On the appearance of two-column temples in the Russian architecture of the XVIII century. Continued
Related to the work of architecto-ra Francesco Bartolomeo Rastrelli (1700-1771).
Buildings built in this style are inherent in extraordinary magnificities and elegacity. Walls of palaces and temples are richly decorated with fancy stucco, sculptures, columns that do not support anything. In architecture, there are practically no horizontal lines. The ideal of Ba-Rocco is a smooth curved curve. The line of the facade is dynamic: the protrusions of the buildings are also replaced by deepening. A multicolor painting was attached to the charm of the baroque buildings: the completion of the columns and sculptu-ra was shone, and the snow-white columns were clearly highlighted on a blue, turquoise, yellow or pink surface of the walls.
In-terriers of baroque palaces differed in particular pomp. The walls of the halls were covered with silk cloth, decorated with mirrors, carved gilded stucco. The floors were separated by a parquet with a complex pattern. The ceilings were painted with skillful painters. Crystal chandeliers, refined door handles, intricate fireplaces, watches, vases, luxurious furniture complemented all this ve-LiChape. Palace premises were roasted in a long row of passing rooms and halls so that the door pro-Es are located on one axis. Such a layout responded to the topic of pa-random processions, which was certainly manifested not only in the famous "naughty monarch", but also in all rituals, even dance.
Urban planning
In the reign of Catherine, a grandiose country-building program was carried out. A hundred-ry cities were built and rebuilt. In the Urals, in Siberia, Novorossia was based on seasons. A sample of urban-planning art was Petersburg with his regular layout.
In 1762 was created Commission on the Stone Structure of St. Petersburg and Moscow. She had to not only be engaged in the gramist problems of the two Russian capitals, but also the developer to give the general plans of the provincial and county cities. By 1775, the Stone Building Commission approved the plans of 216 cities. Early note that, rebuilding old cities, architects tried to preserve the monuments of the ancient Russian architecture: temples, co-locolnis, fortress facilities.
In the second half of the XVIII century. Significantly increased the number of public (non-residential) structures, erected in cities. Buildings are being built for institutions of urban self-government (Roby Duma, noble collections, etc.), hospitals, schools, th-stylish courtyards, public baths, warehouses. In large cities, in addition to palaces and mansions, the first to-chassing houses appear, in which the apartments are rented in the hir.
Classicism
Architectural style changes: classicism comes to replace the lush baroque. "The noble simplicity and calm Velosha" - so characterize a new style, established in Russia at the end of the 18th century. It predominates direct horizontal and vertical lines. All parts of the buildings are symmetrical, pro-ports, balanced. The columns not only serve as decorating, but also have a constructive purpose - overlapping. Roofs are made by gentle. Facades of buildings Architects prefer painting in restrained colors - Yellow, coffee, gray, fawn ... Material from site.
Representatives in St. Petersburg
The largest architects of classicism in St. Petersburg were Jean-Batist Wallen-Demotam (Academy of Arts, Seating Yard on Nevsky Prospect), Ivan Egorovich Older (Troitsky CO-Bor Alexander Nevsky Lavra, Tavrichesky Palace), Charles Cameron (Pavlovsky Palace, Cameronova Gallery of the Tsarist village), Jacomo Kurangi (Hermitage Theater, Awnign Bank), Nikolay Alexandrovich Lviv (Petersburg Post Office, Nevskie Gates of the Petropavlovsk Fortress, Church "Kulich and Easter").
N. A. Lvov (1751 - 1803) was known not only as a talented ar-heptector, but also as an outstanding scientist, writer, schedule, musicologist. He created the first artistic salon (a circle), which included you, the writers, composers, artists. Lviv revered the genius.
Representatives in Moscow
Vasily Ivanovich Bazhenov (1737/178-1799) (1737/178-1799) (1737 / 1738-1799) (1737 / 1738-1799) and Matvey Fedorovich Kazakov (1738-1812 / 1813) (Senate Buildings in the Kremlin, noble assembly - now the column Hall of the Unions, Golitsyn Hospital - Now the 1st Gradskaya).
Pictures (photos, drawings)
Winter Palace in St. Petersburg. Architect F.-B. Rastrelli. 1750-1762
Cathedral of the Smolny Monastery in St. Petersburg. Architect F.-B. Rastrelli. 1748-1764
Large Ekaterininsky Palace in the Tsarskoye Village near St. Petersburg. Architect F.-B. Rastrelli. 1752-1756
Painted room in the Big Peterhof Palace. Watercolor L. O. Premazzi. 1855
Enfilade of the Parade Rooms in the Catherine Palace in the Tsarskoye Selo. Architect F.-B. Rastrelli. 1750s.
Parade staircase in the winter palace. Architect F.-B. Rastrelli. Watercolor K.A. Ukhtomsky. XIX century
Plan of St. Petersburg 1776
The building of the Academy of Arts in St. Petersburg. Architects A. F. Kokorinov and Jean-Batist Wallen-Demotam
Tavrichesky Palace in St. Petersburg. Architect I. E. Old
In the Western European art of the XVII-XVIII centuries. The main artistic directions and currents were baroque and classicism. Many European countries have created the Academy of Arts and Architecture. But none of these styles existed in the art of England XVII-XVIII centuries. in pure form, because They came to English soil much later than other countries.
For the English art of this period, attention is characterized by the emotional life of people, especially this concerns portrait painting. In addition, English education paid special attention to the ideas of moral education of the personality, the problems of ethics and morality. Another leading genre of the English painting of this period was the household genre. About the most famous artists (T. Gainesboro, D. Reynolds, W. Hogart) We told on our website.
Architecture
In the XVII and XVIII centuries. England was one of the largest centers of European architecture. But various architectural styles and directions existed here sometimes at the same time.
At the origins of the British architectural tradition stood Inigo Jones (1573-1652), English architect, designer and artist.
Posthumous portrait of Inigo Jones William Hogarth's brushes (written in a lifetime portrait of Wang Dequee)
Inigo Jones was born in 1573 in London in the family of Sukonchik. In 1603-1605 Jones in Italy studied drawing and investigative art. Returning to their homeland, he was engaged in creating decorations for theatrical ideas, he played a significant role in the development of the European Theater.
In 1613-1615 Jones again in Italy, he studies the work of Andrea Palladio, ancient and renaissance architecture. In 1615, Jones became the main caretaker of the royal buildings, in Greenwich soon starts to build a country mansion of Queen Anna, the wife of Yakov I.
Queens House
A two-story Queens House is a monolithic cube, completely white and almost without architectural jewelry. The center of the park facade is a loggia. Queens House was the first English building in the style of classicism.
Tulip-like Quinz House staircase in Greenwich
Next work of the architect - Bankening House in London (1619-1622). Its two-storey facade is almost all covered with architectural decoration. In the interior, the bunk colonnade reproduces the appearance of an antique temple. Johns's buildings corresponded to the tastes of the English yard of that time. But the work of Jones was appreciated only in the XVIII century: it is re-opened by Fans Palladio, and its work became samples for the buildings of the English Palladianism.
Bankent House
In the late XVI early XVII centuries. An important role in the history of the palace played theatrical performances ("masks"). The scenery and costumes created by Inigo Jones, a talented theater artist were especially famous.
Bankent Hauz has 34 m in length, 17 m wide and as much height. Two floors rise above the high basement. Rhythmically located on the facade wide windows. The center of the building is highlighted by 8th columns of the ionic order in the lower row, Corinthian - in the upper. Over the windows of the top floor created a frieze in the form of a garland carved in stone. Elegant balustrade completes the entire composition. The only hall of this building was decorated Rubens.
At the end of the XIX century. The building placed the exposition of the Military Historical Museum.
The new stage in the history of the English architecture began in the second half of the XVII century, when the first buildings appeared sir Christopher Rena (1632-1723), one of the most famous and revered English architects.
Gottfried Kneller "Portrait of Christopher Rena" (1711)
Sir Christopher Ren, architect and mathematician, rebuilt the center of London after the great fire of 1666. He created the National Style of English Architecture - Renov Classicism.
Ren was a scientist, engaged in mathematics and astronomy, asked the architecture when he was already thirty. Throughout the long and fruitful activity, he managed to implement almost all his plans. He built palaces and temples, libraries and theaters, hospitals and town halls, equipped London residential neighborhoods. Collected together, numerous Rena buildings could form a medium-sized city. After the "Great Fire" of 1666, Ren took the most active part in the restoration of London: it was anewded over 50 of the 87 burnt churches. The crown of this activity was the grandiose and majestic cathedral of St. Paul, who became the greatest cult facility of the Protestant world.
Located on the banks of the Thames, the Royal Hospital in Greenwich is the last major building of Christopher Rena. The large complex of the hospital consists of 4 buildings forming rectangular courtyards with a spacious area between the front cases facing the river portica of the facades. Wide steps, on both sides of which are majestic dome buildings, lead to the second area between the second pair of yards. The framework of the colonnade from the dual columns form a very spectacular perspective ending with the Queens House Inigo Jones. The architect also took part in the construction of the Greenwich hospital. Nicholas Hawksmour (1661-1736). He began working while Rena's life and continued them after the death of the architect.
Ren walked along the path of Inigo Jones. But Jones absorbed the spirit of Italian Renaissance, and Ren worked in the style of classicism.
Christopher Rena tradition continued James Gibbs (1682-1754) - the most bright and original figure of the English architecture of the first half of the XVIII century, one of the few representatives of the Baroque style in British architecture. He also built in Palladian style, borrowing separate elements from him.
A. Soldi "Portrait of James Gibbs"
The work of Christopher Rena was the greatest impact on the work of Gibbs, but Gibbs gradually developed his own style. His famous Radcliffe library in Oxford, strict and monumental, occupies one of the first places among the best monuments of English architecture.
The library is the most significant of Gibbs buildings along the scale and in artistic advantages. This peculiar central structure consists of a 16-graded base, cylindrical main part and dome. The base is cut through large arched door and window openings; The round basic part is divided by pair columns on 16 commoners, in which the windows and niches arched in two tiers are alternate. Above the balustrade rises crowned dome lantern.
The library is one of the best monuments of English architecture.
Another masterpiece of Gibbs - St. Martin Church In Ze Fields.
Church of St. Martin In Ze Fields
She decorates the Trafalgar Square in London. In St. Martin In Ze Fields, the influence of Christopher Rena is traced, but the bell tower is not highlighted in a separate building, it is a single integer with the church building. Initially, this is the decision of the architect contemporaries criticized, but later the church became a model for numerous Anglican churches in England itself and beyond
English Palladianism
English Palladianism is associated with the name William Kent (Ok. 1684-1748), architect, archaeologist, painter and publisher.
Villa in Chizika (1723-1729)
Villa was erected by Lord Burlington with direct participation William Kent. This is the most famous building of English Palladianism. She almost literally repeats the "Rotonda" villa Andrea Palladio, with the exception of facades.
Villa Park in Chiticus
The park facade is decorated with a portico with a fronton, a complex and exquisite staircase leads to portic. The villa was not intended for living, it doesn't have a bedroom, no kitchen, there are only rooms for artistic collections of Burlington.
Thanks to the patronage of Lord Burlington, Kent received orders for the construction of public buildings in London, for example, Horse Gards.
Horse Gards.
Horsa Gards - the barracks of the Connogvardeisian regiment in London. This is the most mature work of William Kent.
William Kent built several palaces in London. I carried out orders for the design of interiors of country residences of English nobles. The main work of the Kent was the manor of the Holkem Hall in the county of Norfolk.
Manor Hall Hall in Norfolk County
It was intended for the artistic collection of Lord Leterter. Especially famous interiors of Halkem Hall, full silk, velvet and gilding. In the drawings of Kent, furniture was also made.
English Park
Landscape English Park is an important achievement of the English architecture of the XVIII century. The scenery park created the illusion of real, untouched nature, there was no presence of a person and modern civilization.
The first landscape park was arranged in the Palladian era in the estate of the poet Alexander Top in Twitch (suburb of London). The French regular park seemed to him by the personification of state tyranny, which even subordinated to her nature (Versal Park). England poet considered the free country. An innovator in the Garden and Park Art of England became William Kent.. He created the best landscape parks of that era: Villa Park Chisik House, the Park "Champs Elysees" in Stow in Central England.
Park "Elysee Fields"
A particularly strong impression was made by artificial, specially built ruins who worn the name of the temple of modern virtue. Apparently, the ruins symbolized the decline of morals in modern society and were opposed to the luxurious temple of the ancient virtue, built by W. Kent in an antique style.
The temple of the ancient virtue, built by W. Kent in an antique style, is a round dome building, surrounded by a column of 16 smooth ionic columns installed on a low podium. The temple has two entrances in the form of arched openings, each of which leads a 12-speed staircase. Inside the temple of 4 niches in which the statues of ancient Greek celebrities are installed in the human growth.
Already in the middle of the XVIII century. Landscape parks were distributed in England, in France, Germany, Russia.
The last major representative of Palladianism in the English architecture was William Cheymbers (1723-1796) - Scottish architect, representative of classicism in architecture.
F. Kotest "Portrait of W. Cheimber"
Cheymbars made a significant contribution to the development of garden-park art. Thanks to Chaimburst in the traditional English landscape park, exotic (Chinese) motives appeared.
Big Pagoda - The first building in the spirit of Chinese architecture in Europe. It was built in Richmond Gardens Kew in 1761-1762. According to the project of the court architect William Chembers in accordance with the wish of the mother of King George III, August. The height is 50 m, the diameter of the lower tier is 15 m. Inside the pagoda, the staircase of 243 steps is arranged, the roof is lined with tiles.
Pagoda imitation in Kew appeared in the English Garden of Munich and other corners of Europe. According to the whim of Catherine II compatriot Chembers, Charles Cameron, designed a similar structure in the center of the Chinese village of the Tsarist village, but the project was not embodied. But the Chinese houses were still built.
Chinese houses. Chinese village in the Alexander Park of the Tsarist village
Architecture of neoclassicism
When in the middle of the XVIII century. In Italy, the first archaeological excavations of ancient monuments began, all the largest representatives of English neoclassicism went to Rome to see the ruins of ancient structures. Other English architects went to Greece to study the ancient Greek buildings. In England, neoclassicism was distinguished by the fact that he took ease and elegance from ancity, especially the English neoclassical interiors concerned. The same, on the contrary, all the buildings were more easy and elegant.
G. Willison "Portrait of Robert Adam"
A special role in the architecture of English neoclassicism was played Robert Adam (1728-1792), Scottish architect from Dynasty Palladians Adamov, the largest representative of the British classicism of the XVIII century. Adam relied on the study of the ancient architecture and used strict classic forms. Adam's architectural activity was very wide. Together with the brothers James, John and William, he erected manor houses and public buildings, built up entire streets, squares, city blocks of London. Its creative method is rationalism, clothed in the form of Greek antiquity.
House in the manor of Sayon House in London. Arch. R. Adam (1762-1764). Reception London, Great Britain)
The reception room in Saion House - one of the most famous interiors of Adam. The room is decorated with twelve columns from a blue marble with gold-plated capitals and sculptures at the top. The trunks of these columns are genuinely antique - they are found at the bottom of the Tiber River in Rome, the capitals and sculptures are filled with the drawings of Adam himself. The columns here do not support the ceiling, but just attached to the wall, but they give the room a majestic look.
Adam's interiors still at the Life of the Master, many were considered the highest achievement of English architecture. The traditions of their art have long retained their importance in English architecture.
But in neoclassicism of the XVIII century. There were two architects, the manner of which was different from the "Adam style": George Dance Jr. (1741-1825) and sir John Sun. (1753-1837). The most famous construction of Dance was Newgate prison in London (not survived). John Soon traveled in many ways the manner of Dance was the chief architect of the English bank building (1795-1827) and dedicated to its construction a significant part of life.
"Gothic revival" (neoochik)
In the middle of the XVIII century. In England, the buildings appeared, in which the motives of gothic architecture were used: the archery arches, high roofs with steep rocks, stained glass windows. This period of enthusiasm with a gothic is called "Gothic revival" (neogenic). He lasted until the beginning of the XX century. and became a popular style to date: in England, buildings in the Gothic style are often built).
The founder of the "Gothic Renaissance" was a graph Horace Walpol. (1717-1797) - the writer, the author of the first horror novel "Otranto Castle". In 1746-1790 He rebuilt in the Gothic style his villa in the Zasuberry Hill Manor (twigs, suburb of London).
Villa
The Abbey Font Hill in Central England was built in 1796-1807. Architect James White (1746-1813).
Abbey Font Hill (has not yet been preserved)
Already in the XIX century. Gothic style has become state. In this style in the middle of the XIX century. A parliamentary building in London (Arch Charles Barry) was built - one of the main buildings of the English architecture of that time.
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Introduction
The XVIII century is a very important milestone in the history of Russia and the development of Russian culture. Peter I reforms were affected by all parties to the economy, state, military affairs, education, social thought, science and culture. These transformations acquired Russia to achieve our time, helped overcome backwardness, put the country in one row with influential powers of Europe.
Russia admirated, mastered and recycled the experience of Western European countries in different areas of human activity, including in the field of art. This process was several ways: acquisition abroad ready works of art; attracting foreign specialists to work in Russia and to prepare domestic personnel; Parcel of Russian people for the state account abroad as so-called pensioners for teaching or improving in their business.
The specificity of the artistic creativity of the XVIII century. It was determined by the fact that, coming to the change of Middle Ages, it was the first link in a qualitatively new culture of the new time.
If it is schematically designated for extreme judgments that go back in the concept of the XIX century, one of them can be noted, insisting on the full separation of the art of the XVIII century. from preceding development. Of this implies an idea of \u200b\u200bthe art of the XVIII century. As an alien, forcibly grafted, unnemedly and disadvantaged by nature. The opposite view expresses the desire to smooth the boundaries between the ancient Russia and the XVIII century, explain the XVIII century mainly on the basis of its medieval history, find all the beginners of the new in its depths, thus reduce the importance of world artistic experience. This extreme leads to the fact that the process of the development of Russian art is drawn isolated from the overall flow of European art of the new time.
Soviet science, based on a dialectical understanding of the development process, is based on the recognition of the most important role of the fracture. The latter reflects the international process of transition from medieval art to the art of a new time, characteristic of other countries. In Russia, due to the specifics of its historical development, he was committed 200-300 years later than, let's say, in Italy or in France, i.e., when ended in other countries, and we took place under their great influence. This influence, of course, did not learn to the slave borrowing. On the contrary, "apprenticeship" rather was the creative process of forming a new method of artistic creativity. Sources of it are ambiguous. This is primarily the overall high level of artistic culture of the nation and those steps towards a new time she made at the last stage of medieval art - at the end of the XVII century.
The activities of Western European masters played a big role. Finally, a kind of universal property was important - enshrined in treatises and rubbing (engraved drawings), which was included in the flesh of the art method since Renaissance canonized experience of the art of the new time. The significance of these sources, of course, is not the same for different Russian schools and individual works, which necessitates the complex nature of the art of the XVIII century., Especially its first half. The general state of art depends on the interaction of these elements, and not from the absolute championship of one of them.
Later, the entry into new positions led to a number of specific features of Russia's artistic development. For the past fifty years, the cost of a huge tension, domestic art managed to pass the way, which many countries have been done in two or three centuries. However, rapid rates and, as it were, a number of "surprises" threatened the course in time, in particular the parallel existence of several style directions, which in the countries of Western Europe chronologically replaced each other. The characteristic features of the development of Russian art of the first half of the XVIII century. Unusual artistic situations were, in particular the emergence of such cultural elements, for the perception of which the objective conditions have not yet matured. However, from the middle of a century, which marked the victory of the principles of the art of the new time and the widespread spread of Baroque, the course of Russian art acquires a more even character. Behind the epoch of the developed baroque (40-50s) and a brief, weakly revealed themselves in Russia, the Rococo Stage (border of the 50-60s) is a band of classicism. This style, the internal speaker of which will be characterized below, dominated until the 30s of the XIX century.
First quarter of the XVIII century. Played a special role in the Russian artistic development. Art occupies a fundamentally new place in society's life, it becomes a secular and national business. There is a decay of the old system of artistic life and the formation of a new unity. This path is marked by significant shifts that are inevitable with a steep breakdown of an old creative method. New relationships between the artist and the customer are born, and the awareness of the latter about how modern work should look like, often makes its role defining. New art does not always meet benevolently and therefore requires broad state support and explanation. The educational function of art in a straight and more abstract sense of this word is extremely increasing. And in the parade, and in the business practical branch, it persistently penetrates public consciousness. The composition of creative forces is changing. Along with foreign masters, a new generation of Russian artists is working (the so-called pensioners who studied abroad). And those and others are mainly working in St. Petersburg, where the center of creative efforts of the nation is located. Petersburg plays the role of a link between Russia and the West.
Moscow performs the same role in relations between Petersburg and the province. The remaining work in the old capital, older masters and young artists who did not pass the apprenticeship of a new type make up their school. It also goes along a new way, but it makes it a more slow-down pace and under a very tangible effect of the traditional method. The province in the first quarter of the century is experiencing a very weak impact of innovations, giving often the continuation of the ancient Russian forms. There is another "disorder" in the centuries of established artistic life. Due to the lack of opportunity or reluctance, a number of painters of the Armory Chamber and the Masters of the Order of Stone Affairs, i.e., the institutions that existed in the XVII century are chipped from the rank of artists to the lower position of artisans. Forced to look for work in small cities and villages, living in mainly church orders, they naturally preserve old forms. Following traditional construction techniques and iconographic schemes, as well as the habit of repeatedly repetition, deepens the handicrafts of their creativity.
The artists are gradually going to the "audience" with established tastes and tendencies, as a rule, opposition to innovations from Moscow.
At the beginning of the XVIII century. The previous idea of \u200b\u200bthe beauty and those forms in which it is embodied is destroyed. The artist of the old type turns into the eyes of the commemors of the new in the inept home-grown master. "Literacy" in the understanding of the new time is perceived as a priori security deposit, meanwhile, as one far does not necessarily imply the second. It is likely that this explains the incredible appearance of more innovative according to the method, but rather weak in artistic terms of the works of foreigners who worked in Russia.
The difference in manners, style techniques and typological schemes, which is quite natural for unidentified art of Petrovsky time in all respects. New ideas and images, genres and plots, iconographic samples in painting and sculpture with a powerful stream in artistic practice. Of course, this diversity was not a consequence of a natural process, as a result of which all sorts of Western trends penetrated without parsing. However, there was no strict selection, a kind of filter, which was subjected to foreign impact. Undoubtedly one thing: the wide stream was tried to adjust on the basis of internal needs and tastes. The final amendment made a life, selecting what could give shoots in Russian soil and discarding a random or premature, but one way or another did not respond to national needs. This difficult, but deeply progressive process took Russian art on a wide road of pan-European thoughts and forms, carried out the rejection of medieval closetness, the cosiness of a religious worldview, was a big state case. The era of the Enlightenment, which belongs to the XVIII century, Russian art performed the function that revival usually takes.
The main features of the art of this period are inextricably linked with the overall course of the historical process. The most important reforms in the field of economic, military and political life of the country led to a new type of statehood - the final stage in the addition of the absolutist empire. Social life is now determined by new ideological foundations. The development of science and its contributing to the formation of a new education system, creating at the end of the Petrovsky reign of the Academy of Sciences, the most important shifts in typography contribute to the formation of a fundamentally new, secular basis for the nature of the culture and its most important species - visual art and architecture.
Architecture
Turning to a specific consideration of the art of the first half of the XVIII century, it should be said that the most important features consist in adequacy to the basic laws of European art of the new time. In the field of architecture, they suggest a fundamental change in worldviews, artistic language, partly the constructive system and mean the transition to a new system of thinking. The most important task is to introduce to the general laws of ancient, renaissance, baroque and originated in France architecture of classicism. Despite the undoubted difference in the last three styles, they all have a common "rod", which defines the border between them and the medieval system of artistic thinking, on the one hand, and the art of the modern one - on the other. We mean the techniques and principles of urban planning with characteristic rectangular, radiation and fan planners, strict straightness of the streets, compliance with "red" or "facade" lines and typological features of individual buildings - palaces, churches, public and industrial structures. The general moments of formation concern the planned and volumetric construction, the composition of the facades, the configuration of the interiors and their connection between themselves. Among these patterns are the most significant: the relationship of irrevocable and bearing elements based on the determination of the classical order, the use of the forms of portals and windows, decorative parts and ornamentals, as well as the placement of decorations in the arrest systems, The established techniques of combinations of the main and secondary premises.
Architecture of the first quarter of the XVIII century
The first steps of the Russian architecture of the XVIII century. related to the base in 1703 of the new capital - St. Petersburg. The city of grew up among the tinted swamps and widespread delta delta of the Neva, scattered on several islands, penetrated by channels blowing with fierce winds and stocked. It was a city located away from the old Russian cultural centers. Unlike most medieval cities that have emerged around the Kremlin in the radial-ring planning system, Petersburg occurred on several islands, compositely connected Neva. The city was gradually gradually, as life suggested, often discerning the developed projects of master plans. The genuine center of the planning was becoming a trident, addressed top to the Admiralty, - Nevsky and Ascension Avenue and then the pea street joined them. All of them are crossed by semicircles of washing and fountains, whose embankments were decorated with palace and manor complexes. Later here was one of the aristocratic regions of St. Petersburg.
On Vasilievsky Island, the beginning of a cultural and educational and administrative center was found. Unlike old cities, St. Petersburg was rich in public buildings. They laid the bookmark in 1703 of the Petropavlovsk fortress. Its composite center having a huge town planning value was the Petropavlovsky Cathedral. This building is originally wooden, and then embodied in stone, is the largest work of the architect Domenico Trezini (approx. 1670-1734), born in Switzerland and invited to Russia from Denmark. The value of the cathedral is large and from the point of view of the typological features of its architecture that was a model for the numerous St. Petersburg churches of this and the subsequent period. In contrast to traditional Russian temples, the cathedral is a three-penette basilica. The bell tower impresses not a tower made up of several consistently decreasing volumes, but as if a single array, dissected on the fox tiers. This feature is borrowed from Western architecture (bell tower, Town Hall Towers). The absence of richly ornamented details and a new color gamut - blue with white in facades and silver with gold in roofing. From other structures of this time, the administrative building of twelve colleges should be called, also designed by D. Trezini together with MG Zemtsov It is composed of identical cells overlapped with independent roofs and connected by extended corridors. The most important feature of the facades is to introduce a pilaster, visually uniting the main floors, due to which the scale of the structure is constructed. Most buildings are very new and in purpose, and by architecture. Such, for example, the first Russian museum - Kunstkamera, in the construction of which architects G.I. Mattarnovy, N.F. Gerbel, Kyavury, M.G. Grounds.
The creation of the city is re-and with such a scope was unthinkable without typical, or, as it was called at the time, "exemplary" design. The leading role in this business also belonged to D. Trezini, headed by the office of the city affairs (from 1723 - the office from the buildings) is the most important organization that made the building of the new capital. The buildings conceived in his workshop are small Mazankovy for "bitten", more larger for "prosperous" and two-story houses for "famous" (project architect J.B. Leblona) - imitated stone buildings. Most often they stood not in the depths of the courtyards, but came out facades to the street. Related fences and gates, they created a single regular front of the streets and embankments. Together with numerous parish churches, these houses embodied the business Petersburg. Along with this, from the very beginning there was another Petersburg - Northern Venice, Paradise of Peter I, who was trying to create a "garden not worse than Versailles." This parade part has developed mainly on the Admiralty side and consisted of homes knowing the palaces of Peter himself and his famous summer garden. The principles of the composition of this regular ensemble were further developed in the creation of magnificent suburban residences - Peterhof, Oranienbaum and Strelna.
Architecture of the 30-40s of the XVIII century
30-40s XVIII century. - This is the time marked by the continuation of Petrovsky undertakings. P.M. Yeropkin and his comrades - Petrov retirees who recently returned from abroad worked as urban architects, sometimes consistently replacing each other in this post. They understood well the social significance of their profession, claimed personal freedom, to the crucial importance of their words in matters of architecture. Creative search for these masters was aimed at the development of urban planning in its theoretical, practical and administrative and organizational aspects. These provisions were enshrined in the Treaty Code "Position of the Architectural Expedition", completed in 1740
Urban planning works of the 30-40s were aimed at expanding the core of the building, which was formed during the first quarter of the XVIII century. New houses stretched along fontanka, radiation and transverse streets, forming great geometrically correct quarters. The view of the streets was very impressive thanks to the large 3-4-storey buildings, with mezzanines, with spruce wings, leaving for narrow sidewalks. Severally dry by architecture, still deprived of the plastic principle, these buildings bear the tint of the typical Petersburg understanding of architecture. The focus is on the main facade, separated by pilasters and platbands on uniform sites. The same features are inherent in public buildings - the Tower of Admiralty and the Sea Regiment, created by I. K - Korobovy.
In the middle of the XVIII century, Russia is experiencing the era of the national lift. High levels achieve science and culture. In development, the Academy of Sciences playing their huge role. Especially it should be said about the activities of M.V. Lomonosov, who embodied the universal knowledge, dedication of scientific thinking and deeply informed ministry of the highest goal - the prosperity of domestic science and culture. The discovery in the field of accurate and humanities, in particular the reform of the Russian language, make up one of the most remarkable pages in the history of Russian culture. Undertaken with the direct participation of M.V. Lomonosov Foundation of Moscow University (1755), Academy of Arts (1757), the emergence of the Russian Theater had a direct impact on architecture and visual art. The total patriotic pathos of time, a combination of beauty and majesty is reported to the glorious national acts to the art.
Architecture of the middle of the XVIII century
Throughout the 40s of the 40s, Russian art is going through the time of his heyday. For the first time, the domestic architecture of the new time reaches aesthetic heights to which it sought to preceding half a century. The creative process was marked by a big maturity in circulation with the principles of the art of the new time. Mastering them so much to forget the student timidity, the masters work freer and more confident. Understanding between the architect and executing masters, which can now adequately embody in the material the most complex, but already understandable to them; eliminates the gap between different schools; Less significantly the difference between the works of Western masters and Russian artists of the new generation, who passed pensioners or educated in their homeland.
The overall leveling of the art development process occurs on the basis of Baroque - style, not only covering various types of artistic creativity, but widely spread throughout Russia. This fundamentally united basis develops a synthetic character of art - a practically an unpretentious union of architecture, decorative sculpture and painting.
An indicative feature of Russian art mid XVIII century. It is its state, public, naturally within the boundaries of the time, character. In terms of its scale, a monumentality, the Russian version of Baroque in architecture differs from similar manifestations of Western European schools. Developing there with separate princely residences and having a "local" purpose, the latter give a more chamber, private and wounded version of this style, which can rather be characterized as Rococo. The national specificity of the Russian Baroque is largely due to its prehistory - the influence of the domestic tradition. This proximity to the principles of the Old Russian architecture constitutes the most important part of the artistic worldview, dictated by the interests of the time and above all the changed attitude towards heritage in general. If you imagine your attitude to the medieval until the 40s of the XVIII century, it will appear mainly as negative. Offensive pathos novelty prevailing, but not yet fully fastened, explains this situation. By the middle of a century, old art, by going to the area of \u200b\u200blegend, turns from the enemy and rival in a kind of ally. Old Russian traditions are now presenting in the interpretation of new art - the most creative in St. Petersburg school, more old-fashioned in Moscow and sometimes reaching direct continuation in the province.
FB Rastrelli
The social and political situation of the middle of the century puts forward the creation of palace and church structures in the first place, i.e. Those typological varieties that are leading and in the Western European Baroque. The most significant of them are associated with the name of Francesco Bartolomeo Rastrelli (1700 - 1771). The best of its country facilities - Peterhof and Big Tsarskoye palaces are extended buildings, aged in the type of block-gallery, and consist of symmetric enclosures and binding galleries. In this case, each segment of the facade is a composition with its center and subordinate axes. This principle of the internal completion of each element and the unconditional subordination of all the primary central axis is observed in the Bolshoi Tsarskoye Palace (1752-1757). The volume of the building leaves the impression of a living and plastic, and the composition of the facades is dynamic. The strong horizontal horizons of the intermediates and the crown cornice seems to be arguing with the rows of windows, columns and statues, "breakdown" for the line of multi-stage cornice.
Great interior complexes are one of the wonderful discoveries of Rastrelli. By sacrificing the plan symmetry, he builds an enchanting enfilade on the viewer of the unauthorized hall. They are deployed as episodes of brilliant action. In the Tsarskoselsky Palace their size and effects gradually increase from one room to another, until they reach the climax in an amazing large hall. In his interiors, the jewelery of the finish is triumphant: the finest gold-plated carving and stucco, amber and bronze, sparkling parquet patterns and multicolor painting convert halls into the fantastic kingdom of the ornament; Elastic shoots and shells (Rokaili) almost leave free wall fields. The interiors of Rastrelli are filled with light, which is poured into huge windows, is reflected in the mirrors of simpleness, in the mirror pilasters. In the evenings, candles lights are countless, giving birth to thousands of glare on the gilding of the ornament, tremble from the movement of the air, creating a magical wonderful wrinkle with the changeable appearance of the hall. The game of the light and the immeasurable depth of the three parallel Anfilate, flowing into a large hall, in fact, destroy the material shell of the walls, creating the illusion of the infinity of the space. Blood breakthroughs and mirrors meet the illusory breakthroughs of the plafoons depicting in a promising reduction of complex systems arches, intermitted with colonnades. They, as if continue the walls of the hall, opening it towards the shining seizure of heaven with soaring geniuses and antique deities.
In addition to the construction of palaces and rich private houses, Rastrelli is engaged in religious monastic construction. Starting from 40 thousand, a central system comes to the change of basilical composition of the temple. Almost an equilibrium cross serves as the basis of the cathedral crowned with one or five chapters. In the best of them, the Cathedral of the Smolny Monastery - Rastrelli used the most harmonic proportions (the principle of "golden section"). Due to this, the entire building is composed on the basis of multi-voiced construction. This feature distinguishes the Smolny Cathedral from other centric churches of that time, including Moscow. Another feature of the Cathedral of the Smolny Monastery is also important: the side chapters here are closely pressed to the central dome, they rest on his binding arches and, not being discovered inside, are used for secondary need. In five-chapted cathedrals built by other architects, the side chapters far away from the central. According to the old tradition, they are open inside the building and overlap the angular cells of the Cross-Dome Temple. The constructive reception introduced by Rastrelli gives a five-key unprecedented compactness, visually merging the gigantic middle dome into a single array with the side heads of turrets. In general, the option of the five-section, proposed Rastrelli, suggests that the revival of the tradition has already been converted by the historical herita. Its interaction with the experience of the past is characteristic of Moscow school.
Architecture of Moscow
Moscow architecture before the birth of St. Petersburg has discovered a new forms. In its version, Moscow carried out a lot of what was then embodied in the forms of architecture of the new time in the Northern capital: new types of administrative buildings emerged (Arsenal in the Kremlin, D. Ivanov, M. Choglockov and X. Conrad), palace and park ensembles (estate Goluzu in Lefortovo, until 1702, Architect D. Ivanov), cult builds topped with spire (Church of the Archangel Gabriel, the so-called Menshikova Tower, 1701 -1707, built under the leadership of I. Zherryny).
In the future, in the 30s-40s and especially in the 50s of the XVIII century. Moscow has mastered the principles of modern architecture, creating its type of community architecture, in particular its understanding of the baroque form. An introduction to the Old Russian heritage took more direct forms as opposed to St. Petersburg. It began at the time of activity I.F. Michurin (1700-1763), sheerly belonged to Staromoshkovskaya tradition. He did not violate the current planning, limited to regulating the streets, did not impose the Petersburg type of the Basilical Temple with the old town. At the same time, understanding that, based only from the domestic heritage, Moscow architecture risks to be saved in old receptions and forms, Michurin founded an architectural school. His disciples - A.P. Evlashev, K.I. Blank and especially D.V. Ukhtomsky (1719-1774) managed to combine the basics of modern professional literacy, ideas about the ancient and renaissance architecture with local concepts of beauty, which persisted in artistic practice throughout the pastrovsky period. Holding to the old Moscow principles, the architects are based on more modern tectonic and proportional representations, the traditional elements of structures are in a new way, forcing them to interact in the ratios closest to classical.
At the head of the Moscow architectural school was D.V. Ukhtomsky. The most famous of its buildings is a multi-tiered bell tower of the Trinity-Sergius Lavra, which organically entered the colorful ensemble of a medieval monastery.
In Moscow, in those years there were a lot of rich urban estates. Some of them, like the houses of Bestumev-Ryumin and Demidov, are elongated along the streets of the streets, and the opposite facades are treated to the river. Such a combination of functions of urban and country estates is almost not found in St. Petersburg and is entirely obliged to Moscow conditions. In other cases, the main building is placed on the street line, and the artistic organized courtyard is behind the house (estate aproarious on cover). Most of the temples of this time retains the traditional three-part construction and consists of a church, refectory and bell tower. It continues to increase the tendency to increase the size of the temple itself and its domes relative to the bell tower. This is especially noticeable when comparing Moscow churches with St. Petersburg Basilica. The dome usually overlaps a large single space and ends with a slight decorative flashlight. A typical example of such a Moscow church is the church of Nikita Martyr (1751) on the old Basmannaya (now st. Karl Marx). Extensive understanding of the form gives this building and most other Moscow buildings visual weights. Colorist gamma most often remains the same - red-white, and an abundance and sampling pomp is returned to the decorative carved and stucco.
Decorative and applied art of the middle of the XVIII century
The style of the middle of the century affects the decorative and applied art. For products from a porcelain, such as the "own" service of Elizabeth Petrovna, and other materials are characterized by curvilinear forms, as well as a juicy stucco ornament, ascending in drawing to the sink and flexible plant shoots. The fancy silhouette of objects is organically combined with bright colors, abundance of gilding, glitter of mirror surfaces that complement the festive picture of the interior.
Painting of the first half of the XVIII century
Starting from the Petrovsk epoch, huge changes undergo painting. The art of the machine painting with its semantic and compositional features is consisted. A replacement of the reverse perspective comes direct and associated transmission of the depth of space. The most important feature is the image of the figure in accordance with the principles of anatomical correctness. New volumes of volume transmission appear. In essential quality there is a light spot that faded a conditionally symbolic contour line. The technique of oil painting with characteristic specific techniques and the system relationship system is firmly, although not immediately, enters the artistic use. The sense of texture is exacerbated. The artist acquires the ability to transmit specific properties of soft velvet, harsh mountainous fur, severe golden brocade and thin lace. In the story picture, you can trace new principles of the interconnection of figures. An image of a naked body is a new and most difficult task. The structure of painting becomes more branched. From the beginning of the XVIII century, secular art cultivates different types of machinery works, monumental painting in the form of panels and plafones, miniature letter. The portrait includes all known varieties - the front, chamber, in the usual and costumed version, double and steam room. Artists master allegorical and mythological plots. The presence of these features, although revealed at first in compromise, allows you to talk about the occurrence of painting a new type.
The first steps on the way of becoming a portrait are associated with the activities of the picturesque workshop of the Armory. The works performed by Russian and foreign craftsmen, in their nature, are in Persune. Of all the typological options, Parsuna prefers a parade portrait and is found in this capacity in several varieties. Among them, the "portrait-thesis" is the most archaic. It combines portrait images and numerous explanatory inscriptions within the conditional iconic space. You can talk about the "portrait-apotheosis". These are the portraits-paintings, symbolizing the tight feats of Peter I. are common and ordinary portraits of Peter, Menshikov, Sheremetev in growth and on horseback.
The space is interpreted everywhere very stereotypically, and the general location of the items rather serves as a symbolic designation of real spatial relations. The problem of internal and external space is equally conditionally in the semantic and large-scale relationship. Parsun is somewhat departed from colorful wealth typical of the icon painting XVII century. However, the scrupulous transmission of the ornamentation of the robes and various parts gives the canvas elevated decorative sound.
The master still does not fully own the new principles of the transmission of volume, connecting emphasizedly convexed by the written faces and plane patterned robes. Large sizes of canvas, their impressive spirit, the richness of the situation and the reproduced jewels are designed to illustrate the social significance of the depicted. An image of an autonomist, it focuses on itself and is indifferent to others. Painting, not yet matured before the transfer of individual, in its own way tries to notice the features inherent in this character. However, the general and individual is not yet fused in organic unity, and the specific properties of hardly appear under the consolidated typewriter mask.
The Parsuna line, which existed relatively long, mainly in the 80s and especially in the 90s of the XVII century, subsequently faces a very strong, practically fastened its stream of products of foreigners and retirement artists. At the same time, it should not be thought that it turned out to be a random episode in the general process of the development of the Russian portrait. Being pushed from the main positions, Persuna continued to exist. In addition, her features were manifested in the work of a number of advanced artists as evidence of an unfinished transition from medieval writing to a new manner. In such capacity, it can be found in the works of I. Nikitin, I. Vishnyakova and A. Antropova.
Footage of Persunny and in the second half of the XVIII century, especially in the works of serfs or provincial artists who independently came to new art, as a rule, going from iconography. Note that Persunity as an artistic phenomenon is not only in the Russian school, but also in Ukraine and in Poland. It also meets in Bulgaria, Yugoslavia, and even in the countries of the Middle East, i.e., where painting in a close historical situation is experiencing fundamentally similar attachment to the art of new time and secular art.
I. Nikitin
The founder of the new Russian painting XVIII century. Is Ivan Nikitin (approx. 1680 - not earlier than 1742). The biography of this wizard is typical for the people of his generation. The artistic activities of Nikitina began in Moscow. Portraits of Sister Peter I - Natalia Alekseevna, Zesarean Anna Petrovna and other work of the early period say that Nikitin is already familiar with the European system of composition, thoughtfully and is observationally related to the model. At the same time, stiffness is still tangible in the figures, and the features of old techniques appear in a picturesque manner. The works performed by Nikitin on returning from the pensioner trip to Italy are distinguished by amazing maturity. The artist is still inherent in a serious and objective view of the world. He fully owns a modern painting system. His manner is far from superficial tricks. Most of the canvas are practically not marked by the desire for "gracefulness". Serious, even a few Puritan globility makes Nikitina take care of the main content, neglecting the external distracting diversity. It is very likely that this trait makes his portraits noticeably similar to each other. They are close in size, format, formulation of the figure, the nature of robes and even the colorful range. In the portraits of Chancellor Golovkin and Outdoor Hetman Nikitin, Nikitin is far ahead of its contemporaries worked in Russia. His portraits discover the depth of penetration in character - a line that will become an affordable school as a whole in the second half of the century. In this advance, generally characteristic of a stormy Petrovsky time, the artist's giftedness affects the most bright. It is very likely that Nikitin's influence on Russian painting could manifest itself stronger and more consistent if not the tragic circumstances of his life. During the reign of Anna Ioannovna, the artist was arrested, five years was under the investigation, and then in the link (returning from the reference, he died).
A. Matveyev
Another major master of this era was A. Matveyev (1701/02-1739). Posted to study in Holland, he returned to his homeland after Peter I's death and took an important place in the art of the 30s. Among his works - "Venus and Amur" and "Allegory of Painting", testifying to the difficult for Russian art to master the unfamiliar mythological plot, rather complex composite schemes and images of the naked body. The artistic principle inherent in this small canvases is also characteristic of "autoportist with his wife" (1729?) - The most popular work of Matveev. We have a whole composition against the background of the column and landscape. Using a fairly common type of double portrait, the artist is achieved not only by the external logic of a composite relationship, but also a deeper spiritual community. Characters are combined with mutual respect and attentiveness. This is perfectly felt in the expression of faces and eyes, in a somewhat mannered, but internally justified with the touch of hands. The warmth and tranquility of the small "world" emphasizes a soft flavor, built on the predominance of yellowish and reddish flowers. The master is smart and seriously shows a new type of relationship. It is also important: a subtle intimate feeling for the first time is open and at the same time presented to review. There was a significant shift in the artistic consciousness, the conquest of quality, fundamentally new for Russian painting.
Very good, also paired portraits of the Claus of Ivan Golitsyn and his wife (1728), allowing to talk about a special verge of taking a master. Unlike Nikitin, which does not contribute to the portrait complicating a purely positive concept of the image, Matveyev seeks greater sharpness in the transmission of individual. The grace inscribed in the ranks of the composition, the pride of the casual formulation of the figure, elegant, almost monochrome color allow us to talk about the approaches to the next stage of Russian painting.
architecture Painting Decorative Rastrelli
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In the seventeenth century, the seven-year period of the Great Stone Old Russian Construction is completed. Subsequently, he will not fit into one exciting page of the chronicle of world architecture. And the Russian architecture of the 18th century will be glorified by a number of innovations in art and construction. It is these changes that were mainly due to the weighty requirements of the government. First of all, the architecture of the 18th century in Russia was supposed to express all the power, the strength and the greatness of a huge empire in the form of architectural structures.
With the political and economic development of Russia, new requirements and urban planning are presented. Conditionally, the entire Russian architecture of the 18th century can be represented mainly by several architectural directions. This is primarily Baroque and Rococo, and, of course, classicism.
Russian architecture 18th century: basic styles
According to the definition " baroque"This is a unique direction in painting and art, the distinguishing features of which is an extraordinary pomp, a kind of contrast, as well as a special combination of the present and illusory. Recognized masters of the 18th century in the Baroque style, were considered Trezini, Sluts, Muchti, Zemtsy, Rastrelli, Chevsky and Ukhtomsky. It was in their works that the architecture of the 18th century in Russia was pronounced, their names will forever remain in the history of the Great Power.
The most significant contribution to the treasury of world and Russian architecture was the update of St. Petersburg. Among the variety of architectural structures of that time, the most impressive were: the Winter Palace, the Palace of Stroganov, as well as a Smithing Monastery and the Tsarskoye Village. Petersburg could have been able to call the cultural capital of that time. After all, it is there russian architecture of the 18th century wore a large-scale character. Unlike Moscow and all other cities of Russia, it was in St. Petersburg that the construction of cult buildings was practically not conducted - they were erected only in case of extreme necessity.
Architecture in Russia of the 18th century, in particular, in the second half begins to transform significantly. Decorative Baroque and Saforn Rococo replaced architectural-artistic style - classicism. He was quite quickly established not only in St. Petersburg and Moscow, but also spread throughout the country.
Classicism in Russia
Classicism (in trans. with lat. - Exemplary) - Art style created by concise unification of forms, sample and compositions of art of ancient world and masterpiece of the Italian Renaissance.
The architecture of the 18th century in Russia is also formed in the skillful hands of such glorified founders of Russian classicism as: V. I. Bazhenov, A. F. Kokorinov, M. F. Kazakov, I. E. Starov. Talented architects erected excellent monuments in which classical architectural principles and elements of world classics were also present, and the traditions of Russian architectural heritage were clearly trained. The architectural structures of these architects are highlighted by characteristic simplicity and rigor, as well as rationality.
Architecture of the 18th century in Russia It became famous for such creations of architecture of early Russian classicism: St. Petersburg Academy of Arts, works V. I. Bazhenova in Moscow - lined house Pashkov and unrealized project of the magnificent Kremlin Palace in Tsaritsyn; Golitsyn Hospital, Moscow Senate in the Kremlin, as well as Tauridic Palace In St. Petersburg, I. E. Starov and others.
The progressive traditions of the Russian architecture of the 18th century were of great importance for the practice of later architecture. Every year, the architecture was transformed, but some features of Russian architecture developed throughout the future centuries, while maintaining traditions and sustainability up to the XX century.
A.I.Venediktov
The largest phenomena of the English architecture of the period under consideration refer to the last thirty-year 17th century. Christopher Ren (1632-1723), who remained the leading master of English architecture, was also the successor of the classics of English architecture of Inigo Jones (1632-1723).
Ren got a very widespread education: before he turned entirely to architecture, he was engaged in mathematics and astronomy. Having made a trip to France in 1665, he met Juhood Arduen-Mansar and other French architects and with their works, as well as from Bernini, brought the project of Louvre.
After the "Great Fire" of 1666, which destroyed most of London, Ren creates a project for a fundamental redevelopment of the city, rejected, however, by reactive authorities. At the same time, Ren received the largest order for the construction of a new St. Cathedral. Paul and to compile projects of a hundred burnt parish churches, of which he built more than fifty.
Cathedral of St. Paul in London, built by Ren for Thirty-six years (1675-1710), became the greatest religious construction of the Protestant world (he exceeds the Cologne Cathedral, the height of the Dome part - Florentine Cathedral of Sanga Maria del Fiore). Roman Catholic Cathedral of St. Peter, built by many architects over the age of one and a half, as if deliberately opposed to the London Protestant Cathedral, built by one master in one building period, in just three and a half decades. The first renneled project with a central plan in the form of an equilateral cross with a fest was rejected by a conservative clergy. The second, the project carried out is a more traditional elongated shape with separated pillars and arches into three new, the main premises and with a spacious bribing space at the intersection of non-transmittance.
Mathematical knowledge of Rena was useful to him in a difficult task of the construction of the dome, solved by him brilliantly, with the calculation of subtle and deep. The design of the triple dome based on eight pillars is complex and unusual: over the inner brick shell of a hemispherical shape is a brick-eyed truncated cone, which carries the lamp and a cross, and the third, wooden, porrible lead the outer shell of the dome.
Effective appearance of the cathedral. Two march of wide steps are summarized from the west to six pairs of Corinthian columns of the input portication, over which four more couples are located with composite capitals, carrying the fronton with a sculptural group in Tympane. More modest semicircular portists are delivered at both ends of the transmit. Side the main facade was erected by slender towers (one for bells, another for watches), behind them, over the medidentifies of the cathedral, a huge majestic dome rises. The dome drum surrounded by columns seems especially powerful because each fourth intercumine colonnade (the so-called stone gallery) laid a stone. Over the hemisphere of the dome itself, the second, the so-called gold gallery is formed bypass around the lantern with a cross. The group of domes and towers towering over London is undoubtedly the most successful part of the cathedral, the main array of which was difficult to perceive entirely, as he remained a hidden random urban building (heavily destroyed by bombardments during World War II).
The creative individuality of the Ren is no less bright and in such. Works, like, for example, London parish churches. Amazes a variety and wit of square, rectangular, oval plans of these buildings, usually small sizes, the configuration itself is often due to the workshop using close, uncomfortable areas allocated to build them. The architecture of the churches themselves and their bells themselves are exceptionally diverse, then close to the form of gothic, then strictly classical. It is enough to name the original in the composition of the internal space Dome Church of St. Stephen (1672-1679) or the Church of St. Mary Le Bow (1671-1680) with its wonderful silhouette of a slim bell tower.
Of the civilian structures, Ren is one of the most brilliant - new parts of the Hampton Court Palace. In 1689-1694. They were built by hulls around the so-called yard with a fountain and a facade overlooking the park. In this original work, the architect has shown high mastery, strict taste and ability to effectively use materials - brick and white Portland stone.
The prolific master, Ren built not only the palaces and churches. It was finally developed by the Plan of the Greenwich Hospital (the initial intent of which belongs to seems to Inigo Jones), as well as the other hospital in Chelsea was built. He wore the Temple District in London, built the town hall in Windsor. In Cambridge, he belongs to the building of the Troinits College Library (Trinity-Number), the prototype of which served as a library of St. Brand in Venice. In Oxford, where Ren taught in the youth astronomy, they built the so-called Sheldon Theater - a large round room for lectures and reports, which used the motives of the architecture of the ancient Roman Marcello theater; There, he built a library in Queens-College and built the courtyard in Trinity College. Used in these buildings, the motives of Venetian and Roman architecture received the original interpretation in Ren and entered the history of English architecture as creating a national genius.
In residential country and city homes at this time, a type of brick construction is created with a white stone trim, which has become a model for later english construction. Examples can serve as referred to the estate of Grumbridge-Place in Kent and "House with Swans" (Swan-Hauz) in Chichester.
Unlike Inigo, Jones Renu, throughout his long and fruitful activity, managed to implement almost all his plans. As a true humanist, Ren worked for enlightenment and the people, he built not only churches, but also hospitals, libraries, not only palaces, but also modest residential buildings. Ren went along the way, presented by Jones, but, unlike Jones, who had absorbed the spirit of the Renaissance in Italy, in the classicism of Ren, who survived the era of the Puritania, is more clearly expressed, the Obligation began.
In English architecture 18 V. Of great importance was the newly awakened passion for the work of Palladio. By 1742, three editions of Palladio architectural treatise were already released. From the middle of the century, the publication of independent research on antique architecture begins. Robert Wood in 1753-1757 Updated dedicated to the ruins of Palmyra and Baalbek, Robert Adam published in 1764 sketches and measurements of Diocletian Palace in Split in Dalmatia. All these editions contributed to the development of the theory of architecture and influenced the architectural practice of that time. New ideas are reflected in large town planning events, for example, in the planning and development of the city of Bata (1725-1780), which are the most complete classic ensembles of England. Architects 18 V.- This is already in most cases professionals and theorists.
John Vanbru (1664-1726) occupies an intermediate position between versatile gifted and formed masters of the 17th century and narrow 18th century specialists. A brilliant officer, court wit, fashionable playwright, he remained a gifted amateur in architecture.
The main and largest of its work are 18 V built in the early years. Howard Palaces (1699-1712) and Blenheim (1705-1724).
Already in the first of them, he, trying to combine Versailles with English comfort, struck contemporaries primarily by the size of his construction, the length of which was 200 m, the depth is almost 130 m, the height of the central dome exceeded 70 m. In an even more ambitious in terms of the Blenheim Palace Architect tried to improve the first confusion architect to improve the first building architect (259 x 155 m). Observing strict symmetry, it placed two more courtyards on both sides of the huge Kurdoner, which are connected to the main building with gallery decorated with colonnade. In the outer architecture of the Palace Blenheim neither a heavy portico of the main entrance, neither the triumphal arch of the park facade, nor the corners as well as the towers do not please the eyes: the forms are heavy and rude here. The inner premises of the palace are uncomfortable and uncomfortable. Inherent to classicism, the desire for strict parade is quite mechanically combined with Vanbru with a rising superficial pomp. In his architecture, according to the expression of one of the contemporaries, "severe in form and lightweight essentially", it is not difficult to detect obvious signs of eclecticism.
Nicholas Hawksmur (1661-1736) was a more modest, but more worthy Rena successor. He led the construction of London Churches, of which the most interesting Church of St. Mary Woolnos (1716-1719) with a facade, decorated with RUST, and surrounded by columns rectangular in terms of bell tower completed with two turrets with balustrade. Hawksmur worked after his teacher in Oxford, where he built a new Cynes-College Corps with a monumental yard facade and a kind of entrance (1710-1719). Finally, during the life of Ren and after his death Hoxmur in 1705-1715. continued the construction of the Greenwich Hospital. Located on the bank of the Thames, this one of the most significant and size and in the artistic advantages of monuments of English architecture accepted the final form at Hoxmur.
A large complex of the hospital, where the Naval School is now located, consists of four buildings forming rectangular yards with a spacious area between the front cases facing the river portica of the facades. Wide steps, on both sides of which are majestic dome buildings, lead to the second area between the second pair of yards. Hawksmur adequately completed the construction started by Jones and continued Ren.
William Kent (1684-1748) was a prominent English Palladian of the first half of the 18th century. Together with the Lord Burlington, who brought himself to the architect, he designed and built a villa in Chesevica (1729,) the most successful from the numerous English options of the Palladievskaya Villa Rotonda. More freely fond of Kent during the construction of Halkham Hall Castle (1734), where four flaggels are organically connected with the central body (with a chapel, library, kitchen and guest rooms) overlook their park. Especially the merit of Kent in Garden Art, where he is known as the "Father of the Contemporary Garden".
The most mature work of the architect is a storm-free facade forms of the Konnogvardeysky regiment (Horz-Gards, 1742-1751) in London.
Architect and theoretics of James Gibbs architecture (1682-1765) is the brightest personality in the English architecture of the first half of the 18th century. Passing school at Philippe Yuvara in Turin, he also learned the warrant and proportional Palladio system. The most significant of its buildings and on scale and on artistic advantages is the so-called Redcliffian Library in Oxford (1737-1749), an exceptional on the originality of a centric structure consisting of a sixteen-marched base, a cylindrical main part and the dome. Massive rustered base is cut into large arched door and window openings; The round part is disseminated by pair of three-fourth columns for sixteen saint with two tiers of alternating windows and niches. Over the balustrade, the final cylindrical volume, the dome lantern is raised. Completely expressing his appointment, strict and monumental university library occupies, undoubtedly, one of the first places among the best monuments of English architecture.
London Gibbs Churches, the construction of which he continued after Renom and Hoxmur, - St. Mary Lend two-storey church (1714-1717) with a semicircular portico of the entrance and slender bell tower and the Church of St. Martin In-de Fields (1721-1726) with impressive Corinthian portico.
William Chembers (1723-1796) was a consistent representative of Palladianism in England in the second half of the 18th century, when less significant English architects have already abandoned unsuccessful attempts to adapt the plans of Villa Palladio to the conditions of the English climate and the requirements of English comfort.
Chebers summed up in his architectural treatise and its largest construction, known as Somerset Hauz in London (1776-1786). This monumental building, built on the arcades of the substructures, comes out with its rushed facades on Strend and on the Embankment Thames (facing the Facade River is completed later, in the 19th century). In the premises of Somerset-Hauza in 1780, the Royal Academy was located.
The last Palladian, Chambers was the first representative of the academic destination in English architecture.
But Somerset Hauz, especially the facade with a three-hours entrance from Strond and the magnificent courtyard of the building, adequately completes a large and brilliant era in the history of English architecture.
Cheerbers are indisputable and in the field of gardening architecture, where he promoted the English landscaped park. After Kent, he worked in a Kew Park, where, in addition to classic pavilions, built Chinese Pagoda as a tribute to the European fashion for "Chinese" and as a memory of the journey of the Far East.
Robert Adam (1728-1792), another Visident English Architect of the second half of the 18th century, is often opposed to Chembers. While the Conservative Chambers was a strict guardian of Palladian traditions in architecture, Adam, a preacher of "new tastes", was to a certain extent in an innovator in English art. Having perceived antiquity, while paying special attention to decorative motives, he, according to his own expression, "revolutionized the ornament". The advanced English architects they led a lot to make a lot to ensure that the new artistic trends extend from the interior decoration (their sample can serve as an architect James Pain Lobby Castle Wardor in Wiltshire, seeillo.) On furniture, fabrics, porcelain.
The characteristic sample of Adam's creativity - Kedlston-Hall Castle (1765-1770), built and decorated inside the palladian plan composed by other architects (with semicircular wings adjacent to the Central Building). But located on the main axis the largest front premises of the castle belong to the undoubtedly Adam. The intention of the Big Hall, where, for the carriers of the stucco ceiling, corinf columns from artificial marble stand in the niches of the walls ancient statues, and a blocked cabin dome, the walls of which are dismembered by niches and tabernacles, inspired, probably antique monuments with which Adam got acquainted during a trip to Dalmatia, Where he studied Diocletian Palace in Split. An even greater degree was answered by new refined tastes of finishing of other, smaller premises - stucco ceilings and walls, decoration of fireplaces. The elegant facade of the club Buddle in London (1765) gives an idea of \u200b\u200bhow Adam solved the appearance of the building.
The architectural activity of Robert Adam was extremely wide. Together with the brothers James, John and William, his permanent employees, he wore whole streets, squares, quarters of London. Overcoming the former palladian closure, an isolated architectural volume, the adam brothers developed techniques for the formation of holistic urban quarters (mainly residential building) on \u200b\u200bthe basis of a single architectural ensemble. Such are the area of \u200b\u200bFitzroy Square, the Agelphy quarter, named so in honor of the Adam Brothers themselves ("Adelphos"-Greek "Brother"). As a result of later redevelopments and rearrangements of the city (as well as after air bombing during the Second World War), adam survived the extensive construction activities of the Adam brothers survived. But the traditions of their art have long retained their importance in English architecture. Already a strongly ellinized style of the Adam brothers found a continuation in the so-called "Greek revival", the beginning of which refers to the end of the 18th century, the direction is not creative enough and largely eclectic. Of its full development, this direction reached the next decades of the next 19th century in the English architecture.