I.M.Smidt

The eighteenth century is the time of the wonderful heyday of Russian architecture. Continuing; On the one hand, their national traditions, Russian masters during this period began to actively develop the experience of modern Western European architecture, processing its principles in relation to the specific historical needs and conditions of their country. They largely enriched world architecture, introducing unique features to its development.

For Russian architecture 18 V. Characterized by the determination of secular architecture over religious, latitude of urban planning plans and solutions. The new capital was erected - Petersburg, as the state strengthened the state and the old cities were rebuilt.

Peter I decrees contained specific orders for architecture and construction business. Thus, his special order was prescribed to bring the facades of the newly under construction buildings to the Red Line of the streets, while in the ancient Russian cities of the house were often located in the depths of the courtyards, for various economic buildings.

For a number of their stylists, the Russian architecture of the first half of 18 V. Undoubtedly can be comparable to the Baroque-dominant in Europe.

Nevertheless, it is impossible to carry out the direct analogy. Russian architecture - especially Petrovsky time - had much greater simplicity of forms than was characteristic of the style of the late Baroque in the West. According to its ideological content, it argued by the patriotic ideas of the greatness of the Russian state.

One of the most noteworthy structures of the beginning of 18 V. Building Arsenal in the Moscow Kremlin (1702-1736; Architects Dmitry Ivanov, Mikhail Choglockov and Christoph Konrad). The big length of the building, the calm surface of the walls with rarely placed windows and the solemn-monumental design of the main gate explicitly indicate a new direction in architecture. A completely unique solution to small paired arsenal windows having a semi-curvous completion and huge external slopes like deep niches.

New trends penetrated into a cult architecture. A vivid example of this is the church of the Archangel Gabriel, a better known called Menshikova Tower. It was built in 1704-1707. In Moscow, on the territory of the estate A. D. Menshikov in pure ponds, architect Ivan Petrovich Zrudezhny (died in 1727). Before the fire of 1723 (which arose as a result of a lightning strike) Menshikova Tower - as well as the bell tower of the Peter and Paul Cathedral in St. Petersburg soon - was crowned with a high wooden spire, at the end of which was a gilded copper figure of Archangel. In height, this church was superior to the bell tower of Ivan the Great in the Kremlin ( The currently existing form of a peculiar form, the elongated head of this church was made already at the beginning of the 19th century. The recovery of the church refers to 1780.).

I. P. 3. Church of Archangel Gabriel (Menshikova Tower) in Moscow. 1704-1707 View from the southwest.

Menshikova The tower is characteristic of the Russian church architecture of the end of the 17th century. A composition of several tiers - "octagues" on "Chetverka". At the same time, compared to the 17th century. Here new trends are scheduled and new architectural techniques are used. Especially courageous and innovative was the use of high spiers in the church construction, such a successfully used by Petersburg architects. Characterized by the appeal of the classical receptions of the service system. In particular, with a large artistic tact, the columns with Corinthian capitals were introduced with a large artistic architecture. And already completely boldly - powerful volitions flanking the main entrance to the temple and give it a special monumentality, originality and solemnity.

The Zherryna also created wooden triumphal gates in Moscow - in honor of the Poltava Victory (1709) and the conclusion of Netadt Peace (1721). Starting from Petrovsky time, the revisions of the triumphant arches became a frequent phenomenon in the history of Russian architecture. Both wooden and constant (stone) triumphal gates are usually richly decorated with sculpture. These structures were monuments of the military glory of the Russian people and largely contributed to the decorative design of the city.

Plan of the central part of St. Petersburg in the 18th century.

With the greatest visibility and completeness of the new qualities of Russian architecture of 18 V. manifested in the architecture of St. Petersburg. The new Russian capital was laid in 1703 and was built unusually quickly.

From an architectural point of view, St. Petersburg is of particular interest. This is the only metropolitan city of Europe, which has occurred entirely in the 18th century. In the appearance, it was bright reflected not only of peculiar directions, styles and individual donations of architects of the 18th century, but also the progressive principles of urban-planning skill of that time, in particular layout. In addition to the brilliantly solved "three-beam" layout of the center of St. Petersburg, high urban planning art manifested in the creation of complete ensembles, in the magnificent building of embankments. The indiscriminate architectural and artistic unity of the city and its water arteries from the very beginning was one of the most important advantages and peculiar beauty of St. Petersburg. The addition of the architectural appearance of St. Petersburg of the first half of the 18th century. It is mainly due to the activities of Architects D. Trozini, M. Zemtsova, I. Korobov and P. Yeropkin.

Domenico Tresini (approx. 1670-1734) was one of those foreigners architects, who, having arrived in Russia at the invitation of Peter I, remained here for many years, and even until the end of their lives. The name of Trezini is associated with many structures of early St. Petersburg; He belongs to "exemplary", that is, typical projects of residential buildings, palaces, temples, various civil facilities.

Domenico Trezini. Petropavlovsky Cathedral in Leningrad. 1712-1733 View from the northwest.

Trezini worked not alone. Together with him, a group of Russian architects worked, the role of which in the creation of a number of structures was extremely responsible. The famous Petropavlovsky Cathedral, built in 1712-1733, built by the best and most significant creation of Trezini, built in 1712-1733. The basis of the structure is the plan of three-pone basilica. The most remarkable part of the cathedral is his aspiring bell tower. Just like Menshikov Zerrynaya Tower in his original form, the bell tower of the Peter and Paul Cathedral is crowned with a high spire, complete angel's figure. The proud, light rise of the spire is prepared by all the proportions and architectural forms of the bell tower; It was thought out to a gradual transition from the bell tower itself to the "needle" of the cathedral. 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, approved on the shores of the Gulf of Finland its new capital.

Trezini. Building of twelve colleges in Leningrad. Facade fragment.

In 1722-1733 Another well-known conservation of Trezini is created - the building of the twelve college. Strongly stretched in length, the building has twelve sections, each of which is decorated as a relatively small, but independent house with its overlapping, fronton and entrance. Favorite treatments are strict pilasters in this case are used to combine the two upper floors of the building and emphasize the measured, calm rhythm of the facade of the facade proud, the rapid rise of the bell tower of the cathedral of the Petropavlovskaya Fortress and the calm length of the building of the Twelve College - these beautiful architectural contrasts have been made by Trezini with an impeccable outstanding masters.

Most works of treatings are peculiar to restraint and even severity in the architectural solution of buildings. This is especially noticeable next to the decorative magnificity and the rich design of the mid-18 century facilities.

Georg Mattarnovi, Gaetano Chiawery, M. G. Zemtsov. Kunstkamera in Leningrad. 1718-1734 Facade.

Mikhail Grigorievich Zemtsova (1686-1743), who worked at the beginning of Peter I, first, who had focused on Trestin, and his bestowed by Peter I. The Zesov participated, as seen in all major works of Trezini. He completed the construction of the Kunstkamera building, started by architects Georg Johann Mattarnov and Gaetano Chiawery, built the Churches of Simeon and Anna, Isaacia Dalmatsky and a number of other structures of St. Petersburg.

Mattarnovy, Kyavury, M.G. MEHEMSERS. Kunstkamera in Leningrad. Facade.

Peter I attached great importance to regular buildings of the city. To develop the master plan of St. Petersburg, the famous French architect Jean Batist Leblon was invited to Russia. However, the master plan of St. Petersburg compounded by Leblon had a number of very significant flaws. The architect did not take into account the natural development of the city, and his plan has greatly suffered abstracted. The Leblon project was only partially implemented in the planning of the streets of Vasilyevsky Island. Russian architects made many substantial adjustments to its layout of St. Petersburg.

A prominent town planner of the early 18th century was the architect Peter Mikhailovich Yeropkin (approx. 1698-1740), who gave a remarkable solution to the three-beam planning of the Admiralty part of St. Petersburg (including Nevsky Prospect). Conducting a great job in the "Commission on St. Petersburg structure" formed in 1737, Yeropkin was building and other areas of the city. Its activity was cut into the most tragic way. The architect was associated with the group of Volyn, who opposed the Biron. Among the other visible members of this group, Yeropkin was arrested and in 1740 was devoted to execution.

Yeropkin is known not only as architect-practitioner, but also as a theorist. They were transferred to Russian Languages \u200b\u200bPalladio, and the work on the scientific treatise "The post of architectural expedition" was launched. The last work concerning the main issues of Russian architecture was not over; After his execution, this work was completed by Zemkov and I. K. Kovobov (1700-1747) - the creator of the first stone building of the Admiralty. A crowned with a high thin spire, echoing with the Spilling of the Peter and Paul Cathedral, the Admiralty Tower built by Korobov in 1732-1738, became one of the most important architectural landmarks of St. Petersburg.

Determination of the first half of the 18th architectural style. It usually causes a lot of disputes among Russian art researchers. And indeed, the style of the first decade of 18 century. It was difficult and often very contradictory. In its formation, he participated in a somewhat modified and more restrained in shape of the form of the style of Western European Baroque; The impact of the Dutch architecture also affected. In one way or another, it gave itself to know and the impact of traditions of ancient Russian architecture. A distinctive feature of many first buildings of St. Petersburg was a harsh utility and simplicity of architectural forms. The unique originality of the Russian architecture of the first decades of 18 V. It is, however, not in the complex and sometimes controversial interweaving of architectural styles, and above all in the town-planning sweep, in the life-affirming power and in the magnitude of the structures erected into this most important period for the Russian nation.

After the death of Peter I (1725), the wide civil and industrial construction undertaken on its instructions is moving into the background. A new period begins in the development of Russian architecture. The best forces of architects were now sent to palace construction, adopted extraordinary scope. About the 1740s. The pronounced style of Russian baroque is approved.

In the middle of the 18th century, a wide deductivity of Bartholomew Varfolomeyevich Rastrelli (1700-1771), the son of the famous sculptor K.-B. Rastrelli. The work of Rastrelli-Son is entirely owned by Russian art. His creativity reflected the increased power of the Russian Empire, the wealth of the highest court circles, which were the main customers of the magnificent palaces created by Rastrelli and the team headed by them.

Johann Brantstein. Hermitage Pavilion in Peterhof (Petrodvorez). 1721-1725

The activities of Rastrelli on the restructuring of Peterhof palace-park ensemble were of great importance. The place for the palace and the extensive garden-park ensemble, who later received the name Peterhof (now Petrodvorets), was scheduled in 1704 by Peter I. in 1714-1717. Montplasir and the stone Peterhof Palace on the projects of Andreas Singor are built. Further, several architects are included in the work, including Jean Batist Leblon - the main author of the park and fountains of Peterhof and I. Brownshtein - the builder of the Pavilions "Marley" and "Hermitage".

Peterhof's ensemble from the very beginning was conceived as one of the world's largest ensembles of garden-park structures, sculptures and fountains, rival with Versailles. Magnificent in its wholeness, the plan united into one inseparable whole large cascade and framing his grand staircase descents with a large grotto in the center and towering over the whole palace.

Without touching in this case, the complex question of the authorship and history of construction, which was held after the sustainable death of Leblon, should be noted the installation in 1735 by the central on the composite role and according to the ideological plan of the sculptural group "Samson, bursting the mouth of the lion" (the authorship is definitely not established), What ended the first stage of creating the largest regular park ensembles of the 18th century.

In the 1740s. The second stage of construction began in Peterhof, when a grand restructuring of the Grand Peterhof Palace of the Architect Rastrelli was taken. Saving some restraint of the decision of the old Peterhof Palace, characteristic of Petrovsky style, Rastrelli still significantly strengthened his decorative design in the Baroque style. This was especially manifested in the design of the left wing rendered to the palace with the church and the right (the so-called body under the coat of arms). The final of the main stages of the construction of Peterhof applies by the end of the 18th to the very beginning of the 19th century, when the architect A. N. Voronikhin and the whole pleiad of outstanding masters were attracted to the case, including Kozlovsky, Martos, Shubin, Shchedrin, Prokofiev.

In general, the first Rastrelli projects belonging to the 1730s are largely close to the style of Petrovsky time and do not amaze that luxury

and pompous, which manifest themselves in his most famous creations - Big (Ekaterininsky) Palace in the royal village (now Pushkin), the Winter Palace and the Smolny Monastery in St. Petersburg.

V. V. Rastrelli. Big (Ekaterininsky) Palace in Tsarskoye Selo (Pushkin). 1752-1756 View from the park.

Starting the creation of the Catherine Palace (1752-1756), Rastrelli did not exhibit it entirely. In the composition of his grand building, he skillfully included already had the palace structures of Kvass and Chevakinsky architects. These relatively small housings communicating between one-story galleries, Rastrelli combined into one majestic building of the new palace, the facade of which in length reached three hundred meters. Low single-storey galleries were prescribed and thus raised to the overall height of horizontal members of the palace, old side hulls were included in a new building as protruding rizalits.

Both inside and outside the Ekaterini Palace of Rastrelli was distinguished by the exclusive wealth of decorative design, inexhaustible invention and a variety of motives. The roof of the palace was gilded, over a balustrade, slimming it, rumped up sculptural (also gilded) figures and decorative compositions. The facade was decorated with mighty figures of Atlanta and intricate stucco, depicting the garland of colors. White column column distinctly highlighted against a blue painting of the wall walls.

The inner space of the Tsarsko Selo Palace was decided by Rastrelli along the longitudinal axis. The numerous halls of the palace are intended for parade techniques formed a solemn beautiful enfilade. The main color combination of interior decoration is gold and white. Abundant gold carving, images of frivolous amurists, exquisite forms of cartridge and wolly - all this was reflected in the mirrors, and in the evenings, especially in the days of solemn techniques and ceremonies, was brightly illuminated by countless candles ( This rare beauty palace was barbarusa looted and set fire to the German-fascist troops during the Great Patriotic War 1941-1945. The efforts of the Masters of Soviet Art The Big Tsarskoil Palace is now, as far as possible, restored.).

In 1754-1762 Rastrelli is building another large construction - the Winter Palace in St. Petersburg, which has become the basis of the future ensemble of Palace Square.

Unlike strongly elongated in the length of the Tsarskoil Palace, the Winter Palace is resolved in terms of a huge closed rectangle. The main entrance to the palace was at that time in a spacious inner front courtyard.

V. V. Rastrelli. Winter Palace in Leningrad. 1754-1762 View from the Palace Square.

V. V. Rastrelli. Winter Palace in Leningrad. Facade from the Palace Square. Fragment.

Given the location of the Winter Palace, Rastrelli differently decided the facades of the building. Thus, the facade coming to the south, on the subsequently formed palace square, was resolved with a strong plastic accentuation of the central part (where there is a front entrance to the courtyard). On the contrary, the facade of the Winter Palace, facing the Neva, is designed in a quieter rhythm of volumes and colonnades, thanks to which the length of the building is perceived.

V. V. Rastrelli. Cathedral of the Smolny Monastery in Leningrad. Fragment of the western facade.

V. V. Rastrelli. Cathedral of the Smolny Monastery in Leningrad. Started in 1748. View from the West.

The activities of Rastrelli were mainly aimed at creating palace structures. But in church architecture, he left an extremely valuable work - the draft ensemble of the Smolny Monastery in St. Petersburg. The construction of the Smolny Monastery, started in 1748, was stretched for many decades and ended with 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 implemented. In the composition of the five-chapted cathedral and a number of the general principles of the decision of the ensemble of the Rastrelli Monastery directly proceeded from the traditions of the Old Russian architecture. At the same time, we see here and the characteristic features of the mid-18th century architecture: the magnitude of architectural forms, the inexhaustible wealth of the decor.

Among the outstanding creations of Rastrelli - the wonderful Stroganovsky Palace in St. Petersburg (1750-1754), the Andreevsky Cathedral in Kiev, rebuilt on his project, the Resurrection Cathedral of the Novojerusalem Monastery near Moscow, who was not preserved before our time a wooden two-story Annegofsky Palace in Moscow and others.

If the activity of Rastrelli proceeded mainly in St. Petersburg, then another outstanding Russian architect, the student of Korobov Dmitry Vasilyevich Ukhtomsky (1719-1775), lived and worked in Moscow. Two wonderful monuments of the Russian architecture of the mid 18th century are connected with his name: Bell Troitney-Sergiyev Lavra (1740-1770) and stone red gates in Moscow (1753-1757).

By the nature of his creativity, Ukhtomsky pretty close to Rastrelli. And the bell tower of the Lavra and the triumphal gate are rich in appearance, monumental and festive. The valuable quality of Ukhtomsky is the desire to develop ensemble solutions. And although his most significant intentions were carried out (the project of the ensemble of disabled and hospital houses in Moscow), progressive trends in the work of Ukhtomsky were picked up and developed by his great students - Bazhenov and Cossack.

The creativity of Savva Ivanovich Chevakinsky took a prominent place in the architecture of this period (1713-1774 / 80). The student and the successor of Korobov, Cheva-Kinsky participated in the development and implementation of a number of architectural projects in St. Petersburg and the Tsarist village. The talent of Chevakinsky was especially fully manifested in the Nikolsky Naval Cathedral created by him (Petersburg, 1753 - 1762). A slim quad-core bell tower of the cathedral, which chants his festive estimacy and flawless proportions was greatly solved.

The second half of the 18th century marks the new stage in the history of architecture. Just like other types of art, Russian architecture testifies to strengthening the Russian state and the growth of culture, reflects a new, more sublime idea of \u200b\u200ba person. The ideas of citizenship, proclaimed by enlighteners, the idea of \u200b\u200bthe ideal, built at the reasonable beginnings of the noble state find a peculiar expression in the aesthetics of classicism of the 18th century., They affect all the clearer, classically restrained form of architecture.

Starting from 18 V. And until the mid-19th century, Russian architecture occupies one of the leading places in world architecture. Moscow, Petersburg and a number of other cities of Russia. Having enacted at this time, first-class ensembles.

The formation of early Russian classicism in architecture is inextricably linked to the names of A. F. Kokorinov, Valena Demotrote, A. Rinaldi, Yu. M. Felten.

Alexander Filippovich Kokorinov (1726-1772) was among the immediate assistants of one of the most prominent Russian architects of the middle of the 18th century. Ukhtomsky. As the newest studies show, the young kokorinov built a palace ensemble in Petrovsky-Razumovsky (1752-1753), which has reached this day, has reached modified and rebuilt. From the point of view of architectural style, this ensemble was undoubtedly close to the magnificent palace facilities of the middle of the 18th century, which was erected by Rastrelli and Ukhtomsky. A new, which foreshadowed the style of Russian classicism was, in particular, the use of a harsh doric order in the design of the entrance gate of the Razumovsky Palace.

Wallen Demotam. Small Hermitage in Leningrad. 1764-1767

Approximately from 1760, the long-term joint work of Kokorinov began with Valentine Demamot (1729-1800). Right from France, Demotamov came from the family of famous architects of Blonde. Significant structures of St. Petersburg are connected with the name of Valena, as a large seating courtyard (1761 - 1785), the plan of which was developed yet by Rastrelli, and the Small Hermitage (1764-1767). The thin harmony of architectural forms, the solemn-great-magnitude of ease is fulfilled the construction of the Demotion, known as New Holland - the building of the Admiralty warehouses, where special attention is attracted to the arc channel from a simple dark red brick with a decorative use of white stone.

Wallen Demotam. The central part of the main facade of the Academy of Arts in Leningrad. 1764-1788

A. F. Kokorinov and Walleren Deampov. Academy of Arts in Leningrad. 1764-1767 View from the Neva.

Wallen Demotam. "New Holland" in Leningrad. 1770-1779 Arch.

Walleren Demotov participated in the creation of one of the peculiar structures of 18 V. - Academy of Arts in St. Petersburg (1764-1788). Strict, the monumental building of the Academy, built on Vasilyevsky Island, has gained important in the city ensemble. Major and calmly resolved the main facade leaving for the Neva. The general idea of \u200b\u200bthis construction indicates the predominance of the style of early classicism over the elements of Baroque.

In total, the plan of this structure, which mostly apparently was designed by Kokorinov. For outwardly calm facades of the building holding a whole city district, the most complex inner system of educational, residential and utility premises, stairs and corridors, courtyards and transitions are hiding. Particularly noteworthy of the Academy's courtyards, which included one huge round yard in the center and four courtyards of smaller sizes, having a rectangle shape, in each of which two angle are rounded.

A. F. Kokorinov, Wallen Deampov. Academy of Arts in Leningrad. Plan.

The close art of early classicism is a marble palace (1768-1785). The author of His invited to Russia Yansk Architect Antonio Rinaldi (approx. 1710-1794). In earlier structures, Rinaldi clearly manifested the features of the late baroque and Rococo style (the latter is especially tangible in the sophisticated finish of the apartment of the Chinese Palace in Oranienbaum).

Along with major palace-park ensembles in Russia, a manor architecture is gaining more widespread development. Especially lively construction of the estates turned in the second half of the 18th century, when the Decree of Peter III was issued about the liberation of the nobles from the mandatory public service. Russian noblemen who left their generic and newly received estates began to be built and landscaping, inviting the most prominent architects, as well as widely using the labor of talented fortress architects. The greatest flourishing of the manor construction reaches at the end of the 18th and early 19th century.

Summer garden grille in Leningrad. 1773-1784 J. M. Felten is attributed.

The wizard of early classicism was Yuri Matveyevich Felten (1730-1801), one of the creators of wonderful embankments of the Neva associated with the implementation of urban planning works of 1760-1770s. The construction of the nobility of their forms of the summer garden lattice is closely connected with the ensemble of Naberezhnye Neva, in which Felten participated in the designer. From Felten structures, you should mention the building of the old Hermitage.

Purato bridge over the Fontanka River in Leningrad. 1780s.

In the second half of the 18th century. One of the greatest Russian Zodchikh-Vasily Ivanovich Bazhenov (1738-1799) worked and worked. Bazhenov was born in the family of Dyachka near Moscow, near Maloyaroslavets. In fifteen years, Bazhenov consisted of painters on the construction of one of the palaces, where the architect Ukhtomsky, who accepted the gifted young man in his "architectural team" drew attention to him. After the organization in St. Petersburg, the Academy of Arts Bazhenov was directed there from Moscow, where he studied at the Gymnasium at Moscow University. In 1760, Bazhenov goes as a pensioner of the Academy abroad, France and Italy. Outstanding natural dating a young architect already in those years receives high recognition, twenty-year-old Bazhenov arrives from abroad with the title of Professor of the Roman Academy and the title of Academician of the Florentine and Bologna Academies.

The exclusive talent of Bazhenova as an architect, its great creative scope was manifested with a special clarity in the project of the Kremlin Palace in Moscow, which he began to work since 1767, in fact, he conceived the creation of a new Kremlin ensemble.

V.I.Bazhov. Plan of the Kremlin Palace in Moscow.

According to the project Bazhenova, the Kremlin was supposed to be in the full sense of the word with a new center of the ancient Russian capital, and most directly related to the city. On this project, Bazhenov even assumed to distort the part of the Kremlin wall from the Moscow River and Red Square. Thus, the newly created ensemble of several squares in the Kremlin and, first of all, the new Kremlin Palace would be no longer separated from the city.

The facade of the Kremlin Palace Bazhenova was to be addressed to the Moscow River, to which from the top, from the Kremlin hill, the solemn stairies decorated, decorated by a monumental-decorative sculpture.

The building of the palace was designed to be four-story, and the first two floors had a personal appointment, and in the third and fourth there were actually palace apartments with large two-pilot halls.

V.I.Bazhov. The project of the Grand Kremlin Palace in Moscow. Incision.

In the architectural solution of the Kremlin Palace, new areas, as well as the most significant indoors, a large role was assigned to colonnades (most advantage of Ionian and Corinthian orders). In particular, a whole system of colonnad surrounded the main one of the projected Bazhenaches in the Kremlin. This area, which had an oval form, the architect assumed to surround buildings with strongly protruding basements that form a stepped stands to accommodate the people.

V.I. Bazhenov. Model of the Kremlin Palace. Fragment of the main facade. 1769-1772 Moscow, Museum of Architecture.

Basis began broad preparatory work; In a specially built house, a remarkable (preserved dynamine) model of the future structures was made; Internal decoration and design of the palace were carefully designed and designed ...

There was no suspect of the architect the cruel blow: as it turned out later, Catherine II was not going to bring this ambitious construction to the end, it was central to it mainly to demonstrate the power and wealth of the state during the Russian-Turkish war. Already in 1775, construction was completely stopped.

In subsequent years, the larger work of Bazhenova becomes the design and construction of the ensemble in Tsaritsyn near Moscow, which was intended to be a summer residence of Catherine II. The ensemble in Tsaritsyn is a suburban estate with an asymmetrical arrangement of buildings performed in original style, which sometimes called the "Russian Gothic", but to a 12th century known for the use of Russian architecture based on the use of the motives.

It is in the traditions of the ancient Russian architecture that the Bazhenovo combinations of the red brick walls of Tsaritsyn buildings with details of white stone are given.

Preserved Bazhenovskiy buildings in Tsaritsyn - Operable house, curly gate, bridge across the road - give only a partial idea of \u200b\u200bthe overall idea. The Bazhenova project was not only not implemented, but even the palace almost finished to them was rejected by an empress who came to the Empress and is broken by her order.

V.I. Bazhenov. Pavilions of Mikhailovsky (engineering) castle in Leningrad. 1797-1800

V.I. Bazhenov. Mikhailovsky (engineering) Castle in Leningrad. 1797- 1800. North facade.

A tribute to the nascent procreant tendencies of Bazhenov gave in the project of the Mikhailovsky (engineering) castle, which with some changes was carried out by the architect V. F. Barnish. Built by order of Paul I in St. Petersburg, Mikhailovsky Castle (1797-1800) represented at that time a construction, surrounded as a fortress, Rips; Through them were thrown lifting bridges. The tectonic clarity of the overall architectural design was originally combined here and at the same time the difficulty of planning.

In most of its projects and structures, Bazhenov acted as the largest master of early Russian classicism. The wonderful creation of Bazhenova is Pashkov's house in Moscow (now the old building of the State Library. V.I. Lenin). This building was built in 1784-1787. The construction of a palace type, Pashkov's house (named so on the name of the first owner) turned out to be solved so completely as from the point of view of the city ensemble and in its high artistic advantages was taken by one of the first places among the monuments of Russian architecture.

V.I. Bazhenov. House P. E. Pashkov in Moscow. 1784-1787 Main facade.

The main entrance to the building was arranged from the front courtyard, where there were several service buildings of the Palace - estate. Located on a hill rising from Mokhovaya Street, Pashkov's house turned to its main facade towards the Kremlin. The main architectural array of the palace is its central three-storey building, topped with a light belvedere. On both sides of the building are two lateral two-story buildings. The Central Corps of the Pashkov House is decorated with a colonnade of the Corinthian order, uniting the second and third floors. Side pavilions have smooth columns of an ionic order. Thin well-thoughtfulness of the overall composition and all parts informs this building an extraordinary ease and at the same time significance, monumentality. Genuine harmony of the whole, the elegance of the study of parts eloquently indicate the genius of its creator.

Another great Russian architect, who worked at one time along with Bazhenov, was Matvey Fedorovich Kazakov (1738-1812). The native of Moscow, the Cossacks even more closely than Bazhenov, tied his creative activities with Moscow architecture. Having hit the thirteen school to school Ukhtomsky, the Cossacks in practice the art of architecture is increasing. He was not neither at the Academy of Arts, nor abroad. From the first half of the 1760s. The young Cossacks have already worked in Tver, where in his project a number of buildings of both residential and public appointments were built.

In 1767, Cossacks were invited by Bazhenov as his immediate assistant to design the ensemble of the new Kremlin Palace.

MF Kazakov. Senate in the Moscow Kremlin. Plan.

M. F. Cossacks. Senate in the Moscow Kremlin. 1776-1787 Main facade.

One of the earliest and at the same time the most significant and well-known structures of Kazakov - the Senate Building in Moscow (1776-1787). The building of the Senate (currently the Supreme Council of the USSR is placed here) is located inside the Kremlin not far from Arsenal. Triangular in terms of (with inner courtyards), it is one of the facades addressed to the Red Square. The central compositional assembly assembly of the building - the hall of the Senate, which by that time the dome overlap, the diameter of which reaches almost 25 m. A relatively modest design of the building is contrastingly compared with the magnificent solution of the round front hall having three tiers of windows, a colonnade of the Corinthian order, caissonated dome and rich stucco.

The next well-known Cossack Creation is the building of Moscow University (1786-1793). This time, the Cossacks turned to a common plan of the urban estate in the form of the letter P. in the center of the building placed an assembly hall in the form of a polisotone with dome overlap. The initial type of university built by Cossack will significantly varies with the outdoor design, which D. I. Livaddi gave him, who restored the university after the fire of Moscow 1812. Dorician colonnade, reliefs and fronton over a portico, the Edikuls on the ends of the side wings, etc. D.-all this was not in the Kazakov building. It looked higher and not so deployed by the facade. The main facade of the university in the 18th century. There was a more slender and lightweight colonnade of the portico (Ionian order), the walls of the building were dismembered with blades and fillets, the ends of the side wings of the building had ionic porticors with four pilasters and a fronton.

Just like Bazhenov, Cossacks sometimes appealed in their work to the traditions of architecture of ancient Russia, for example, in the Petrovsky Palace, built in 1775-1782. Bunchy columns, arches, window design, hanging girks, etc. together with red brick walls and jewelry from white stone clearly crushed with the Dopurerov architecture.

However, the majority of church structures of Kazakov - Church of Philip Metropolitan, the Church of Ascension on the Gorokhovskaya Street (now st. Kazakov) in Moscow, the Mausoleum of Baryshnikov (in the village of Nikolo-Pogorovskaya, Smolensk region) - not so much in terms of Old Russian temples, as in the spirit Classically Tor

PUBLISHED: July 4, 2014

Architects of Russia second half of the 18th century

The second half of the XVIII century in domestic history is to stabilize the political system of Russia after the tightened era of palace coup, the Long-term Board of Elizabeth Petrovna and Catherine II. Classicism becomes the main artistic style.

Vasily Ivanovich Bazhenov (1738-1799) - the person who fully reflects the ideals, successes and misses of his era. Native of the Kaluga province. Son of a rural psaller. He was given to study at the Slavic Greco-Latin Academy. He drew attention to his success in the sciences. He was recommended to school Ukhtomsky, from where all the largest architects of that era came out. Friendly with phonvizin and Novikov. He studied in Paris and Rome. In St. Petersburg, Bazhenov was not in demand fully, so he moved to Moscow. There he is engaged in the repair and reconstruction of the Kremlin ensemble. It was exactly the work that Bazhenov was waiting. However, the project was not destined to realize that it became a terrible strike for the architect.

House Pashkova In Moscow (1784-1786) - the construction, which is considered to be the creation of Bazhenov. Nevertheless, serious documents confirming the authorship of Bazhenov has not been preserved. Only oral milk attributes this building to Bazhenov. This is one of the buildings of the current state library. The house was built on the order of the son of the twin of Peter's first. The man was with fads, rich enough to afford an unusual project in the center of Moscow directly opposite the Kremlin. Long time, it was Pashkov's house that was the only place where it was from the height to look at the Kremlin Tower. The central volume with a portion column and a round rotundy turret at the top, and the side fluels, which, being a single part of this house, are still reminded by open wings, as if dissolved in the surrounding air and landscape; As if allowing this building, spreading out, otherwise breathe, live, fly over Moscow. Brigadier Pashkov A small garden in front of her house turned into a greenhouse, in a zoo, where parrots were in the cells and freedom, Paradines, wild animals were walked. And people were uniform to the lattices of the fence, admiring this fantastic spectacle. Both the garden, and inland creatures, and the house in which the unlike owner of all this beauty lived. The compositional basis of the building is a scheme inherent in the then landlord estate. The central three-storey housing due to one-storey galleries is connected to two-storey side housings. The two-hours staircase descends from the central body down the hill. All parts of the composition are independent and completed. Pilastry serve decoration for walls at home. Four-column porticists emphasize the center of the main and courtyard facades. Parties are put on the sides. The crown of the building serves the Belvedere of a round shape that surrounds the ionic colonnade. The edge of the roof is decorated with balustrade with vases. Side hulls, where portistral columns are located in the traditions of the ionic order. So began the birth of a new artistic style for Russian art - classicism.

Engineering (Mikhailovsky) Castle in St. Petersburg (1780-1797). Until 1823, the castle was called Mikhailovsky and got his name from the church of Archangel Mikhail built into him. This whimsical structure has a square with rounded corners, which included an octagonal yard. It seemed to be strange contemporaries, accustomed to classic buildings. The townspeople surprised the unusual processing of facades and the red with a white color of the building, never used in classicism. The palace was built as an impregnable castle, surrounded by Rips and lifting bridges. The author of the initial project was the emperor Paul I, who was very closely following the construction of the palace, where in the fatal coating of circumstances and was killed by conspirators.

Matvey Fedorovich Kazakov (1738-1812) Senate Building in the Moscow Kremlin (1776-1787). The general plan of the building received compact and at the same time a geometrically simple triangle shape. It includes an inner courtyard, which is divided by several transverse cases into three parts. The main facade is decorated in the form of a four-column portication with a fronton. Here is the entrance to the central part of the yard. Round domed hall - the semantic center of the whole composition of the Senate. The colonnade, made in the traditions of the ionic order, is located on a high rushed base. Its crowns powerful cloak. Above him right on the drum is the dome of the Round Hall. The architect managed to increase the building of the Senate to the Kremlin architectural ensemble. The originality of the composition is that the Dome of the Round Hall itself is on the same axis with the Senate Tower of the Kremlin Wall. Previous indicates the transverse axis of Red Square. Thus, there is a single harmonic image of the Kremlin.

Bartolomeo Rastrelli (1700-1771), which in Russia was called to their own manner Bartholomew Varfolomeyevich, the brightest figure of the middle of the XVIII century, who worked in the style of Russian baroque.

Big Catherine Palace in Tsarskoye Selo (1752-1757). This complicated building created on the site of the old palace. The building is connected under one roof. All the buildings of the old palace are aligned. It turns the former galleries in a large hall and high front apartments. Outside the right corner of the building over the front entrance is crowned dome with one chapter. This dome at the other end of the palace corresponds to the five-chapter church. The composition of the interior of the palace is built on the effect of the infinite length of Antfiladers, living rooms and other front rooms. The grand palace is distinguished by the exceptional splendor of plastic and decorative processing. His facades are saturated with richest stucco decorations. And the paint of the building is built on a combination of intense blue walls, white - architectural details, gilding - sculptures and domes.

Winter Palace in St. Petersburg (1754-1762). This building is the apotheosis of Baroque style. In terms of this room with the courtyard. His facades are facing the Neva, Admiralty and Palace Square. Facades of the Palace form how the folds of the endless tape. Each facade architect solves in its own way, varying the magnificent finish and the changeable rhythm of the column. A stepped cornice repeats all the beams of the walls. The grand is the size of the building - there are more than a thousand rooms located with an imfilades decorated with carvings, smearing and gilding. The main staircase is one of the most luxurious interiors of the Winter Palace. It occupies a huge space in the entire height of the building. The plafof with the image of the Gods of Olympus creates a bright colorful accent. The interiors decorated shot, always wore a purely secular character. This is the solution and a large church of the Winter Palace. Its interior is like a large palace front room, divided into three parts. The central part ends with a magnificent carved iconostasis.

Peterhof. The main importance here are fountains and the actual water itself. They are powered by natural water pressure supplied from Ropshin heights. According to the artist Alexander Benua, Peter built the residence of the king of the seas. Fountains are a symbolic expression of the water kingdom, clouds and splashes of that sea, which splashes off the coast of Peterhof. The system of fountains and water cascades is decorated with numerous sculptures. Fountain Samson is made by an outstanding sculptor Kozlovsky.

J. B. Wallen-Demotam and A. F. Kokorinov. Academy of Arts (1764-1788). It takes a total of a whole quarter on the Neva Embankment. The construction corresponds to a rigorous plan, which is a circle with it inscribed. The circle is designed to serve the yard for walking. Building is equivalent and consisting of four floors. They are divided into pairs and form the carrier part of the building, as well as its lightweight top. The time of time is impossible not to feel both in a fundamentally new solution ornamental and geometrized. The attitude to the traditional rational system also becomes more canonical.

Ivan Egorovich Starov (1745-1808) - Another architect who worked within classicism. He belongs to the Tauride Palace, built for the favorite of Empress Catherine II - the light prince Potemkin-Tavrichesky. The construction itself marked the fact of his victory over the Omman Turks. The palace was built six years and was built in 1789. The lobby was decorated with yakhont and granite pillars. In the dome hall there were faience dutch furnaces decorated with azure and gold. The center had a huge Ekaterininskaya hall - a winter garden. The Empress itself loved to be here. International techniques were arranged, luxurious balls were held. At the palace was the greenhouse, in which watermelons, melons, peaches were grown all year round. Emperor Paul gave the palace to Connogvardeys. Parquet was disassembled and taken into the Mikhailovsky Castle under construction. It was here in 1906 the State Duma was established for the first time.

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Comment:

In the first half of the XVIII century, such famous buildings like Menshikov Tower were built in Moscow, as well as destroyed afterwards.

The most significant achievements in the Moscow architecture of the second half of the XVIII century are associated with the works of such architects as Vasily Bazhenavimathe Kazakov. Both of them are primarily known to the accomplishment complex in the Tsaritsynoipetrovsky castle. Bazhenov built famous houses. According to the projects of Kazakov, the Balanced Assembly, the Palace of the Governor General, the Senate Building in the Moscow Kremlin, the house of Eliseevai Many other Moscow buildings.

Matvey Fedorovich Kazakov (1738 -1812) - Russian architect who during the reign Catherine II. Rebuilt the center Moscow in palladian style . One of the largest representatives russian pseudochika. Developer of typical construction projects.

1 biography

2 works

3 Notes

Biography

Matthew Kazakov was born in 1738 in Moscow, in the family of the Podanovyarist of the Chief Commissariat of Fedor Kazakov - a leaving from serfs. Cossack family lived near Kremlin, near Borovitsky bridge. In 1749, or early 1750, the father of Kazakov died. Mother, Fedosya Semenovna, decided to give his son to the architectural school of the famous architecture D.V. Ukhtomsky ; In March 1751, Cossack became a student at school Ukhtomsky and stayed in it until 1760. From 1768 he worked under the guidance V. I. Bazhenova in Expeditions of the Kremlin Building; In particular, in 1768-1773. He participated in the creation of the Grand Kremlin Palace, and in 1775 - in the design of festive entertainment pavilions on Khodynsky Field. IN 1775 Cossacks was approved in the rank of architect.

The Heritage of Kazakov includes many graphic works - architectural drawings, engravings and drawings, including "entertainment buildings on the Khodynsky field in Moscow" (mascara, feather, 1774-1775; GIS), "Construction of the Petrovsky Palace" (mascara, feather, 1778; GIS).

Cossacks showed himself as a teacher, having organized a Kremlin school at the expedition to the architectural school; His students had such architects as I. V. Erotov, A. N. Bakarev, O. I. Bove and I. G. Tamansky. IN 1805. The school was transformed into an architectural school.

During Patriotic War 1812 Relatives took Matvey Fedorovich from Moscow in Ryazan. There the architect learned about fire Moscow - This news accelerated the death of the wizard. Cossacks died October 26. (November 7.) 1812. in Ryazan and was buried in the cemetery (now not survived) Ryazan Trinity Monastery .

His name in 1939 was named former Gorokhovskaya Street in Moscow. Also, his name was named former Noborskaya Street in Kolomna. In 1959, in Kerch on the initiative of the chief architect of the city of A.N. Morozova The newly educated street began to wear the name of Kazakov in honor of his 225th anniversary.

Work

Many monuments of Cossack Moscow suffered greatly during fire 1812 And they were restored with deviations from the initial design of the architect. The authorship of Kazakov regarding many palladian buildings, especially those built according to typical projects outside of Moscow, is gdeal and extremely controversial (despite the approval contained in local lore publications).

Monument Vasily Bazhenov and Matvey Cossack (in the foreground) in Tsaritsyn Work Leonid Baranova

Prechistensky Palace in Moscow (1774-1776);

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

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

New Yekaterininskaya Hospital (1774-76);

Noble assembly (1775);

House of Archbishop Plato, subsequently Small Nikolaev Palace (1775);

Petrovskoe-Alabino., Meshchers house house (1776);

Church of Philip Metropolitan (1777-1788);

Travel Palace (Tver);

House Kozitsky on Tverskaya (1780-1788);

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

Church of Cosma and Damian on Malase (1791-1803);

Demidov House in Gorokhovsky Lane (1789-1791) ;

House-Manor Gubin on Petrovka (1790th);

Golitsyn Hospital (1796-1801);

Pavlovskaya Hospital (1802-1807);

House-Manor Baryshnikova (1797-1802);

Colom Master Collave of 1778;

Savior Church in the village Raysemenovskoye, completed in 1774-1783

Petrovsky access palace (1776-1780);

Governor-General (1782);

Attributed

Tikhvin Church, House Bishop, Towers Old-Golutvin Monastery (1780s)

Mausoleum B. Nikolo-Pogorem (Smolensk region, 1784-1802).

House Musina Pushkin on the Walking

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

The second half of the XVIII century has made a lot of new things in the domestic architecture. The growth of industry, trade, the increase in cities, as well as the major successes of Russian science led to changes in construction. Advanced architects of this time have developed issues related to the planning of cities, created new types of public buildings. Radical were changes in the appearance of buildings. Forms used in the middle of the XVIII century for separately standing unique palace and church structures, naturally turned out to be unsuitable for a wider construction scale. The new content determined and corresponding to it forms. The architects appealed to the heritage of ancient, primarily ancient Roman, classics. From the latter they took orders, which were reproduced extremely accurately in compliance with the correctness of relations and details. Orders have become the main means of a tectonic and plastic solution of facades and interiors. Another requirement for architectural structures of this time is the harmonicity of proportions, both in relation to the total volumes and individual elements of buildings. Architectural techniques developed on the basis of creative appeal to antiquity were further the name of Russian classicism.

Since the beginning of the 1760s, large urban planning works unfolded - in St. Petersburg, Moscow, a number of other Russian cities. Of great importance in the construction of St. Petersburg was working on the regulation of the banks of the Neva and small rivers, holding new channels, the construction of granite embankments, the construction of the first stone bridges. "Neva dressed in granite, the bridges hung over the waters," said A. S. Pushkin subsequently, and accurately. At the same time, the development of a system of large areas on the territory of the center of the city has finally determined by this time at the city of Admiralty. Created were squares at Fontanka; Her shores were connected by seven monumental divorce bridges. In Moscow, on the site of the oldest wall walls of the White City, there was a ring of wide beautiful boulevards, determining the appearance of many streets. Significant construction work is carried out in a number of other cities. So, in Tver (now Kalinin) after a fire of 1763, the entire center of the city is reconstructed on the new basis. Considerable construction turned in Yaroslavl.

At the same time, individual major structures of the new appointment were built. On the banks of the Neva A. F. Kokorinov (1726-1772) who were learning from Korobov, from Ukhtomsky, and J.-B. Ballen-Demamot (1729-1800) Erected a huge building of the Academy of Arts (1764-1788, Il. 33). Near the Smolny Monastery, turned into a closed privileged educational institution in these years, Yu. M. Felten built a new large building already specifically for training purposes. In Moscow, an extensive building of the educational house was built. In general schemes, their solutions are still a lot from previous palace structures, but at the same time the architects were safely developed and new techniques created comfortable, rational plans. The appearance of these buildings is also resolved in different - in strict and simple forms.

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

Simplicity and restraint are characteristic of other structures of this time. It is indicative of the architect A. Rinaldi (approx. 1710-1794) in the central part of St. Petersburg, the marble palace (1768-1785), its facades are distinguished by the clarity of the composition, harmony of proportions.

What was planned in the works of the 1760s, was further a particularly bright and consistent disclosure in the work of the leading architects of this time - Bazhenova, Kazakov, Starov, Kvrengy.

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

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

In 1768-1773, Bazhenov was headed by the project workshop - the so-called model house, where the project was carried out on the project of the grand new Kremlin Palace. It was assumed that the Palace would cover the entire Kremlin Hill. The ancient monuments of the Kremlin should be located on its inland courtyards. In contrast to the characteristic techniques of palace structures, the middle of the century Bazhenov puts forward the solution of common planning tasks. It is planning to create a whole system of space on the territory of the Kremlin hill, and thinks the entire palace, given the overall layout and specific features of the terrain. In close connection with the new building of the Palace (the main building of which was focused on the Moscow River) and large corps of the main administrative institutions of Moscow were also conceived. Entry from the Red Square through the Spasskit Gate led to the main area (yard) in the form of an open-air grand lounge with an amphitheater places for large meetings. Nearby had to be the main entrance to the palace. The Bazhenova project (1767-1775) did not receive the implementation, but the grand model created by it (now in Giva, Il. 51) had a strong impact on the development of the architecture of the 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. Unlike the Palace Constructions of the middle of the century, he created a picturesque landscape park with small pavilions placed in it, organically related to those specific sites on which they were erected. In the peculiar architectural forms of Tsaritsyn buildings, Bazhenov tried to develop the traditions of the ancient Moscow architecture. Abandoned at the end of the XVIII century, these buildings reached us in a dilapidated state.

Of the buildings of Bazhenova, the former Pashkov House (1784-1786) is of particular importance (1784-1786), now the old library building named V. I. Lenin. The architect was well used the relief of the plot and led the location of the building in close proximity to the Kremlin.

Bazhenov was not only a wonderful progress, he belonged to the largest representatives of the Russian artistic culture of the late XVIII century. If many of his undertakings have not received exercise in difficult conditions of that time, then its attempts to create a public art gallery in Moscow, the organization of art school, the publication of enormous engraved work on Russian architect, the draft reform of the Academy of Arts clearly indicate his advanced views, about tireless The desire to develop national Russian visual art and architecture. Such Bazhenov is a nice man and at the same time almost tragic creative fate.

M. F. Kazakov (1738-1812). Along with Bazhenov, Matvey Fedorovich Kazakov worked in Moscow, his education was obliged to school Ukhtomsky. The practical activity of Kazakov began in Tver, but the most important buildings were fulfilled in Moscow. At first he was the closest assistant Bazhenova in a model house, since the mid-1770s, his independent work began. One of the first outstanding buildings of Kazakov was the building of the Senate in the Kremlin (1776-1787), now the Supreme Council of the USSR (IL. 50). Cossacks excellently accounted for and used the features of the plot designated for the construction of a triangular and created a construction in which the monumentality of the general appearance and the composition of the composition is organically combined with the convenience and feasibility of the plan unusual for that time. In the interior decoration, a large round room (now Sverdlovsky) is especially remarkable.

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

In the future, Cossacks built a lot of various buildings in Moscow, among which the university is particularly allocated (after the fire of 1812, the restored D. Libolddi, who has changed the appearance and planning) and the Golitsyn Hospital (1796-1801, the first major urban hospital (1796-1801 Moscow hospital), relating to the number of the latest and most stringent work of the work of the architecture.

I. E. Starov (1745-1808). One of the largest architects of this time Ivan Egorovich, also received his first knowledge of the architecture in Ukhtsky, then graduated from the Academy of Arts and in the future a lot worked in it as a teacher. Starov projected a lot for different cities, but its most important buildings are located in St. Petersburg. Among them are the largest - the Tauride Palace (1783-1789, Il. 53). The site on which it is located is not even at the end of the XVIII century as the city, which made it possible to freely place the building, having arranged the channel to him from the Neva, and create a large park with it. The palace was intended for large festivals and techniques associated with the celebrations on the occasion of Russia's accession to Russia. This is due to the presence in the palace of the front halls. The lobby is located a bribery hall ("Pantheon Russian", as he called him in his description of the Palace G. R. Derzhavin), behind him, crossing the width of the whole building, there was a grand columnal column and behind - a winter garden, to the walls of which brought an extensive park Palace. By latitude and scope, solemnity and at the same time strictness, the Tauride Palace was one of the most significant structures of that time.

Il. 53. I. E. Starov. Tauridian palace. 1783-1789. Leningrad

In the late XVIII - early XIX century, large construction works led Jacomo Kurangi (1744-1817). The native of Northern Italy, he only after his arrival in Russia in 1779 it was possible to create large works. Among the numerous buildings, simple and laconic forms made by its projects, social structures are also dominated by the Academy of Sciences (1783-1789), the state (the appointion, as it was then called) Bank (1783-1790), trade ranks, educational institutions, hospital . One of the best buildings of the quarters - the building of the educational institution - the Smolny Institute (1806-1808, Il. 52).

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

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

In the suburbs of St. Petersburg - Tsarist village and Pavlovsk - in the past two decades of the XVIII century, an architect worked Charles Cameron (1740-E-1812). The Pavlovsky Palace constructed by him (1782-1786) and Cameronov Gallery (1783-1786) in the royal village are distinguished by the clarity of the composition, the grace of finishing. Unusually diverse on a composite solution and on the facing materials used in them were the interiors of the personal rooms of Catherine II in the Ekaterininsky Palace of the Tsarist village.

These years, there was a significant construction not only in the cities, but also in the estates. Here fastened architects played a big role, closely related to folk traditions and at the same time used new architectural techniques (the estate "Ostankino" near Moscow, created by the fortress masters with the participation of a wonderful serf architecture P. I. Argunova).

In the 1760s - 1790s, issues of art synthesis were widely set. In the field of decorative sculpture, there were outstanding brownies of that time - Shubin, Kozlovsky, Prokofiev.

A lot of new things were made to park employment. Landscape parks came to replace regular gardens. To the best samples of this type belong to: Tsaritsyno, Ostankino, Gatchina, Pavlovsk.

23. Architectural ensemble of the tsarist village.

Tsarskoye Village - Pearl of architecture of the XVIII century

Plan:

1. Introduction
2.) The main part.
I.) Architecture of the first half of the XVIII century: Baroque
II.) Baroque architecture in the mid XVIII century
III.) Prerequisites for the emergence and development of classicism
IV.) Architecture of early classicism (1760-1780)
V.) Architecture of strict classicism (1780-1800)
3.) Conclusion
4.) List of used literature

1. Introduction.
For many centuries, Russian history, the tree remained the main material in the construction of buildings and structures. It was in a wooden architecture that many construction and composite techniques that correspond to the natural and climatic conditions and artistic tastes of the people were developed, which later influenced the formation of stone architecture.
Frequent fires accelerated the replacement of a tree with a stone in the responsible city facilities as urban walls, towers and temples. The wooden walls of the Novgorod brainchildren with an earth shaft and the RV are referred to about 1044, and the first information about the stone fence belongs to 1302. The first data on the stone fence of Kiev is dating 1037, old Ladoga-1116, Moscow - 1367 at Some differences in architecture in individual parts of Russia, it had a number of common features determined by the same development conditions. This allows us to talk about Russian architecture in general and his artistic manifestation in different regions of the country throughout the history of the people.
Architecture is a phenomenon derived from a specific functional necessity, depending on both the construction and technical capabilities (building materials and structures) and the aesthetic ideas defined by the artistic views and tastes of the people, his creative ideas.
With the perception of the works of Russian architecture, regardless of the time of their construction and size, the proportionality of relations between man and the building is clearly traced. Peasant hut, urban residential building, church or other building - all of them are human scale, which gives Russian architecture humanistic character.

2.) The main part.
I.) Architecture of the first half of the XVIII century: Baroque.
The seventeenth century ends the 700-year period of stone ancient Russian construction, which did not fit one remarkable page into the chronicle of the world architecture. The sprouts of new monetary relations and the rational worldview make their way through the institutional forms of Domostroevsky life and scholastic * dogmas of theology. Sweese views of the servant nobility and economically succeeding merchants affect many sides of the public life and its material shell - architecture. Trade, especially at the end of the XVII century, with Germany, Flanders, England. There are closer cultural ties with Poland and Holland. The joint creative work of Russian, Ukrainian and Belarusian craftsmen contributed to the expansion of the horizons and penetration into the art and architecture of elements of Western European artistic culture. The historical unity of three fraternal peoples, in many ways outgoing from general architectural trends, mutually enriched their skill. Life urged the construction of living room courtyards, administrative buildings, industrial enterprises, sets all new practical tasks, obliging architects to look for technical and artistic solutions. Centralization of state power was accompanied by regulation in the field of construction. Normalizes architectural and technical documentation. Project and reporting materials are improved and large-scale drawings are mastered, architectural and construction details are unified.
The end of the XVII century is a link between the ancient Russian architecture and the architecture of the XVII century, the time preparing the soil for a new artistic worldview, which contributes to the creative perception of the order of the tectonic system and the formation of architecture masters for the transition to regular civil construction.
At the beginning of the XVII century, St. Petersburg is becoming the main construction center. In 1700, Russia began the northern war against Sweden to free Russian land and return the Nevsky coast of Russia. On May 1, 1703, Russian troops entered the fortress of Nienshanz (in the merger of the Okhta and Neva rivers). The main task of the Northern War was solved by taking the fortress. The exit to the Baltic Sea for Russia was opened. It was necessary only to secure him and secure. At the branching of the Neva to the three sleeves, on a small weighing island long and width of about 750 by 350 meters, on May 27, 1703, according to the drawing of Peter I and military engineers laid the fortress of a new bastion type -Petropavlovsk fortress. To cover the mouth of the Neva from the sea in 1703 on the island of Kotlin, the construction of the naval base of the Kronshlot (Kronstadt) was started. On the southern bank of the Neva, almost opposite the Petropavlovsk fortress, in 1704, according to the drawing of Peter I, the shipbuilding shipyard was laid - the Admiralty. Under the protection of the three interacting fortresses began the construction of St. Petersburg, which became the new capital of Russia since 1712, proclaimed in 1721 by the empire.
__________
* Scholastikos (from Greek. Scholastikos is a school, scientist), a type of religious philosophy, characterized by a compound of the thewolic-dogmatic prerequisites with a rationalistic technique and interest in formal logical problems.

State and cultural and domestic transformations in the Petrovsky period caused the life of industrial and public buildings and facilities - fortifications, shipyards, factories, industrial and seating courtyards, board, hospitals, educational and museum premises, theaters and residential buildings. The development of St. Petersburg was carried out mainly along the banks of the Neva, its sleeves and ducts, due to the strong soil wet and the exit to the waterways.
The placement of city-forming structures was carried out on the instructions of Peter I. In the initial settlement, the settlements were grouped by alkalods. Built in the form of peasant lords or urban choir with facades, sometimes
painted under brickwork. The only example of an early period is recreated later chopped house Peter I on the banks of the Neva on the Petrograd side, outside the painted "under the brick".
Since 1710, only brick houses began to build. Despite the compulsory measures of relocation to St. Petersburg, the construction was carried out slowly. The ideological and political importance of the rapid construction of the capital, put forward responsible tasks before architecture. The city had to be created on the basis of advanced town planning principles, providing its prestigious representative character not only in the external architectural and artistic appearance, but also by planning structure. Not enough qualified architects. And in 1709, the office establishes all the construction affairs. With it, a school is created for the initial study of architecture. It was calculated that the deeper knowledge of this school's disciple should be obtained in architectural teams in the process of practical cooperation of experienced architects. However, the school and teams could not provide expanding metropolitan construction. Peter I invites experienced architects from Western countries, which made it possible to almost immediately involve them in the construction of the city. And also select talented young people and commander them to study in Western European countries with engineering and architectural arts.
In 1710, the Italians N. Miketi were invited to the new capital: the Italians, K. B. Rastrelli, Frenchman J.B. Blond, Germans, Ashluter, Dutchman, Bawels. They should not only build, but also prepare Russian architects from students who worked with them. Italians arrived from Moscow - M.Fontan and the Fortifor engineer and the architect Domenico Trezini. In Moscow, gifted Russian architects I.P. Zaudepnaya, D.V. Aksamitov, P.Potapov, M.I.Choclavkov, Ya.G.Bukhvostov, Ustinov and others were successfully worked in Moscow. At the same time, the art of architecture has suffered sent abroad, subsequently become large architects: Ivan Korobov, Mortrein and Ivan Michurin, Peter Yeropkin, Timofey Usov and others. Thus, in the new capital, architect various national schools worked, but they worked differently than in their homeland, obeying tastes and requirements of customers, as well as adapting to the specific conditions of the city under construction. As a result of their activities, the architecture of St. Petersburg of the pore has become a kind of alloy of the original Russian artistic traditions and formal elements introduced from Western European countries.

Russian, Italian, Dutch, German and French architects were erected in the Russian capital of choirs, palaces, temples and state buildings, whose architecture had common features, defining an architectural style, usually called Russian Baroque XVIII century or Petrovsky Baroque.
All variety of individual creative views of various architects in practice softened under the influence of two main factors: first, the impact of Russian centuries-old traditions, carriers and conductors of which were the performers of architectural designs - numerous carpenters, bricklayers, plasterers, lepping and other construction masters. Secondly, the role of customers, and above all Peter I, who is extremely carefully and demandingly considered all the design proposals of architects, rejecting those that did not comply with its point of view, the appearance of the capital, or contributing to significant and sometimes decisive changes. Often, he himself pointed out where, what and how to build, putting the architect. On his initiative, the general plans of St. Petersburg were developed. The artistic community of Petersburg buildings of Petrovsky time is also explained by the features of building materials. Houses in the capital were built by Mazanko-type and brick, plastered in two colors (walls - red, light brown or green, and shovels, pilasters, platbands, rusts on the corners - white). To attract Kameshov, Peter I in 1714, issued a decree prohibiting throughout Russia, except the capital, construction of stone and bricks. The features of the architectural style can be clearly traced when considering the preserved architectural works of that time, such as "MontPlezir" and "Hermitage" in Petgeta, Kunstkamera building and twelve colleges in St. Petersburg I.T.
According to Peter I Domenico Trezini (1670-1734) for the first time in Russian architecture, in 1714, extensive projects of residential buildings intended for developers of different intake: single-storey small for the poorest population are more for noble. French architect J.B.B.Blond (1679-1719) Developed a project of a two-story house "For famous". The "exemplary project" resembles the well-preserved summer palace of Peter I, which was built by D. Tresini in 1710-1714 in the summer garden.
With all the simplicity of "exemplary" projects of residential buildings, they all differ in the nature of the facades with rhythmicly placed openings framed by the lathe of the discreet outlines and figure gates on the side. Unlike medieval buildings of Russian cities, where residential buildings were behind the fences in the depths of the plots, all houses in the capital had to go to the facades on the red lines * of streets and embankments, forming the front of their buildings and thereby giving the city organized view. This city planning innovation was reflected in the development of Moscow. Along with residential buildings in St. Petersburg and his suburbs were built palaces with representative facades and extensive, richly decorated with the parade premises.
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* Conditional border in urban planning, separating the roadway from the construction site

In a combination with architecture, a decorative sculpture begins to apply, and in the interiors - picturesque decoration. Create country and suburban residences with gardens. The largest persons preserved by the public buildings created by D. Tresini, is the Petropavlovsky Cathedral and the building of the twelve college. From under the arch of the Petrovsky gate, Petropavlovsky Cathedral (1712-1733) is clearly identified. The dynamic silhouette of the Cathedral's bell tower, topped with a high gilded spire and a weatherproof in the form of an angel, rises due to fortress walls 122 meters, becoming one of the most expressive dominant in the panorama of the city on the Neva. The cathedral marked the complete digression from the compositional traditional of Russian Temple Building. The Cathedral for Russia was an innovative phenomenon. In its plan and mind, it does not look like Orthodox, crusades-dome five-chapted or tent churches. The cathedral represents a rectangular, elongated from the west to the East building. The inner space of the cathedral is dismembered by powerful pylons * for three almost equal and the same in height (16 meters) of the span. This type is called the coal, in contrast to the temples, which, with the same plan, the average span is higher and often wider lateral. The planned and siltegte composition of the Cathedral proceeded from the structure of the Baltic Lutheran temples of a level with a bell tower completed with a spire. It was he who had to become a symbol of Russia's approval at the mouth of the Neva and the symbol of the creative force of the Russian people. The spiele prominent completion of church bells for Petrovsky St. Petersburg was a typical phenomenon that determines the silfoo nature of the city's building in the first third of the 18th century. Internal decoration should be noted - wooden carved gold-plated iconostasis in the Baroque style. The iconostasis was carried out under the guidance of the architect and artist I.P. Zeadny (1722-1727) Arteel of Moscow Masters.
On the Vasilyevsky Island, the political center of the capital was formed and the building of the Twelve College (10 colleges - government bodies; Senate and Synod) was built on the D. Tresini project. A three-story building with a length of 400 meters, consists of twelve identical enclosures with separate roofs and portico connected by the ends. All enclosures combines open arcade ** with a long corridor on the second floor. According to the tradition of Petrovsky, the building was painted in two colors: brick-red and white. The initial decoration of the interiors in the form of a stuccoing is preserved only in the Petrovsky hall. The architectural value of that time should be noted the Palace of A.D. Menshikova (1710-1720). The three-tiered warrant system of the facade with tousing rhythmic rows of the pilaster proceeded from the artistic principles of the architecture of the Italian Renaissance. The most wonderful architectural heritage are the front rooms, lined with Dutch tiles and a front staircase with columns and pilasters of a baroque order.
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* Pylon (from Greek. Pylon, letters. Gate, input), massive pillars, operators of overlap or standing around inputs or entrances.
** Arcade (Franz. Arcade), a number of identical arches, resting on columns or pillars.

The use of orders in St. Petersburg architecture was a continuation of traditions embodied in many buildings of Moscow earlier. A special place in the panorama of the banks of the Neva occupies the original silhouette of the Kunstkamera building. Two wings of a three-story building on the ground floor combines a quad-tier tower. The angles of rizazalites * and fractures of the walls of the tower in combination with the two-color coloration facade give the building an elegant look. In the silhouette of the tower, the continuity of traditional stepped multi-tiered buildings of Moscow began the XVIII century is clearly manifested. After a fire when restoring the facade was simplified.
In 1710, Peter I issued a decree that obliging the construction of the southern shores of the Finnish Bay. Palace and park ensembles in Peterhof are erected. By 1725, a two-story Nagorny Palace was erected. In the future, the Palace was restructuring and was expanded in the middle of the XVIII century. Architect Rastrelli.
In the same period, a small palace was built at the bay, consisting of several rooms for Peter I and the Paradinary Hall - the Palace of Monplazir. Pavilion was built for the selection of "Hermitage" and a small two-story palace "Marley".
In addition to St. Petersburg, construction was conducted in Moscow and other cities of the Russian Empire. As a result of a fire in Moscow in 1699, it was forbidden to build wooden buildings on fires.
At the same time, the formal artistic convergence of the architecture of the stone buildings of Moscow with Western European architects, which began at the end of the 18th century, became even more visible at the beginning of the 18th century. An example of this can be: Palace F.Ya. Lafort on Jauze (1697-1699); Old Mint (1697); Church of Assumption on Pokrovka (1695-1699); Church of the signs in Dubrovitsy (1690-1704). This suggests that the domestic architects knew the rational tectonic system and could skillfully combine order and other elements with Russian traditional techniques. An example of such a combination can serve as the Lefortovo Palace in German Sloboda, built by one of the Moscow architects. Facades Palaces are divided by a measuring rhythm of the Pilaner of a Big Corinthian Order. On the parties of the entrance arch, their rhythm changes, and they form a pilastral portico with a fronton. The planned system at the same time is the composition of a closed kare, adopted in Russia for commercial and other courtyards.
In the XVIII century, the warrant system has become a conventional decorative admission to give a variety of elegant facilities.
This is evidenced by the art decision of the chief entry into the yard
Arsenal (1702-1736) in the Kremlin, which is a skill transformation of orders in combination with an abundance of decorative embossed details. The Church of the Archangel Gabriel (1701-1707), created by architect I.P. Zaudnaya (1670-1727), is wonderful on architecture and artistic importance in Moscow architecture. The architect showed great mastery in the use of orders. The carrier part of the volume of the church is designed with the use of a large order, with which the elegant compositions of porticors at the entrance from two light columns are combined
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* Rizalit (from Ital. Risalita is a protrusion), part of the building, speaking for the OSN. Line facade; Usually arranged symmetrically on rel. to the central axis of the facade.

Corinfor Orders Supporting Decoratively Designed Antablement with Balustrade. The warrant in the building expresses the exposure tectonics.
The new direction in the church architecture of Moscow, pronounced in the architecture of the Church of the Archangel Gabriel (Menshikova Tower), which consists in a harmonious combination of a traditional Russian volume and spatial composition with the formal elements of a new style, left an interesting pattern in Moscow - the Church of John the Warrior (1709-1713) on Yakimanke.
From St. Petersburg, architects I.a.Morvinov and I.F. Michurin (1700-1763) were sent to Moscow. They were engaged in compiling the plans of the Kremlin, China and partially white city in connection with the movement of the royal court to Moscow and the construction of the shores of Yauza Palaces of the court sow. Michurin in 1734-1739 was compiled a plan of Moscow, representing a significant city planning document of Moscow of the XVIII century. It was captured by the development of the city of that time. Other cities of Russia continued to develop. An interesting example of the durability of national architectural traditions in the province is the Petropavlovsky Cathedral in Kazan (1726 g).

II.) Baroque architecture of the middle of the XVIII century.
In the period described, V.N. Tatishchev and M.B. Lomonosov laid the foundations of domestic historical science. Russian science and culture of high, not inferior to European, level. Due to this, in 1755, the first university opened in Russia, and in St. Petersburg, the Academy of Arts, which played a large role in the development of art and architecture of classicism.
Russia in the middle of the XVIII century has become one of the most developed European countries. All this has determined the solemn-decorative appearance of palaces and the temples - the main types of monumental buildings in Russia during this period. The most outstanding architects of that time include pupils I.K.Korobov-S.I. Chevakinsky and D.V. Thathomsky. The largest architect of the middle of the XVIII bureaver is FBpasselli. At the same time, many unknown fortress architects, painters, layers, cutters and other masters of applied art were worked with it.
In the middle of the XVIII century, Baroque style in Russia had vividly pronounced original features due to the continuity of decorative composite techniques of Russian architecture of the early XVIII century. It is impossible not to emphasize the specific national peculiarity of the Baroque architecture in the middle of the XVIII century - the polychromia of the facades, the walls of which are painted in blue, red, yellow and green colors. Supplement to this serve bunches of columns, pilasters, framed windows. A characteristic feature of architectural works is that groups of buildings or buildings often form a closed architectural ensemble, dropping only when penetrating it into it. In the palace and church premises, along with the stucco picturesque decoration of the walls and the ceilings, multicolor patterned floors were performed from different wood species. Floor painting creates the illusion of infinity of the raised up hall, which is emphasized by soaring in the sky figures of different proportionality, clearly separating and different remoteness of them from the viewer. The walls of the front premises were framed by complex profiled gilded traction. Interesting receptions of layout halls. In the palaces they are located on the principle according to which the doors of the passing halls on the common axis, and their width is illusively increasing.
The imperial and manor palaces were created in unity with gardens and parks who are inherent in a regular planning system with straight alleys trimmed by woody vegetation and ornamental flower beds. In this section, it should be especially noted about the creations of the Ober of the architect Rastrelli Francesco Bartolomeo (1700-1771), whose creativity reached Apogoy in 1740-1750. The main works include: the ensemble of the Smolny Monastery in St. Petersburg; Palaces in Kurland (Latvia), in Rundava and Mitava (Yelgava); Palaces of Elizabethan Weljects M.I. Vorontsova and S.G.STrohanova in St. Petersburg; Imperial palaces - Winter in the capital, Big (Ekaterininsky) in the Tsarskoye Selo (Pushkin), the Grand Palace in Peterhof, the Adrayan Church and the Mariinsky Palace in Kiev. All of them characterize the Baroque style in the middle of the XVIII century in Russia. Simultaneously with FB Rastrelli, architect Chevakinsky S.I. (1713-1770). The most wonderful creation of Chevakinsky S.I. Preserved to this day was the design and construction of a huge two-story Nikolsky Naval Naval Cathedral (1753-1762) in St. Petersburg. The student of Chevakinsky was the future architect in V.I. Benzov.
The largest representative of the Moscow Baroque of the mid XVIII century was the architect Ukhtomsky D.V. (1719-1774). His work was deployed under the influence of artistic views and works of FB Rastrelli, in particular in Moscow and Moscow region: palaces in the Kremlin, Annief and Perov. Only one work of Ukhtomsky came to this day - Pyadyar Bell Tower in the Trinity-Sergiev Lavra in Zagorsk.

Iii.) Prerequisites for the appearance and development of classicism.
In the 1760s, an architectural and artistic style was shown in Russia. Decorative Baroque, who has reached its apogee in the work of the greatest representative of this direction - the architect F. B. Rastrelli, gave way to classicism, quickly approved in St. Petersburg and Moscow, and then spread throughout the country. Classicism (from lat.-exemplary) is an artistic style, developing by creative borrowing forms, compositions and samples of the art of ancient world and the era of the Italian Renaissance.
For the architecture of classicism, it is characterized by geometrically correct plans, the logicality and equilibrium of symmetric compositions, strict harmony of proportions and the widespread use of the rational tectonic system. Baroque decorative style ceased to comply with the economic capabilities of the Customer's circle, all expanding counseling of small coupons and merchants. He stopped answering also changed aesthetic views.
The development of architecture is due to economic and social factors. The economy of the country led to the formation of an extensive domestic market and enhancing foreign trade, which contributed to the productivity of landlord farms, craft and industrial production. As a result, there was a need to build state and private ownership structures, often state importance. These include trade buildings: living room courtyards, markets, fair complexes, contract houses, shops, various warehouse facilities. As well as unique public buildings - stock exchanges and banks.
Many government administrative buildings began to build in the cities: gubernatorial homes, hospitals, prison castles, barracks for military garrisons. Culture and enlightenment developed intensively, which caused the need to build many buildings, educational institutions, various academies, boarding school institutions for noble and burghers, theaters and libraries. The cities grew rapidly, primarily counted by the residential building of the estate type. In conditions of huge construction, unfolding in cities and landlords, increased construction needs, architectural techniques and busy forms of Baroque, sophisticated and lush, turned out to be unacceptable, since the decorativeness of this style required significant material costs and a large number of qualified masters of various specialties. Based on the above, there was an urgent need to revise the basics of architecture. Thus, deep domestic prerequisites of a material and ideological nature led to the crisis of the Baroque style, his motion and led in Russia to search for economic and realistic architecture. Therefore, it is the classic antiquity architecture that is expedient, simple and clear and at the same time expressive, served as a benchmark of beauty, became a kind of ideal, the basis of classicism in Russia.

IV.) Architecture of early classicism (1760-1780).
To lead ubiquitous town planning activities in December 1762, the Commission on the Stone Building of St. Petersburg and Moscow was established. Created to regulate the development of both capitals, soon began to lead all urban planning in the mill. The Commission operated until 1796. During this period, it was sequentially led by prominent architects: A.V. Kvasov (1763-1772); I.E. Starov (1772-1774); I.L (1775-1796). In addition to the settlement of the planning of St. Petersburg and Moscow, the Commission for 34 has created general plans 24 cities (Arkhangelsk, Astrakhan, Tver, Nizhny Novgorod, Kazan, Novgorod, Yaroslavl, Kostroma, Tomsk, Pskov, Voronezh, Vitebsk and others). The main city-forming factors were considered water and land highways, established by the amitary and retail space, clear borders of cities. Streamlining urban layout based on the geometrically correct rectangular system. Building streets and squares of cities was regulated in height. The main streets and squares were to be built up with exemplary houses set close to each other. This contributed to the unity of the organization of the streets. The architectural appearance of the houses was determined by several approved exemplary projects of facades. They differed simplicity of architectural solutions, their planes were revived only figure repetitive fractions of window openings.
In the cities of Russia, residential buildings usually had one or two floors, only in St. Petersburg, the floors rose to three to four. In this period, A.V. Kvasov developed a project to improve the embankment of the Fontanka River. The formation of through travel of embankments and premises spaces, turned the fountain in an important arod-forming highway. For Moscow, in 1775, a new master plan was drawn up, which retained the radial-ring structure and the spontaneous system of the area of \u200b\u200bthe semiring of the Kremlin and China-city. For consideration and approval of projects of private ownership in 1775-1778. Functioned a special stone order. In 1760, in Russian architecture, there were no more noticeable features of classicism. The earliest manifestation of classicism was the project of the "entertainment house" in Oranienbaum (now does not exist). Composed by architect A.F. Kokorin and the so-called Batoe House A.F.Vista (1761-1762) in the Petropavlovsk Fortress.
During this period, well-known architects were worked in Russia: Yu.M, Felten and K.M. Blanck, Italian A.rinaldi, French T.B. Wallen-Demont. Considering this period in the chronological sequence of construction of buildings, it should be noted that classical forms and clear composite techniques have increasingly supplanted excessive decorativeness. Here it is necessary to consider the main creations of architects, preserved to the present day. Antonio Rinaldi (1710-1794) is the Chinese Palace (1762-1768) in Oranienbaum. The interior of the palace testifies to the high artistic skills of the architecture. The whimsical outlines of the palace were harmonized with the surrounding park composition, with artificial reservoirs and beautifully decorated vegetation. The area of \u200b\u200bthe single-storey palace of the one-story palace is especially highlighted by a great beauty - a large hall, an oval hall, the hall of the music. Chinese Cabinet with decoration elements, glass office. Pavilion of the roller coaster (1762-1774) well-preserved three-storey pavilion with colonnades of bypass galleries on the second and third floor. Pavilion in Lomonosov The only preserved reminder of popular entertainment. The marble palace (1768-1785) refers to the unique phenomena of St. Petersburg and Russia, thanks to the multicolor facade facing. The three-story building is located on a plot between the Neva and Marse field and has a P-shaped composition with wings forming a rather deep front courtyard. Palace in Gatchina (1766-1781) is a three-storey with passing gallery, bottom is the main building supplemented by five-pointed six tier species towers and arcuate two-story wings covering the main courtyard. After the transfer of the Palace Tsarevich Pavel (1783) was rebuilt inside and supplemented with closed kare at the ends of the initial composition V.F. Brenna.
The restrained plastic of the facades is complexed by the nobility of the local stone - the light-gray pudasest limestone. Parade interiors are located on the second floor, of which the White Hall, Avanzal, Marble Dining Room and others are most significant. The palace was destroyed during the fascist occupation. Now restored. In addition to the above, A.rinaldi built several Orthodox churches, whose feature is a combination of a newly approved in one composition again in the period of Baroque five-glavion and a high multi-tiered bell tower. Artificial use of classical orders, on the long-term arrangement of the bell tower and the delicate layout of the facades indicates the stylistic reality of artistic images, which corresponds to early classicism. In addition to monumental buildings, A.rinaldi created a number of memorial structures. These include the Oryol Gate (1777-1782); Chesme Column (171-1778) in Pushkin; Chesmersky Obelisk in Gatchina (1755-1778). The establishment of the Academy of Arts in 1757 led to new architects, both Russians and foreign. These include A.F. Kokorinov (1726-1772) and invited from France I.I.Shuvalov Zh.B. Vilen-Demont (1729-1800). The creations of the specified architects should include the Palace of G.A. Demidov. The feature of the Demidov Palace is a cast iron outer terrace and cast-iron stairs with arcuately diverging marches connecting the palace with the garden. The building of the Academy of Arts (1764-1788) on the University Embankment of Vasilyevsky Island. The buildings traced the distinctness of the style of early classicism. This should include the main case of the Pedagogical Institute of Herzen. Northern facade of small Hermitage; Construction of a large seating courtyard erected on the foundations laid down along the contour. A.F. Kokorinov and Zh.B. Vilen-Demontov created in Russia Palace Anambles, which reflected the architecture of Parisian mansions, hotels with a closed parade yard. An example of this could serve as the Palace of I.G. Chernyshev. In the middle of the XIX century, in his place at the blue bridge was built by the architect A.I.Staklyneder Mariinsky Palace. In the same period, the architect Felton Yu.M. was deployed. His creativity was formed under the influence of FB Rastrelli, and then he began to create in the framework of early classicism. The most significant creations of Felten are: the building of the Big Hermitage, the Alexandrovsky Institute, located next to the Smolny Monastery ensemble. The Institute building with three inner courtyards has retained its original view that meets early classicism. The most perfect work of Yu.M.Feltene is a fence of the summer garden from the Neva Embankment (1770-1784). It was created in creative participation of P.E. Georova (1731-1789); The iron links were forged Tula blacksmiths, and the granite poles with figure vases and the granite base made Putilovsky Kamenotesians. The fence is distinguished by simplicity, amazing proportionality and harmony of parts and the whole. The turn of the Russian architecture towards classicism in Moscow is brighter than everything in a huge ensemble of an educational house, erected in (1764-1770), not far from the Kremlin on the banks of Moscow River on the plan of architect K.I. Blanca (1728-1793). In the suburban estate of Kuskovo K.I. Blann in 1860, an impressive Pavilion "Hermitage" elevated. In accordance with the emergence and development of classicism, a landscaped (English system), spreading in Western Europe, and primarily in England comes to replace the regular French system of gardening and park art.

V.) Architecture of strict classicism (1780-1800)
The last quarter of the eighteenth century was marked by major socio-historical events (enshrined by Russia Crimea and the North Coast of the Black Sea). The economy of the state has developed rapidly. The All-Russian market, fairs and shopping centers were formed. Metallurgical industry has developed significantly. Extended trade with Central Asia and China. The intensification of economic life contributed to the quantitative and high-quality growth of cities and landlord estates. All these phenomena found a noticeable reflection in urban planning and architecture. The architecture of the Russian province was characterized by two peculiarities: most cities received new general plans. The architecture of cities, especially urban centers, was formed on the basis of techniques of strict classicism. Along with the types of buildings, known earlier, new facilities began to build in the cities. In the cities still preserved traces of defensive structures, they were increasingly disappeared as a result of the implementation of new plans, and these cities acquired urban-planning features characteristic of most Russian cities. Osoroval construction expanded, especially in the south of Russia and in the Volga region. At the same time, the system of placement of various economic structures was produced depending on the natural conditions. In the provincial estates of noble owners, the Lord's houses were stone facilities of the palace type. The front architecture of classicism with portica has become an impersonation of social and economic prestige. In the period under review, the architectural creations were created by the outstanding architects of Russia, which are not only Russia, but also in the whole world. Some of them, namely: Bazhenov Vasily Ivanovich (1737-1799) - the construction of the Grand Kremlin Palace and the buildings of the Boards in the Moscow Kremlin. Despite the fact that the outstanding intent was carried out, it was not its importance for the fate of Russian architecture was great, first of all, for the final approval of classicism as the main stylistic direction in the development of domestic architecture. Creation in the village of Zaritsyno Country Tsarist Palace and Park Residence in the village near Moscow. All structures of the ensemble are located on the rough terrain, the parts of which are connected by two curly bridges, due to which the united, unusually beautiful panorama, which does not have analogues in the history of architecture. House Pashkov (1784-1786), now the old library building V.I. Lenin. Consisting of three different parts, the silhouette composition of the house, crowning the landscaped hillock, is still one of the most perfect work of the entire Russian classicism of the late XVIII century. The completion of Bazhenova's creativity was the project of Mikhailovsky Castle in St. Petersburg (1797-1800). The castle was built without the participation of the architect the manager of the builder was V.F. Brenna who made significant changes to the interpretation of the main facade. Kazakov MF: Petrovsky Palace - the appearance of the palace, he gave a pronounced national character, the ensemble of the Petrovsky Palace is an outstanding sample of the harmonious architectural synthesis of classical principles and Russian national painting. The building of the Senate in the Moscow Kremlin - Rotunda of the Senate is recognized in the architecture of Russian classicism as the best parade round hall and is the first example of a composition of this type in Russia. This hall is an important link in the development of Russian classicism. Church of Philip Metropolitan (1777-1788). A classical Russian composition was used in relation to the Orthodox church. In the second half of the 18th century, Rotonda began to be embodied in the architecture of Russian classicism in the creation of cult buildings, it was also used in the construction of the Mausoleum of the Baryshnikov near Smolensky (1784-1802). Golitsyn Hospital (now the first city hospital Pirogov). University building (1786-1793). The university building suffered in 1812 and was recreated with change in 1817-1819.
The approval of the new General Plan of Moscow in 1775 stimulated the living private ownership, widely unfolded in 1780-1800. By this time, two volume-planning types of urban estates were finally developed - the first main residential building and fluels located on the red street line, forming a system of three parts that form the building front; The second is a residential manor with an open front courtyard covered by wings and filties. Since the 1770s, the development of classicism based on the ancient Roman principles of the Renaissance Age is clearly traced in the St. Petersburg construction. Some of them, it is: Architect Starov I.E. (1745-1808) builds the Tauride Palace (1883-1789) landscape garden; Trinity Cathedral (1778-1790) in the Alexander Nevsky Lavra. The construction of the cathedral had an important ideological and patriotic importance, since the tomb of Alexander Nevsky was under the architects. In addition to the above mentioned buildings, Starov was engaged in design for the southern provinces, developed plans of new cities of Nikolaev and Ekaterinoslavl; In the last archocrium built the Palace of the Vicer of the region - G.A.Potemkin.
Architect Volkov F.I. (1755-1803). By 1790, developed exemplary projects of barren buildings, subordinating their appearance to the principles of classicism. The largest works are the building of the Marine Cadet Corps (1796-1798) on the Neva Embankment. Ensemble of the Main Post Office (1782-1789).
Architect Kvrengy and Giacomo (1744-1817). In the creations of the kievnament, the features of strict classicism are brightly embodied. Some of them: Dacha A.A. Besborodko (1783-1788). Building of the Academy of Sciences (1783-1789), the Hermitage Theater (1783-1787), the building of the Assignment Bank (1783-1790), the Alexander Palace (1792-1796) in the Tsarist village, the Triumphal Arch in 1814 - Narva Gate.
In St. Petersburg, important work on improvement continued. The granite embankments of the Neva, small rivers and ducts were created. Wonderful architectural monuments were erected, which became important city-forming elements. On the banks of the Neva in front of the unfinished construction of St. Isaac Cathedral in 1782, one of the best equestrian elements in Europe was opened - a monument to Peter I (Sculptor E.M. Falcon and M.A.Kolllo; Snake was performed by the sculptor F.G. Gordeyev). Wonderful bronze hollow sculptural composition on a natural granite rock. Rock with its size (10.1 meters high, 14.5 meters long, 5.5 meters wide) corresponded to a spacious coastal area. Another monument to Peter I was installed in the ensemble of the Mikhailovsky Castle (1800). The bronze equestrian statue was used (the sculptor K.B.Stresseli - Father, architect F.I. Volkov, bas-reliefs - sculptors V.I. Domunt-Malinovsky, I.I.Terebinov, I.Miseyev under the leadership of M.I. Kozlovsky) . In 1799, a 14-meter obelisk "Rumyantseva" was installed at the Tsaritsyn meha (Marso Field) (Architect V.F. Brenna) in 1818 was postponed to Vasilyevsky Island to the first Cadet Corps, where the outstanding warlord P.A. Rumyantsev studied. In 1801, in the Tsaritsyn meadow was
A monument to the great Russian commander A.V. Svorov (sculptor M.I. Kozlovsky, moved closer to the banks of the Neva.

3.) Conclusion.
The most important progressive traditions of Russian architecture that are of great importance for the practice of late architecture are ensembleness and urban-planning art. If the desire for the formation of architectural ensembles was initially intuitive, then in the future it became conscious.
The architecture was transformed in time, but nevertheless, some of the features of Russian architecture were existed and developed over the centuries, while maintaining traditional stability up to the 20th century, when the cosmopolitic essence of imperialism did not gradually abradibly.

4.) List of used literature .

Arkin D.E. Russian architectural treatise-code of the XVIII century. The position of architectural expedition. - In the book: architectural archive. M., 1946.

Belekhov N.N., Petrov A.N. Ivan Starov. M., 1950.

Pilyavsky V.I. The history of Russian architecture. L., 1984.

I.M.Smidt

The eighteenth century is the time of the wonderful heyday of Russian architecture. Continuing; On the one hand, their national traditions, Russian masters during this period began to actively develop the experience of modern Western European architecture, processing its principles in relation to the specific historical needs and conditions of their country. They largely enriched world architecture, introducing unique features to its development.

For Russian architecture 18 V. Characterized by the determination of secular architecture over religious, latitude of urban planning plans and solutions. The new capital was erected - Petersburg, as the state strengthened the state and the old cities were rebuilt.

Peter I decrees contained specific orders for architecture and construction business. Thus, his special order was prescribed to bring the facades of the newly under construction buildings to the Red Line of the streets, while in the ancient Russian cities of the house were often located in the depths of the courtyards, for various economic buildings.

For a number of their stylists, the Russian architecture of the first half of 18 V. Undoubtedly can be comparable to the Baroque-dominant in Europe.

Nevertheless, it is impossible to carry out the direct analogy. Russian architecture - especially Petrovsky time - had much greater simplicity of forms than was characteristic of the style of the late Baroque in the West. According to its ideological content, it argued by the patriotic ideas of the greatness of the Russian state.

One of the most noteworthy structures of the beginning of 18 V. Building Arsenal in the Moscow Kremlin (1702-1736; Architects Dmitry Ivanov, Mikhail Choglockov and Christoph Konrad). The big length of the building, the calm surface of the walls with rarely placed windows and the solemn-monumental design of the main gate explicitly indicate a new direction in architecture. A completely unique solution to small paired arsenal windows having a semi-curvous completion and huge external slopes like deep niches.

New trends penetrated into a cult architecture. A vivid example of this is the church of the Archangel Gabriel, a better known called Menshikova Tower. It was built in 1704-1707. In Moscow, on the territory of the estate A. D. Menshikov in pure ponds, architect Ivan Petrovich Zrudezhny (died in 1727). Before the fire of 1723 (which arose as a result of a lightning strike) Menshikova Tower - as well as the bell tower of the Peter and Paul Cathedral in St. Petersburg soon - was crowned with a high wooden spire, at the end of which was a gilded copper figure of Archangel. In height, this church was superior to the bell tower of Ivan the Great in the Kremlin ( The currently existing form of a peculiar form, the elongated head of this church was made already at the beginning of the 19th century. The recovery of the church refers to 1780.).

Menshikova The tower is characteristic of the Russian church architecture of the end of the 17th century. A composition of several tiers - "octagues" on "Chetverka". At the same time, compared to the 17th century. Here new trends are scheduled and new architectural techniques are used. Especially courageous and innovative was the use of high spiers in the church construction, such a successfully used by Petersburg architects. Characterized by the appeal of the classical receptions of the service system. In particular, with a large artistic tact, the columns with Corinthian capitals were introduced with a large artistic architecture. And already completely boldly - powerful volitions flanking the main entrance to the temple and give it a special monumentality, originality and solemnity.

The Zherryna also created wooden triumphal gates in Moscow - in honor of the Poltava Victory (1709) and the conclusion of Netadt Peace (1721). Starting from Petrovsky time, the revisions of the triumphant arches became a frequent phenomenon in the history of Russian architecture. Both wooden and constant (stone) triumphal gates are usually richly decorated with sculpture. These structures were monuments of the military glory of the Russian people and largely contributed to the decorative design of the city.

With the greatest visibility and completeness of the new qualities of Russian architecture of 18 V. manifested in the architecture of St. Petersburg. The new Russian capital was laid in 1703 and was built unusually quickly.

From an architectural point of view, St. Petersburg is of particular interest. This is the only metropolitan city of Europe, which has occurred entirely in the 18th century. In the appearance, it was bright reflected not only of peculiar directions, styles and individual donations of architects of the 18th century, but also the progressive principles of urban-planning skill of that time, in particular layout. In addition to the brilliantly solved "three-beam" layout of the center of St. Petersburg, high urban planning art manifested in the creation of complete ensembles, in the magnificent building of embankments. The indiscriminate architectural and artistic unity of the city and its water arteries from the very beginning was one of the most important advantages and peculiar beauty of St. Petersburg. The addition of the architectural appearance of St. Petersburg of the first half of the 18th century. It is mainly due to the activities of Architects D. Trozini, M. Zemtsova, I. Korobov and P. Yeropkin.

Domenico Tresini (approx. 1670-1734) was one of those foreigners architects, who, having arrived in Russia at the invitation of Peter I, remained here for many years, and even until the end of their lives. The name of Trezini is associated with many structures of early St. Petersburg; He belongs to "exemplary", that is, typical projects of residential buildings, palaces, temples, various civil facilities.

Trezini worked not alone. Together with him, a group of Russian architects worked, the role of which in the creation of a number of structures was extremely responsible. The famous Petropavlovsky Cathedral, built in 1712-1733, built by the best and most significant creation of Trezini, built in 1712-1733. The basis of the structure is the plan of three-pone basilica. The most remarkable part of the cathedral is his aspiring bell tower. Just like Menshikov Zerrynaya Tower in his original form, the bell tower of the Peter and Paul Cathedral is crowned with a high spire, complete angel's figure. The proud, light rise of the spire is prepared by all the proportions and architectural forms of the bell tower; It was thought out to a gradual transition from the bell tower itself to the "needle" of the cathedral. 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, approved on the shores of the Gulf of Finland its new capital.

In 1722-1733 Another well-known conservation of Trezini is created - the building of the twelve college. Strongly stretched in length, the building has twelve sections, each of which is decorated as a relatively small, but independent house with its overlapping, fronton and entrance. Favorite treatments are strict pilasters in this case are used to combine the two upper floors of the building and emphasize the measured, calm rhythm of the facade of the facade proud, the rapid rise of the bell tower of the cathedral of the Petropavlovskaya Fortress and the calm length of the building of the Twelve College - these beautiful architectural contrasts have been made by Trezini with an impeccable outstanding masters.

Most works of treatings are peculiar to restraint and even severity in the architectural solution of buildings. This is especially noticeable next to the decorative magnificity and the rich design of the mid-18 century facilities.

Mikhail Grigorievich Zemtsova (1686-1743), who worked at the beginning of Peter I, first, who had focused on Trestin, and his bestowed by Peter I. The Zesov participated, as seen in all major works of Trezini. He completed the construction of the Kunstkamera building, started by architects Georg Johann Mattarnov and Gaetano Chiawery, built the Churches of Simeon and Anna, Isaacia Dalmatsky and a number of other structures of St. Petersburg.

Peter I attached great importance to regular buildings of the city. To develop the master plan of St. Petersburg, the famous French architect Jean Batist Leblon was invited to Russia. However, the master plan of St. Petersburg compounded by Leblon had a number of very significant flaws. The architect did not take into account the natural development of the city, and his plan has greatly suffered abstracted. The Leblon project was only partially implemented in the planning of the streets of Vasilyevsky Island. Russian architects made many substantial adjustments to its layout of St. Petersburg.

A prominent town planner of the early 18th century was the architect Peter Mikhailovich Yeropkin (approx. 1698-1740), who gave a remarkable solution to the three-beam planning of the Admiralty part of St. Petersburg (including Nevsky Prospect). Conducting a great job in the "Commission on St. Petersburg structure" formed in 1737, Yeropkin was building and other areas of the city. Its activity was cut into the most tragic way. The architect was associated with the group of Volyn, who opposed the Biron. Among the other visible members of this group, Yeropkin was arrested and in 1740 was devoted to execution.

Yeropkin is known not only as architect-practitioner, but also as a theorist. They were transferred to Russian Languages \u200b\u200bPalladio, and the work on the scientific treatise "The post of architectural expedition" was launched. The last work concerning the main issues of Russian architecture was not over; After his execution, this work was completed by Zemkov and I. K. Kovobov (1700-1747) - the creator of the first stone building of the Admiralty. A crowned with a high thin spire, echoing with the Spilling of the Peter and Paul Cathedral, the Admiralty Tower built by Korobov in 1732-1738, became one of the most important architectural landmarks of St. Petersburg.

Determination of the first half of the 18th architectural style. It usually causes a lot of disputes among Russian art researchers. And indeed, the style of the first decade of 18 century. It was difficult and often very contradictory. In its formation, he participated in a somewhat modified and more restrained in shape of the form of the style of Western European Baroque; The impact of the Dutch architecture also affected. In one way or another, it gave itself to know and the impact of traditions of ancient Russian architecture. A distinctive feature of many first buildings of St. Petersburg was a harsh utility and simplicity of architectural forms. The unique originality of the Russian architecture of the first decades of 18 V. It is, however, not in the complex and sometimes controversial interweaving of architectural styles, and above all in the town-planning sweep, in the life-affirming power and in the magnitude of the structures erected into this most important period for the Russian nation.

After the death of Peter I (1725), the wide civil and industrial construction undertaken on its instructions is moving into the background. A new period begins in the development of Russian architecture. The best forces of architects were now sent to palace construction, adopted extraordinary scope. About the 1740s. The pronounced style of Russian baroque is approved.

In the middle of the 18th century, a wide deductivity of Bartholomew Varfolomeyevich Rastrelli (1700-1771), the son of the famous sculptor K.-B. Rastrelli. The work of Rastrelli-Son is entirely owned by Russian art. His creativity reflected the increased power of the Russian Empire, the wealth of the highest court circles, which were the main customers of the magnificent palaces created by Rastrelli and the team headed by them.

The activities of Rastrelli on the restructuring of Peterhof palace-park ensemble were of great importance. The place for the palace and the extensive garden-park ensemble, who later received the name Peterhof (now Petrodvorets), was scheduled in 1704 by Peter I. in 1714-1717. Montplasir and the stone Peterhof Palace on the projects of Andreas Singor are built. Further, several architects are included in the work, including Jean Batist Leblon - the main author of the park and fountains of Peterhof and I. Brownshtein - the builder of the Pavilions "Marley" and "Hermitage".

Peterhof's ensemble from the very beginning was conceived as one of the world's largest ensembles of garden-park structures, sculptures and fountains, rival with Versailles. Magnificent in its wholeness, the plan united into one inseparable whole large cascade and framing his grand staircase descents with a large grotto in the center and towering over the whole palace.

Without touching in this case, the complex question of the authorship and history of construction, which was held after the sustainable death of Leblon, should be noted the installation in 1735 by the central on the composite role and according to the ideological plan of the sculptural group "Samson, bursting the mouth of the lion" (the authorship is definitely not established), What ended the first stage of creating the largest regular park ensembles of the 18th century.

In the 1740s. The second stage of construction began in Peterhof, when a grand restructuring of the Grand Peterhof Palace of the Architect Rastrelli was taken. Saving some restraint of the decision of the old Peterhof Palace, characteristic of Petrovsky style, Rastrelli still significantly strengthened his decorative design in the Baroque style. This was especially manifested in the design of the left wing rendered to the palace with the church and the right (the so-called body under the coat of arms). The final of the main stages of the construction of Peterhof applies by the end of the 18th to the very beginning of the 19th century, when the architect A. N. Voronikhin and the whole pleiad of outstanding masters were attracted to the case, including Kozlovsky, Martos, Shubin, Shchedrin, Prokofiev.

In general, the first Rastrelli projects belonging to the 1730s are largely close to the style of Petrovsky time and do not amaze that luxury

and pompous, which manifest themselves in his most famous creations - Big (Ekaterininsky) Palace in the royal village (now Pushkin), the Winter Palace and the Smolny Monastery in St. Petersburg.

Starting the creation of the Catherine Palace (1752-1756), Rastrelli did not exhibit it entirely. In the composition of his grand building, he skillfully included already had the palace structures of Kvass and Chevakinsky architects. These relatively small housings communicating between one-story galleries, Rastrelli combined into one majestic building of the new palace, the facade of which in length reached three hundred meters. Low single-storey galleries were prescribed and thus raised to the overall height of horizontal members of the palace, old side hulls were included in a new building as protruding rizalits.

Both inside and outside the Ekaterini Palace of Rastrelli was distinguished by the exclusive wealth of decorative design, inexhaustible invention and a variety of motives. The roof of the palace was gilded, over a balustrade, slimming it, rumped up sculptural (also gilded) figures and decorative compositions. The facade was decorated with mighty figures of Atlanta and intricate stucco, depicting the garland of colors. White column column distinctly highlighted against a blue painting of the wall walls.

The inner space of the Tsarsko Selo Palace was decided by Rastrelli along the longitudinal axis. The numerous halls of the palace are intended for parade techniques formed a solemn beautiful enfilade. The main color combination of interior decoration is gold and white. Abundant gold carving, images of frivolous amurists, exquisite forms of cartridge and wolly - all this was reflected in the mirrors, and in the evenings, especially in the days of solemn techniques and ceremonies, was brightly illuminated by countless candles ( This rare beauty palace was barbarusa looted and set fire to the German-fascist troops during the Great Patriotic War 1941-1945. The efforts of the Masters of Soviet Art The Big Tsarskoil Palace is now, as far as possible, restored.).

In 1754-1762 Rastrelli is building another large construction - the Winter Palace in St. Petersburg, which has become the basis of the future ensemble of Palace Square.

Unlike strongly elongated in the length of the Tsarskoil Palace, the Winter Palace is resolved in terms of a huge closed rectangle. The main entrance to the palace was at that time in a spacious inner front courtyard.

Given the location of the Winter Palace, Rastrelli differently decided the facades of the building. Thus, the facade coming to the south, on the subsequently formed palace square, was resolved with a strong plastic accentuation of the central part (where there is a front entrance to the courtyard). On the contrary, the facade of the Winter Palace, facing the Neva, is designed in a quieter rhythm of volumes and colonnades, thanks to which the length of the building is perceived.

The activities of Rastrelli were mainly aimed at creating palace structures. But in church architecture, he left an extremely valuable work - the draft ensemble of the Smolny Monastery in St. Petersburg. The construction of the Smolny Monastery, started in 1748, was stretched for many decades and ended with 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 implemented. In the composition of the five-chapted cathedral and a number of the general principles of the decision of the ensemble of the Rastrelli Monastery directly proceeded from the traditions of the Old Russian architecture. At the same time, we see here and the characteristic features of the mid-18th century architecture: the magnitude of architectural forms, the inexhaustible wealth of the decor.

Among the outstanding creations of Rastrelli - the wonderful Stroganovsky Palace in St. Petersburg (1750-1754), the Andreevsky Cathedral in Kiev, rebuilt on his project, the Resurrection Cathedral of the Novojerusalem Monastery near Moscow, who was not preserved before our time a wooden two-story Annegofsky Palace in Moscow and others.

If the activity of Rastrelli proceeded mainly in St. Petersburg, then another outstanding Russian architect, the student of Korobov Dmitry Vasilyevich Ukhtomsky (1719-1775), lived and worked in Moscow. Two wonderful monuments of the Russian architecture of the mid 18th century are connected with his name: Bell Troitney-Sergiyev Lavra (1740-1770) and stone red gates in Moscow (1753-1757).

By the nature of his creativity, Ukhtomsky pretty close to Rastrelli. And the bell tower of the Lavra and the triumphal gate are rich in appearance, monumental and festive. The valuable quality of Ukhtomsky is the desire to develop ensemble solutions. And although his most significant intentions were carried out (the project of the ensemble of disabled and hospital houses in Moscow), progressive trends in the work of Ukhtomsky were picked up and developed by his great students - Bazhenov and Cossack.

The creativity of Savva Ivanovich Chevakinsky took a prominent place in the architecture of this period (1713-1774 / 80). The student and the successor of Korobov, Cheva-Kinsky participated in the development and implementation of a number of architectural projects in St. Petersburg and the Tsarist village. The talent of Chevakinsky was especially fully manifested in the Nikolsky Naval Cathedral created by him (Petersburg, 1753 - 1762). A slim quad-core bell tower of the cathedral, which chants his festive estimacy and flawless proportions was greatly solved.

The second half of the 18th century marks the new stage in the history of architecture. Just like other types of art, Russian architecture testifies to strengthening the Russian state and the growth of culture, reflects a new, more sublime idea of \u200b\u200ba person. The ideas of citizenship, proclaimed by enlighteners, the idea of \u200b\u200bthe ideal, built at the reasonable beginnings of the noble state find a peculiar expression in the aesthetics of classicism of the 18th century., They affect all the clearer, classically restrained form of architecture.

Starting from 18 V. And until the mid-19th century, Russian architecture occupies one of the leading places in world architecture. Moscow, Petersburg and a number of other cities of Russia. Having enacted at this time, first-class ensembles.

The formation of early Russian classicism in architecture is inextricably linked to the names of A. F. Kokorinov, Valena Demotrote, A. Rinaldi, Yu. M. Felten.

Alexander Filippovich Kokorinov (1726-1772) was among the immediate assistants of one of the most prominent Russian architects of the middle of the 18th century. Ukhtomsky. As the newest studies show, the young kokorinov built a palace ensemble in Petrovsky-Razumovsky (1752-1753), which has reached this day, has reached modified and rebuilt. From the point of view of architectural style, this ensemble was undoubtedly close to the magnificent palace facilities of the middle of the 18th century, which was erected by Rastrelli and Ukhtomsky. A new, which foreshadowed the style of Russian classicism was, in particular, the use of a harsh doric order in the design of the entrance gate of the Razumovsky Palace.

Approximately from 1760, the long-term joint work of Kokorinov began with Valentine Demamot (1729-1800). Right from France, Demotamov came from the family of famous architects of Blonde. Significant structures of St. Petersburg are connected with the name of Valena, as a large seating courtyard (1761 - 1785), the plan of which was developed yet by Rastrelli, and the Small Hermitage (1764-1767). The thin harmony of architectural forms, the solemn-great-magnitude of ease is fulfilled the construction of the Demotion, known as New Holland - the building of the Admiralty warehouses, where special attention is attracted to the arc channel from a simple dark red brick with a decorative use of white stone.

Walleren Demotov participated in the creation of one of the peculiar structures of 18 V. - Academy of Arts in St. Petersburg (1764-1788). Strict, the monumental building of the Academy, built on Vasilyevsky Island, has gained important in the city ensemble. Major and calmly resolved the main facade leaving for the Neva. The general idea of \u200b\u200bthis construction indicates the predominance of the style of early classicism over the elements of Baroque.

In total, the plan of this structure, which mostly apparently was designed by Kokorinov. For outwardly calm facades of the building holding a whole city district, the most complex inner system of educational, residential and utility premises, stairs and corridors, courtyards and transitions are hiding. Particularly noteworthy of the Academy's courtyards, which included one huge round yard in the center and four courtyards of smaller sizes, having a rectangle shape, in each of which two angle are rounded.

The close art of early classicism is a marble palace (1768-1785). The author of His invited to Russia Yansk Architect Antonio Rinaldi (approx. 1710-1794). In earlier structures, Rinaldi clearly manifested the features of the late baroque and Rococo style (the latter is especially tangible in the sophisticated finish of the apartment of the Chinese Palace in Oranienbaum).

Along with major palace-park ensembles in Russia, a manor architecture is gaining more widespread development. Especially lively construction of the estates turned in the second half of the 18th century, when the Decree of Peter III was issued about the liberation of the nobles from the mandatory public service. Russian noblemen who left their generic and newly received estates began to be built and landscaping, inviting the most prominent architects, as well as widely using the labor of talented fortress architects. The greatest flourishing of the manor construction reaches at the end of the 18th and early 19th century.

The wizard of early classicism was Yuri Matveyevich Felten (1730-1801), one of the creators of wonderful embankments of the Neva associated with the implementation of urban planning works of 1760-1770s. The construction of the nobility of their forms of the summer garden lattice is closely connected with the ensemble of Naberezhnye Neva, in which Felten participated in the designer. From Felten structures, you should mention the building of the old Hermitage.

In the second half of the 18th century. One of the greatest Russian Zodchikh-Vasily Ivanovich Bazhenov (1738-1799) worked and worked. Bazhenov was born in the family of Dyachka near Moscow, near Maloyaroslavets. In fifteen years, Bazhenov consisted of painters on the construction of one of the palaces, where the architect Ukhtomsky, who accepted the gifted young man in his "architectural team" drew attention to him. After the organization in St. Petersburg, the Academy of Arts Bazhenov was directed there from Moscow, where he studied at the Gymnasium at Moscow University. In 1760, Bazhenov goes as a pensioner of the Academy abroad, France and Italy. Outstanding natural dating a young architect already in those years receives high recognition, twenty-year-old Bazhenov arrives from abroad with the title of Professor of the Roman Academy and the title of Academician of the Florentine and Bologna Academies.

The exclusive talent of Bazhenova as an architect, its great creative scope was manifested with a special clarity in the project of the Kremlin Palace in Moscow, which he began to work since 1767, in fact, he conceived the creation of a new Kremlin ensemble.

According to the project Bazhenova, the Kremlin was supposed to be in the full sense of the word with a new center of the ancient Russian capital, and most directly related to the city. On this project, Bazhenov even assumed to distort the part of the Kremlin wall from the Moscow River and Red Square. Thus, the newly created ensemble of several squares in the Kremlin and, first of all, the new Kremlin Palace would be no longer separated from the city.

The facade of the Kremlin Palace Bazhenova was to be addressed to the Moscow River, to which from the top, from the Kremlin hill, the solemn stairies decorated, decorated by a monumental-decorative sculpture.

The building of the palace was designed to be four-story, and the first two floors had a personal appointment, and in the third and fourth there were actually palace apartments with large two-pilot halls.

In the architectural solution of the Kremlin Palace, new areas, as well as the most significant indoors, a large role was assigned to colonnades (most advantage of Ionian and Corinthian orders). In particular, a whole system of colonnad surrounded the main one of the projected Bazhenaches in the Kremlin. This area, which had an oval form, the architect assumed to surround buildings with strongly protruding basements that form a stepped stands to accommodate the people.

Basis began broad preparatory work; In a specially built house, a remarkable (preserved dynamine) model of the future structures was made; Internal decoration and design of the palace were carefully designed and designed ...

There was no suspect of the architect the cruel blow: as it turned out later, Catherine II was not going to bring this ambitious construction to the end, it was central to it mainly to demonstrate the power and wealth of the state during the Russian-Turkish war. Already in 1775, construction was completely stopped.

In subsequent years, the larger work of Bazhenova becomes the design and construction of the ensemble in Tsaritsyn near Moscow, which was intended to be a summer residence of Catherine II. The ensemble in Tsaritsyn is a suburban estate with an asymmetrical arrangement of buildings performed in original style, which sometimes called the "Russian Gothic", but to a 12th century known for the use of Russian architecture based on the use of the motives.

It is in the traditions of the ancient Russian architecture that the Bazhenovo combinations of the red brick walls of Tsaritsyn buildings with details of white stone are given.

Preserved Bazhenovskiy buildings in Tsaritsyn - Operable house, curly gate, bridge across the road - give only a partial idea of \u200b\u200bthe overall idea. The Bazhenova project was not only not implemented, but even the palace almost finished to them was rejected by an empress who came to the Empress and is broken by her order.

A tribute to the nascent procreant tendencies of Bazhenov gave in the project of the Mikhailovsky (engineering) castle, which with some changes was carried out by the architect V. F. Barnish. Built by order of Paul I in St. Petersburg, Mikhailovsky Castle (1797-1800) represented at that time a construction, surrounded as a fortress, Rips; Through them were thrown lifting bridges. The tectonic clarity of the overall architectural design was originally combined here and at the same time the difficulty of planning.

In most of its projects and structures, Bazhenov acted as the largest master of early Russian classicism. The wonderful creation of Bazhenova is Pashkov's house in Moscow (now the old building of the State Library. V.I. Lenin). This building was built in 1784-1787. The construction of a palace type, Pashkov's house (named so on the name of the first owner) turned out to be solved so completely as from the point of view of the city ensemble and in its high artistic advantages was taken by one of the first places among the monuments of Russian architecture.

The main entrance to the building was arranged from the front courtyard, where there were several service buildings of the Palace - estate. Located on a hill rising from Mokhovaya Street, Pashkov's house turned to its main facade towards the Kremlin. The main architectural array of the palace is its central three-storey building, topped with a light belvedere. On both sides of the building are two lateral two-story buildings. The Central Corps of the Pashkov House is decorated with a colonnade of the Corinthian order, uniting the second and third floors. Side pavilions have smooth columns of an ionic order. Thin well-thoughtfulness of the overall composition and all parts informs this building an extraordinary ease and at the same time significance, monumentality. Genuine harmony of the whole, the elegance of the study of parts eloquently indicate the genius of its creator.

Another great Russian architect, who worked at one time along with Bazhenov, was Matvey Fedorovich Kazakov (1738-1812). The native of Moscow, the Cossacks even more closely than Bazhenov, tied his creative activities with Moscow architecture. Having hit the thirteen school to school Ukhtomsky, the Cossacks in practice the art of architecture is increasing. He was not neither at the Academy of Arts, nor abroad. From the first half of the 1760s. The young Cossacks have already worked in Tver, where in his project a number of buildings of both residential and public appointments were built.

In 1767, Cossacks were invited by Bazhenov as his immediate assistant to design the ensemble of the new Kremlin Palace.

One of the earliest and at the same time the most significant and well-known structures of Kazakov - the Senate Building in Moscow (1776-1787). The building of the Senate (currently the Supreme Council of the USSR is placed here) is located inside the Kremlin not far from Arsenal. Triangular in terms of (with inner courtyards), it is one of the facades addressed to the Red Square. The central compositional assembly assembly of the building - the hall of the Senate, which by that time the dome overlap, the diameter of which reaches almost 25 m. A relatively modest design of the building is contrastingly compared with the magnificent solution of the round front hall having three tiers of windows, a colonnade of the Corinthian order, caissonated dome and rich stucco.

The next well-known Cossack Creation is the building of Moscow University (1786-1793). This time, the Cossacks turned to a common plan of the urban estate in the form of the letter P. in the center of the building placed an assembly hall in the form of a polisotone with dome overlap. The initial type of university built by Cossack will significantly varies with the outdoor design, which D. I. Livaddi gave him, who restored the university after the fire of Moscow 1812. Dorician colonnade, reliefs and fronton over a portico, the Edikuls on the ends of the side wings, etc. D.-all this was not in the Kazakov building. It looked higher and not so deployed by the facade. The main facade of the university in the 18th century. There was a more slender and lightweight colonnade of the portico (Ionian order), the walls of the building were dismembered with blades and fillets, the ends of the side wings of the building had ionic porticors with four pilasters and a fronton.

Just like Bazhenov, Cossacks sometimes appealed in their work to the traditions of architecture of ancient Russia, for example, in the Petrovsky Palace, built in 1775-1782. Bunchy columns, arches, window design, hanging girks, etc. together with red brick walls and jewelry from white stone clearly crushed with the Dopurerov architecture.

However, the majority of church structures of Kazakov - Church of Philip Metropolitan, the Church of Ascension on the Gorokhovskaya Street (now st. Kazakov) in Moscow, the Mausoleum of Baryshnikov (in the village of Nikolo-Pogorovskaya, Smolensk region) - not so much in terms of Old Russian temples, as in the spirit Classically solemn secular structures - Rotond. A special place among the church buildings of Kazakov occupies a peculiar one in his plan the church of Moskov and Damian in Moscow.

In the works of Kazakov, the sculptural decoration plays a big role. 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 sculptures was manifested in the last significant building of Cossacks - the building of the Golitsyn hospital (now the 1st Gradnaya Hospital) in Moscow, the construction of which refers to 1796-1801. Here the Cossacks are already close to the architectural principles of classicism of the first third of the 19th century, as evidenced by the calm stroits of wall planes, elongated along the street. The composition of the building and its outguns, the rigor and the restraint of the general architectural design.

Cossacks made a great contribution to the development of the urban architecture and architecture of the urban residential mansion. These are distinguished by the clear simplicity of the composition of the house in Petrovsky-Alabin (finished in 1785) and a wonderful house of Griber in Moscow (1790s.).

One of the most gifted and glorified masters of architecture of the second half of the 18th century was Ivan Egorovich Stroy (1745-1808), whose name is associated with many buildings of St. Petersburg and the provinces. The largest work of Starov, if we talk about the facilities of the Master that came to us, is the Tauride Palace built in 1783-1789. In Petersburg.

More contemporaries of Starov highly appreciated this palace as meeting the high demands of genuine art - it is as simple and clear in his decision, how important and solemn. By decision of the inner premises, this is not only a residential palace, but also a residence designed for solemn receptions, festivities and fun. The central part of the palace is highlighted by a dome and a six-pin Roman doric portico, located in the depths of widely open outward courtyard. The significance of the central part of the building is laid down by low single-storey side wings of the palace, the design of which, as well as side buildings, is very strict. The inner premises of the palace solemnly solved. Located directly against the entrance, granite and yashmovy columns are in general the similarity of the inner triumphal arch. From the lobby included in the monumentally decorated dome hall of the palace, and then in the so-called large gallery with a solemnist column, consisting of thirty-six columns of an ionic order, set in two rows on both sides of the hall.

Even after repeated rearrangements and changes within the Tauride Palace, produced at the next time, the grandeur of the design of the architect leaves an indelible impression. In the early 1770s. Starov is appointed by the chief architect of the Commission on the Stone Building of St. Petersburg and Moscow. " Under his leadership, projects for the planning of many cities of Russia were also developed.

In addition to Bazhenova, Kazakov and Starov at the same time, many other outstanding architects are working in Russia - both Russians and who came from abroad. The wide construction capabilities of Russia attracted major foreign masters who were not found in their homeland.

An outstanding master of architecture, especially palace-park structures, was the Scotsman on the origin of Charles Cameron (1740s. -1812).

In 1780-1786 Cameron is building a complex of garden-park structures in the royal village, which includes a two-storey building of cold baths with agate rooms, a hanging garden and, finally, a magnificent open gallery that is the name of its creator. Cameronov Gallery is one of the most advanced works of the architect. Striking its extraordinary ease and grace of proportions; The staircase, flanked by copies from the ancient statues of Hercules and the flora, is majestically and peculiarly.

Cameron was a skillful master of interior design. It develops with impeccable taste and sophistication, he develops a decoration of several rooms of the Big Catherine Palace (Bedroom Catherine II, seeillo., Cabinkerka "Tabackerka"), pavilion "Agate rooms", as well as Pavlovsky Palace (1782-1786) (Italian and Greek halls, Billiard and others).

Huge value is not only created by Cameron Palace in Pavlovsk, but also the entire garden-park ensemble. Unlike a 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 the picturesque landscape, among the groves and the clearing, the Pavilion - the Temple of Friendship, Open Rotunda - Colonnada Apollo, Pavilion of three graces, Obelisk, bridges, etc. are located at the Hills of the Slavonic River.

End 18 V. In the architecture of Russia, the next stage of development is largely preceded - mature classicism of the first third of the 19th century, also known as "Russian Ampire". New trends are noticeable by the example of Dzhacom Querengi's creativity (1744-1817). Even at home, in Italy, the krepars are fond of palladianism and becomes a zealous champion of classicism. Without finding proper use by its forces in Italy, the quarters arrived in Russia (1780), where he remained for life.

Starting its activities from work in Peterhof and Tsarskoye Selo, the quarters moved to the construction of the largest metropolitan structures. The Hermitage Theater created by him (1783-1787), the building of the Academy of Sciences (1783-1789) and the appliance bank (1783-1790) in St. Petersburg, as well as the Alexander Palace in the Tsarist village (1792-1796) are rigorous, classical in their decision which largely already foreshadow the next stage in the development of Russian architecture. As a matter of fact, the creative activity of the Kurengy in Russia in time almost row is divided between 18 and 19 centuries. Of the most famous facilities, the quarters of the early 19th century. Hospital building stand out on Foundry Avenue, Anichkov Palace, Connogvardeysky Manege and the Wooden Narva Triumphal Gate of 1814.

The most prominent creation of the quarters of the beginning of the 19th century. It is a Smolny Institute (1806-1808). In this work, the characteristic features of the quarters are visible as a representative of mature classicism in architecture: the desire for large and concise architectural forms, the use of monumental porticors, focusing the powerful base part of the building treated with a large ross, utmost clarity and simplicity of planning.