Palace in Moscow, on which he began working in 1767, actually conceiving the creation of a new Kremlin ensemble.

According to Bazhenov's project, the Kremlin was to become, in the full sense of the word, a new center of the ancient Russian capital, moreover, in the most direct way connected with the city. With this project in mind, Bazhenov even proposed to tear down part of the Kremlin wall from the side of the Moskva River and Red Square. Thus, the newly created ensemble of several squares in the Kremlin and, first of all, the new Kremlin Palace would have been in no way separated from the city.

The facade of the Bazhenov Kremlin Palace was supposed to face the Moscow River, to which from above, from the Kremlin hill, there were solemn staircase descents, decorated with monumental and decorative sculpture.

The building of the palace was designed as a four-story building, with the first two floors serving a service purpose, and the third and fourth were the actual palace apartments with large two-story halls.

In the architectural solution of the Kremlin Palace, new squares, as well as the most significant internal premises, an exceptionally large role was assigned to colonnades (mainly Ionic and Corinthian orders). In particular, a whole line of colonnades surrounded the main square in the Kremlin designed by Bazhenov. This square, which had an oval shape, the architect intended to surround with buildings with strongly protruding basement parts, forming, as it were, stepped stands for accommodating the people.

Extensive preparatory work began; a wonderful (preserved to this day) model of the future structure was made in a specially built house; the interior decoration and decoration of the palace were carefully developed and designed by Bazhenov ...

The unsuspecting architect faced a severe blow: as it turned out later, Catherine II was not going to bring this grandiose construction to the end, it was started by her mainly in order to demonstrate the power and wealth of the state during the Russian-Turkish war. Already in 1775, construction was completely stopped.

In subsequent years, Bazhenov's largest work was the design and construction of an ensemble in Tsaritsyn near Moscow, which was supposed to be the summer residence of Catherine II. The ensemble in Tsaritsyno is a country estate with an asymmetrical arrangement of buildings, executed in a distinctive style, sometimes called "Russian Gothic", but to a certain extent based on the use of motives of Russian architecture of the 17th century.

It was in the traditions of ancient Russian architecture that Bazhenov gave combinations of red brick walls of Tsaritsyn buildings with details of white stone.

The surviving Bazhenov buildings in Tsaritsyn - the Opera House, the Figured Gate, the bridge across the road - give only a partial idea of ​​the general idea. Bazhenov's project was not only not implemented, but even the palace that was almost completed by him was rejected by the arriving empress and, on her orders, was broken.

Bazhenov paid tribute to the emerging pre-romantic tendencies in the project of the Mikhailovsky (Engineering) castle, which, with some changes, was carried out by the architect V.F.Brenna. Built by order of Paul I in St. Petersburg, Mikhailovsky Castle (1797-1800) was at that time a structure surrounded, like a fortress, by moats; draw bridges were thrown across them. The tectonic clarity of the general architectural concept and, at the same time, the complexity of the layout were combined in a peculiar way.

In most of his projects and structures, Bazhenov acted as the greatest master of early Russian classicism. A remarkable creation of Bazhenov is the Pashkov house in Moscow (now the old building of the V. I. Lenin State Library). This building was built in the years 1784-1787. The building of a palace type, the Pashkov house (named after the name of the first owner) turned out to be so completely resolved that both from the point of view of the urban ensemble and due to its high artistic merits it took one of the first places among the monuments of Russian architecture.

The main entrance to the building was arranged from the side of the front yard, where there were several outbuildings of the manor-palace. Located on a hill rising from Mokhovaya Street, Pashkov's house faces the Kremlin with its main facade. The main architectural array of the palace is its central three-storey building, crowned with a light belvedere. On both sides of the building there are two side two-storey buildings. The central building of the Pashkov house is decorated with a Corinthian colonnade that unites the second and third floors. The side pavilions have smooth Ionic columns. The subtle thoughtfulness of the overall composition and all the details imparts to this structure an extraordinary lightness and, at the same time, significance, monumentality. The true harmony of the whole, the graceful elaboration of details eloquently testifies to the genius of its creator.

Another great Russian architect who worked at one time with Bazhenov was Matvey Fedorovich Kazakov (1738-1812). A native of Moscow, Kazakov even more closely than Bazhenov linked his creative activity with Moscow architecture. When he was thirteen years old at the Ukhtomsky school, Kazakov learned the art of architecture in practice. He was neither at the Academy of Arts, nor abroad. From the first half of the 1760s. young Kazakov already worked in Tver, where a number of buildings, both residential and public, were built according to his project.

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

One of the earliest and at the same time the most significant and famous buildings of Kazakov is the Senate building in Moscow (1776-1787). The Senate building (currently the Supreme Soviet of the USSR is located here) is located inside the Kremlin not far from the Arsenal. Triangular in plan (with courtyards), one of the facades faces Red Square. The central compositional node of the building is the Senate Hall, which has a huge domed ceiling for that time, the diameter of which reaches almost 25 m. stucco molding.

The next well-known creation of Kazakov is the building of Moscow University (1786-1793). This time Kazakov turned to the widespread plan of a city estate in the shape of the letter P. In the center of the building is an assembly hall in the form of a semi-rotunda with a domed ceiling. The initial appearance of the university, built by Kazakov, differs significantly from the exterior design given to it by D.I.Gilardi, who restored the university after the fire of Moscow in 1812. The Doric colonnade, reliefs and pediment over the portico, aedicules at the ends of the side wings, etc. - none of this was in the Kazakov building. It looked taller and less deformed in front. The main facade of the university in the 18th century. had a slender and lighter colonnade of the portico (Ionic order), the walls of the building were dissected with shoulder blades and panels, the ends of the side wings of the building had Ionic porticoes with four pilasters and a pediment.

Like Bazhenov, Kazakov sometimes turned in his work to the traditions of the architecture of Ancient Rus, for example, in the Petrovsky Palace, built in 1775-1782. Pitcher-shaped columns, arches, window decoration, hanging weights, etc., together with red brick walls and white stone ornaments, clearly echoed pre-Petrine architecture.

However, most of Kazakov's church buildings - the Church of the Metropolitan Philip, the Church of the Ascension on Gorokhovskaya Street (now Kazakov Street) in Moscow, the Baryshnikov Church-Mausoleum (in the village of Nikolo-Pogorel, Smolensk Region) - were resolved not so much in terms of ancient Russian churches as in the spirit classically solemn secular structures - rotunda. A special place among the church buildings of Kazakov is occupied by the church of Kosma and Damian in Moscow, which is peculiar in its plan.

Sculptural decoration plays an important role in Kazakov's works. A variety of stucco decorations, thematic bas-reliefs, round statues, etc., largely contributed to the high degree of decoration of buildings, their festive solemnity and monumentality. Interest in the synthesis of architecture and sculpture manifested itself in the last significant building of Kazakov - the building of the Golitsyn hospital (now the 1st Gradskaya hospital) in Moscow, the construction of which dates back to 1796-1801. Here Kazakov is already close to the architectural principles of classicism of the first third of the 19th century, as evidenced by the calm surfaces of the wall surfaces, the composition of the building and its wings stretched along the street, the severity and restraint of the general architectural concept.

Kazakov made a great contribution to the development of manor architecture and architecture of the city residential mansion. Such are the house in Petrovsky-Alabin (completed in 1785) and the beautiful house of Gubin in Moscow (1790s), distinguished by a clear simplicity of composition.

One of the most gifted and renowned masters of architecture of the second half of the 18th century was Ivan Yegorovich Staray (1745-1808), whose name is associated with many buildings in St. Petersburg and the province. The largest work of Starov, if we talk about the constructions of the master that have come down to us, is the Tauride Palace, built in 1783-1789. In Petersburg.

Even Starov's contemporaries highly valued this palace as meeting the high requirements of true art - it is as simple and clear in its decision as it is majestic and solemn. According to the decision of the internal premises, this is not only a residential palace-manor, but also a residence intended for ceremonial receptions, celebrations and amusements. The central part of the palace is highlighted by a dome and a six-column Roman-Doric portico located in the depths of the ceremonial courtyard wide open to the outside. The significance of the central part of the building is emphasized by the low one-story side wings of the palace, the design of which, like the side buildings, is very strict. The interior of the palace was solemnly resolved. Located directly opposite the entrance, the granite and jasper columns make up the whole semblance of an internal triumphal arch. From the vestibule, those who entered entered the monumental domed hall of the palace, and then into the so-called Great Gallery with a solemn colonnade, consisting of thirty-six columns of the Ionic order, placed in two rows on both sides of the hall.

Even after repeated reconstructions and changes inside the Tavricheskiy Palace, made in the following time, the grandiosity of the architect's plan leaves an indelible impression. In the early 1770s. Starov was appointed chief architect of the "Commission on the stone structure of St. Petersburg and Moscow." Under his leadership, planning projects for many cities in Russia were also developed.

In addition to Bazhenov, Kazakov and Starov, at the same time, many other outstanding architects are working in Russia, both Russians and those who came from abroad. The wide construction opportunities available in Russia attract large foreign craftsmen who did not find such opportunities in their homeland.

An outstanding master of architecture, especially of palace and park structures, was a Scottish-born Charles Cameron (1740s - 1812).

In the years 1780-1786. Cameron is building a complex of garden and park structures in Tsarskoe Selo, which includes a two-story building of Cold Baths with Agate Rooms, a hanging garden and, finally, a magnificent open gallery bearing the name of its creator. The Cameron Gallery is one of the most perfect works of the architect. Its extraordinary lightness and gracefulness of proportions amazes; The staircase descent is majestically and uniquely designed, flanked by copies from the antique statues of Hercules and Flora.

Cameron was a master of interior decoration. With impeccable taste and sophistication, he develops the decoration of several rooms of the Great Catherine Palace (the bedroom of Catherine II, see illustration, the "Snuffbox" study), the "Agate Rooms" pavilion, as well as the Pavlovsk Palace (1782-1786) (Italian and Greek halls, billiard room and others).

Not only the palace in Pavlovsk created by Cameron is of great value, but also the entire garden and park ensemble. In contrast to the more regular planning and development of the famous Peterhof Park, the ensemble in Pavlovsk is the best example of a "natural" park with freely scattered pavilions. In a picturesque landscape, among groves and meadows, near the Slavyanka river curving around the hills, there is a pavilion - the Temple of Friendship, an open rotunda - the Colonnade of Apollo, the Pavilion of the Three Graces, an obelisk, bridges, etc.

End of the 18th century in the architecture of Russia, the next stage of development is already largely anticipated - the mature classicism of the first third of the 19th century, also known as the "Russian Empire". New trends are noticeable in the work of Giacomo Quarenghi (1744-1817). Even in his homeland, in Italy, Quarenghi is fond of Palladianism and becomes an ardent defender of classicism. Not finding the proper use of his forces in Italy, Quarenghi came to Russia (1780), where he remained for the rest of his life.

Having started his activity with work in Peterhof and Tsarskoe Selo, Quarenghi moved on to the construction of the largest capital buildings. The Hermitage Theater (1783-1787), the building of the Academy of Sciences (1783-1789) and the Assignation Bank (1783-1790) in St. Petersburg, as well as the Alexander Palace in Tsarskoye Selo (1792-1796) are austere, classical buildings. , which in many ways already foreshadow the next stage in the development of Russian architecture. As a matter of fact, Quarenghi's creative activity in Russia is almost equally divided in time between the 18th and 19th centuries. Of the most famous structures of Quarenghi at the beginning of the 19th century. the hospital building on Liteiny Avenue, the Anichkov Palace, the Horse Guards Manege and the wooden Narva Triumphal Gates of 1814 stand out.

The most outstanding creation of Quarenghi of the early 19th century. is the Smolny Institute (1806-1808). This work shows the characteristic features of Quarenghi as a representative of mature classicism in architecture: the desire for large and laconic architectural forms, the use of monumental porticoes, the accentuation of the powerful basement of the building, processed with large rustication, the utmost clarity and simplicity of the layout.

The 18th century is considered important and significant in the architecture and urban planning of Russia. It is characterized by three directions - baroque, rococo and classicism, which manifested themselves consistently over the century. During this period, newer cities appear, objects are created, which in our time are considered recognized historical and architectural monuments.

First third of the 18th century. Baroque

In the first third of the century, all architectural transformations are inextricably linked with the name of Peter the Great. During this period, Russian cities have undergone significant changes both in socio-economic terms and in architectural planning. It was at this time that industry developed, which led to the construction of many industrial cities and towns. The political situation in the country and abroad created the prerequisites for the fact that the nobility and merchants who dominated in this period were drawn into the construction of public facilities. If before this period the most majestic and beautiful were mainly churches and royal residences (chambers), then at the beginning of the 18th century in cities great importance is attached to the appearance of ordinary residential buildings, as well as emerging theaters, embankments, there is a massive construction of town halls, schools, hospitals (the so-called hospitals), orphanages. Since 1710, brick has been actively used in construction instead of wooden buildings. True, initially this innovation concerned, first of all, the capitals, while for the periphery, stone and brick remained banned for a long time.

Peter I created a special commission, which in the future will become the main body of state design of both the capital and other cities. Civil construction already prevails over church construction. Great importance is attached not only to the facades, but also to the appearance of the entire city - houses are being built with facades along the streets, buildings are being decompressed for fire-prevention purposes, streets are being improved, roads are being paved, the issue of street lighting is being resolved, trees are being planted along the sides. In all this, one can feel the visible influence of the West and the firm hand of Peter, who, by his decrees, practically revolutionized urban planning in those years. Therefore, it is not surprising that in a short time Russia manages to practically catch up with Europe, reaching a decent level in terms of the level of urban planning and urban improvement.

The main architectural event of the beginning of the century is the construction of St. Petersburg. It is from this city and the Moscow Lefortovo Sloboda that serious transformations in the architectural appearance of other cities begin. West-oriented Peter the Great invites foreign architects and sends Russian specialists to study in Europe.
Trezzini, Leblon, Michetti, Schedel, Rastrelli (father) and other eminent architects who are destined to make a great contribution to Russian architecture in the first quarter of the 18th century come to Russia. Interestingly, if at the beginning of their creative path in Russia they clearly followed their principles and Western architectural thinking, then after a certain period of time, historians note the influence of our culture and identity, which can be traced in their later works.
In the first third of the 18th century, the predominant direction in architecture and construction was the baroque. This direction is characterized by a combination of reality and illusion, pomp and contrast. The construction of St. Petersburg begins with the founding of the Peter and Paul Fortress in 1703 and the Admiralty in 1704. Peter set serious tasks for the architects of that period in terms of compliance of the new city with the advanced European principles of urban planning. Thanks to the well-coordinated work of Russian architects and their foreign colleagues, the northern capital has acquired formally western features in merging with traditionally Russians. The style in which numerous pompous palaces, churches, state institutions, museums and theaters were created is now often called the Russian baroque or the baroque of the Peter the Great era.

During this period, the Peter and Paul Cathedral, the summer palace of Peter the Great, the Kunstkamera, the Menshikov palace, the building of the Twelve Collegia in St. Petersburg were created. The ensembles of the Winter Palace, Tsarskoe Selo, Peterhof, Smolny Monastery, and the Stroganovs' palace are decorated in the Baroque style, created in this and later period. In Moscow, these are the churches of Archangel Gabriel and John the Warrior on Yakimanka, the main entrance to the Kremlin's Arsenal yard is decorated with characteristic elements typical of this period. Among the important objects of provincial cities, it is worth noting the Peter and Paul Cathedral in Kazan.

Mid 18th century. Baroque and Rococo

Despite the fact that the death of Peter I was a great loss for the state, it no longer had a significant impact on the development of urban planning and architecture of that period. Russian architects working in St. Petersburg under the supervision of foreigners, adopted their experience, returned to their homeland and those who were sent to study abroad. The country at that time had a strong staff. The leading Russian architects of that period were Eropkin, Usov, Korobov, Zemtsov, Michurin, Blank and others.
The style characteristic of this period is called rococo and is a combination of baroque and emerging classicism. It shows gallantry, confidence. Rococo is more typical for interior solutions of that time. In the construction of buildings, the splendor and pomp of the Baroque is still noted, and the strict and simple features of classicism are beginning to appear.
This period, which coincided with the reign of Peter's daughter Elizabeth, was marked by the work of Rastrelli the son. Brought up in Russian culture, in his works he demonstrated not only the brilliance and luxury of palace architecture, but also an understanding of the Russian character, Russian nature. His projects, together with the work of contemporaries Kvasov, Chevakinsky, Ukhtomsky, organically blended into the history of Russian architecture of the 18th century. With the light hand of Rastrelli, domed compositions began to appear not only in the capital, but also in other Russian cities, gradually replacing the spire-like ones. The pomp and scope of its palace ensembles are unparalleled in Russian history. But with all the recognition and luxury, the art of Rastrelli and his contemporaries did not last long, and in the second half of the 18th century a wave of classicism came to replace it. During this period, the most ambitious projects were created - a new master plan for St. Petersburg and a redevelopment project for Moscow.

End of the 18th century. Classicism

In Russian architecture in the last third of the 18th century, the features of a new direction began to appear, which was later called Russian classicism. By the end of the century, classicism was firmly established as the main direction of art and architecture. This trend is characterized by the severity of antique forms, simplicity and rationality of designs. Unlike the buildings in the Baroque style that filled St. Petersburg and its environs, classicism manifested itself most in the Moscow buildings of that time. Among many, it is worth noting the Pashkov house, the Senate building, the Tsaritsyno complex, the Golitsyn house, the Razumovsky palace, which are considered the most striking examples of the manifestation of classicism in architecture. In St. Petersburg at this time, the Tauride Palace, the Alexander Nevsky Lavra, the Marble Palace, the Hermitage, the Hermitage Theater, and the Academy of Sciences were being erected. Kazakov, Bazhenov, Ukhtomsky and many others are considered to be outstanding architects of that time.
The period of the 18th century also includes changes that affected many provincial cities of that time - Yaroslavl, Kostroma, Nizhny Novgorod, Arkhangelsk, Odoev Bogoroditsk, Oranienbaum, now Lomonosov, Tsarskoye Selo, now Pushkin, and so on. Petrozavodsk, Taganrog, Yekaterinburg and many other cities, which at that time and subsequently became important industrial and economic centers of the Russian state, originated from the 18th century.