Russian architecture of the 18th century. Russian classicism in architecture

Published: November 14, 2013

Architecture of Moscow 18th century

Alekseev F. Ya. Cathedral Square in the Moscow Kremlin 1811 - Architecture of Moscow 18th century

Already in the 18th century in Moscow architecture, it was possible to see buildings in which the features of both Russian and Western culture were combined at the same time, the Middle Ages and a new time were imprinted in one place. By the beginning of the 18th century, a building appeared at the crossroads of the earthen shaft and the street of Sretenki near the collar of Sloboda, this was contributed by the architect of Choglokov Mikhail Ivanovich. Once there was a regiment of Sukhareva, so the tower was called in memory of the colonel, that is Sukhareva.

Sukharev Tower, according to the project M. I. Choglockova (was built in 1692-1695 on the site of the old wooden Sretensky gates of the earthly city (at the intersection of the Garden Ring and Sretenka Street). In 1698-1701, the gates were rebuilt as in the form in which They reached the beginning of the 20th century, with a high, crowned tent of the tower in the center resembling the Western European Town Hall.

The tower tremendously changed its appearance in 1701, after restructuring. It became more details that resemble medieval Western European cathedrals, namely watches and turrets. In it, Peter I arranged a school of mathematical and naval sciences, a observatory appeared here. But in 1934, Sukhareva Tower was destroyed not to interfere with movement.

In the same period, temples in Western European style were actively built in the capital and fields (estate of Dubrovitsy and the References). In 1704 Menshikov, A. D. gave an order to the architect Zrudechnaya I. P. for the construction of the Church of the Archangel Gabriel near the Myasnitskikh gate, was called Menshikov Tower in a different way. The distinctive feature is a high, wide bell tower in the baroque style.

Ukhtomsky Dmitry Vasilyevich, he created his contribution to the development of the capital of the capital, he created great creations: the bell tower of the Trinity Sergius Monastery and the Red Gate in Moscow. Earlier, the bell tower was already standing here, but Ukhtomsky supplemented it with two new tiers, now there are five of them and the height reached 80 meters. The bells could not be placed on the upper tier due to the fragility of the structure, but they attached grace and solemnity to the construction, which was now noticeable from different parts of the city.

Red Gate, Unfortunately, now you can only be seen in the pictures of textbooks, they have not been preserved to this day, but they are deservedly the best architectural structures of the Russian baroque. The way they were built and modified directly related to the history of the life of Moscow 18 V. and indicatively characterizes that epoch. When in 1709, the Russians won the Poltava battle against the Swedish army, a triumphal wooden gate appeared on meatsky street. In the same place on the occasion of the coronation of Elizabeth Petrovna in 1742, they built a second gate, the means on this allocated local merchants. Some time they stood, before burned, but Elizabeth immediately ordered them to restore them in a stone form, this work was commissioned Ukhtomsky, which was mentioned earlier.

The gate was made by the type of the ancient Roman triumphal arch, the residents of the capital were very loved, therefore they called red, from the word "beautiful." Initially, the construction ended with graceful tent, on which the figure of the tubing fame with a palm branch was concerned. The portrait of Elizabeth, who over time was decorated with a medallion with the coat of arms and monograms. On sides, over additional passages, there are reliefs in honor of the empress, and above them also statues as symbols of vigilance, mercy, constancy, loyalty, trade, economy, abundance and courage. About 50 different images were applied to the gate. When in 1928, the area was reconstructed, then this great building was ruthlessly disassembled, now there is a conventional gray subway pavilion, associated with another time.

About the Petrovsk Epoch now stopped talking when architects finally completed Petersburg, which became the capital. Moving to completion of the 18th century, again all the construction returned to Moscow. Secret homes and palaces, churches, educational and medical facilities began to build. The best architects of the times of Catherine II and Paul I became the Cossacks and Bazhenov.

Bazhenov Vasily Ivanovich He studied in the gymnasium at Moscow University, and then in the New Petersburg Academy of Arts. When he reacted, I went to inspect Italy and France, and then returned to Petersburg, where the title of academician was awarded. Although the career in St. Petersburg at Bazhenova was very successful, he still went to Moscow to realize the project Catherine II - the Big Kremlin Palace. Patriarchal Moscow could not accept such a project, he was too distinguished from the general picture of that time.

Alekseev F. Ya. View of the Moscow Kremlin from the stone bridge 1811

It was planned halfway to carry the southern walls of the Kremlin, outdated structures, and around the fact that left is the oldest monuments of culture, church and bell tower, build a new pompous building of the classicism palace. Bazhenov wanted to build not only one palace, but also so that there were the theater, arsenal, college, the area for the people. The Kremlin had to become a medieval fortress, but a large public place for the city and its inhabitants. The architect presented first of all the drawings of the future palace, and then her wooden model. This model was sent to Catherine II to St. Petersburg so that it approved, and then left in the Winter Palace. The project was approved, even solemnly laid the first stone with the participation of the Empress, but it was never brought to the end.

In 1775, Catherine II gave a new instruction in Bazhenov, to build a personal residence near Moscow in the estate of Tsaritsyno, which was called black dirt at that time. The Empress wanted the building to be built in a pseudo-styled style. Since 1775, the famous large palace, "Bread House", "Opera House", stone bridges and much more, which can be seen today.

Alekseev F. Ya. Panoramic view of Tsaritsyno 1800

The Tsaritsyn ensemble was very different from the estate of that time, there were a large number of elements of gothic architecture, for example, the string arches, the window openings of a complex shape, etc. Bazhenov said that the ancient Russian architecture is a subspecies of Gothic, so there were elements of the Russian Middle Ages. Such as split upstairs teeth, similar to the completion of the walls of the Kremlin. A characteristic feature of Russian architecture was the combination of white-named parts and red brick walls. Inside, everything was specially complicated in the medieval style. The palace looked very rude and gloomily, and when the Empress came to look at him, he said with horror that the palace is more like a prison, and never returned there. She ordered the palace to be demolished, and with him some other buildings. The task was transmitted to another architect - the Cossack M. F, which retained the classic proper form of the building and made gothic design.

house Pashkov, Bazhenov architect

Bazhenova ordered many other buildings. For example, his work was the house P. E. Pashkov, who stands face to the Kremlin, it is distinguished by a classic style, a bright facade, brick walls, which further emphasize the power of the power and majesty of the structure. The house is located on the hill, in the middle there is a 3-storey house with a neat portist, on the sides rise statues, at the top there is a round sculpture composition of Belvedere. Galleries are made on one floor, which continue with two-storey flibels with portica. From the hill you can go down the stairs, at first she led the garden with beautiful fences and lanterns, and no lattices left the street left the street and there were no lattices left. M. F. Cossacks could not be created to such an extent without the influence of Bazhenov and Ukhtomsky. Catherine II had to make the work of Kazakov, and she trusted him not yet one order, and there were homes for housing, palaces for the royal family, the church in the style of classicism.

Petrovsky traveling (accessible) Palace on Tverskaya tract, architect Cossacks

On the way from St. Petersburg to Moscow, it was possible to stay at the Petrovsky access palace, in a different way, he was called Petrovsky castle, the Cossacks also worked on him and used a pseudo-style style. But still without classicism, it was not dealt with, the correct symmetric forms of rooms and all internally design. Only on the elements of the facade it was possible to learn the echoes of the ancient Russian culture.

The next building, the construction of which began in 1776, and it was completed in 1787. It was again done with the help of Kazakov, it was the Senate in the Moscow Kremlin. The building fully corresponds to the traditions of classicism, but it also reflects the features of the project of the restructuring of Khazlin Bazhenov. The main part of the building is triangular, in the middle there is a large round room with a large dome, which cannot be noticed, being on Red Square. Bazhenov and his colleagues were very doubted about the dome strength, and to refute it the Cossack himself climbed on him and stood still half an hour. On the front side of the building there is a colonnade, which emphasizes smooth bends of the walls.

The same significant event was the organization of the Graceful Column Hall in the House of the Noble Assembly in Moscow, the Cossacks were engaged in its design at the end of the 18th century. The area of \u200b\u200bthe building of the right rectangular shape, the columns are placed around the perimeter, which are not straight under the walls, and at some distance. Crystal chandeliers hang around the perimeter, the upper semi-heetage is surrounded by a fence from figured columns interconnected by railings. The proportions are strictly observed that it does not allow to tear the eye.

Alekseev F. Ya. Passionate Square (Triumphal Gate, Church of St. Dmitry Solunsky and the House of Kozitskaya), Painting 1800 g.

In the center of the capital Cossacks was built university, right on Mokhovaya Street, this happened in 1789-1793. After a couple of dozen years, the building burned down, but it was partially restored by architect Domenico Libeidi, he did not make his cardinal changes, and left the Cossack principle in the form of the letter "P" and the general plan of the composition.

Moscow University, 1798, Architect Matvey Cossacks

Cossacks were very surprised by the happening of the fire, he came to Ryazan. He could not transfer such a blow and soon died, he was told that the fire was absorbed by all his buildings. But in fact, many buildings are preserved until today, according to which the total architecture of the 18th century is immediately traced - "Cossack Moscow".

In the middle of the XVIII In the northern part of the territory of a modern non-piece garden, a manor arose, ordered by P. A. Demidov, the son of the Ural breeder and the famous gardener.

In 1756 The main house was built - the P-shaped House of Chamber - Alexandria Palace. Balcony on columns was placed between the garden facade risals. The courtyard in front of the house was surrounded by stone services and a cast-iron fence, cast on Demidov factories.

Alekseev F. Ya. Military Hospital in Lefortov 1800

Alekseev F. Ya. View of the Church "Nikola Big Cross" on Ilyinka 1800

Alekseev F. Ya. View of the Church for the Gold Rafting and the Terem Palace 1811

Alekseev F. Ya. View in the Kremlin on the Senate, Arsenal and Nikolsky Gate, Picture 1800 g.

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Architectural style

Attractions of Moscow

The architecture of the 19th century in Russia was characterized by a large variety. She was inherent not alone, but several styles. As a rule, art historians divide it into two stages - classic and Russian. Especially brightly indicated styles of the 19th century architecture were reflected in such cities as Moscow and St. Petersburg. They worked in them a lot of brilliant architects of that era. We will get acquainted with the history of the 19th century architecture closer.

Baroque care

Before talking about the Russian architecture of the 19th century, consider one of the styles with which it began. Baroque architecture in Russia at the end of the XVIII century replaces classicism. This term comes from the Latin word "exemplary". Classicism is an artistic (including architectural) European style, which pretended in France in the XVII century.

It is based on the ideas of rationalism. From the point of view of adherents of this style, the work of art, the structure should be based on strict canons, thereby emphasizing the logicality and harness of all the universe. Interesting for classicism is only eternal, unshakable. In any phenomenon, he seeks to highlight its typological, essential features and discard individual, random signs.

Architectural classicism

For architectural classicism, the main feature is to appeal to forms characteristic of antique architecture, considered as a standard of simplicity, rigor, harmony, logicality. In general, it is distinguished by regular layout, clarity of the shape, which is volumetric. It is based on an order close to antiquity in forms and proportions. And the classicism is characterized by symmetric compositions, restraint of the decor, regularity in urban layout.

The centers of classicism in Russia were Moscow and St. Petersburg. His bright representatives - Jacomo Kurengy and Ivan Starov. Typical classic buildings are the Tauridian Palace in St. Petersburg, the Trinity Cathedral, located in the Alexander Nevsky Lavra, whose architect was oldaries. The Krugnah's project was built by the Alexander Palace, Smolny Institute, Academy of Sciences. Creation of this architect is a symbol of St. Petersburg classicism.

Transformation in ampir

The architecture of the first half of the 19th century in Russia is characterized by a gradual transition from classicism to an ampir. Ampier (in French means "imperial") is a style related to late, or high, classicism. He also appeared in France during the years when Napoleon I was, and received his development during the first thirty years of the XIX century, after which he was replaced by historicism.

In Russia, this style arose during the reign of Emperor Alexander I. As you know, since the XIX century, a passion for the culture of France was observed in Russia. As the Russian monarchs often did, Alexander I "wrote out" from France of the novice architect Augusta Monferran. The king instructed him the construction of St. Isaac's Cathedral in St. Petersburg. In the future, Monferran became one of the fathers of the so-called Russian amp.

Petersburg and Moscow destination

Russian Ampire divided into two directions: Moscow and St. Petersburg. This division was not so much territorial as characterized depending on the degree of its departure from classicism. The greatest selection was from St. Petersburg architects. The most prominent representatives were:

• Andrei Voronikhin.
• Andreyan Zakharov.
• Vasily Stasov.
• Jean Tomon.
• Karl Rossi.

Among the architects of Moscow, the largest masters of the period under consideration include:

• Osip bow.
• Domenico Liberadi.
• Athanasius Grigoriev.

Among the sculptors, the Feodosius of Shchedrin and Ivan the sailor can be distinguished. In Russian architecture, Ampire was a leading style until the 1830-40s. Interestingly, his revival, although in several other forms, occurred in the USSR. This is the direction that came in the 1930-50s. The twentieth century, began to be called "Stalin's ampir".

Royal style

Ampire is often referred to as the so-called royal styles, which is due to its theatricality when designing both interior and exterior decoration. Its feature is the mandatory presence of columns, stucco cornices, pilasters, other classical elements. Motives are added to this, reflecting almost unchanged such samples of parts of ancient sculpture, like sphinxes, griffins, lion paws.

In ampir, elements are strict in the presence of symmetry and equilibrium. This style is inherent:

• massive, monumental forms;
• military symbolism;
• rich decor;
• influence of ancient Roman and ancient Greek artistic forms.

The artistic intent of this style was to emphasize and embody the ideas of the power of the autocratic power, state, military force.

Coriferations of St. Petersburg

The emergence and development of an emergency in the architecture of the 19th century in Russia is closely connected with the name of the architect Voronikhina Andrei Nikiforovich. One of his best works is the St. Petersburg Kazan Cathedral. Its powerful colonnades semi-hammer framed area facing Nevsky Prospekt. Another famous his creation is the building of the Mining Institute. It is highlighted by a huge portist with Doric Colonnada, which performs against the background of the brutal walls of the facade. On the sides of the portico decorate sculptural groups.

Famous creations in the style of Ampir Jean de Tomonon, the French architect, are the Bolshoi Theater in St. Petersburg and the Exchange Building. Immediately before the construction of the Master, two Rostral columns were installed, which symbolize four great Russian rivers, such as Volga, Volkhov, Dnipro and Neva. Rostral is called the column, the decoration of which is Rostra - sculptural images of ship noses.

A recognized masterpiece of the 19th century architecture in the Empire style is the complex of buildings related to Admiralty, Architect Zakharov Andreian Dmitrievich. The already existing building was updated, taking into account the embodiment of the theme of the maritime fame and the power of the fleet. It turned into a grand construction with a facade of about 400 meters long, with a majestic architectural appearance and underlined central position in the city.

Russian style

In the architecture of the second half of the 19th century there is a surge of interest aimed at the work of the Old Russian architecture. As a result, a complex consisting of several architectural styles, which is determined in several ways. His main name "Russian style", but also referred to himself and "pseudorusskim", and "unqualified" and "Russian-Vizantine". In this direction, some architectural forms are borrowing, characteristic of the Old Russian and Byzantine architecture, but already at the new technological level.

As founder of "Russian-Byzantine style", art historians consider the tones of Konstantin Andreevich. Its most important creations are the Church of Christ the Savior, as well as the Big Kremlin Palace. In the external decoration of the last construction embodied the motives of the terman palace. His windows are made in the traditions of Russian architecture, they are decorated with carved platbands, equipped with double arches and a girlet in their middle.

In addition to these structures, the Moscow Armory, Cathedrals in Yelets, Tomsk, Krasnoyarsk, Rostov-on-Don belong to the work of Tone.

Features of the Russian-Byzantine style

In the architecture of the 19th century, the Russian-Byzantine destination developed with the active support of the Russian government. After all, this style was the embodiment of the idea of \u200b\u200bofficial Orthodoxy. The Russian-Byzantine architecture is characterized by borrowing some techniques of composition and motives used in Byzantine temples.

Byzantium borrowed architectural forms from antiquity, but gradually changed them by working out the type of church structures that differ very different from the basil of ancient Christians. The main feature is the use of the dome covering the middle part of the building, using the reception of so-called sails.

The inner design of Byzantine temples did not shine wealth and did not differ in the complexity of the details. But at the same time, their walls in the lower part were lined with marble expensive varieties, and in the top decorated with gilding. The vaults were covered with mosaic and frescoes.

Outside, the construction consisted of two tiers of extended windows with a rounded riding. The windows in some cases were grouped by two or three, and each of the groups separated from other column and was framed by a fake arch. In addition to windows in the walls, holes were made at the base of the dome for the purpose of better lighting.

Pseudorussian style

In the architecture of the 19th century, there is a period of hobby in such small decorative forms characteristic of the XVI century, like a porch, tent, kokoshnik, a brick ornament. In such a similar style, the architects of Gornostayev, Rezanov and others work.

In the 70s of the XIX century, the ideas of populists awaken in artistic circles to the culture of the Russian people, to the architects of peasants and architecture of the XVI-XVII centuries. To one of the brightest buildings performed in the pseudo-building style of this period include the terme of the architect Ivan Ropet, located in the Abramtsev near Moscow, and built by Viktor Gartman typography Mamontov in Moscow.

At the end of the XIX - early XX century, the development of the unquestous style. Being in search of simplicity and monumentality, architects appealed to the side of the oldest monuments of Novgorod and Pskov, as well as to the traditions of the Russian North. This style in St. Petersburg has embodied, mainly in the buildings of church destination, made:

• Vladimir Pokrovsky.
• Stepan Krcchinsky.
• Andrei Aplaksin.
• German grimer.

But at home, for example, the House of Cookerman, erected by the architect Lyschnevsky, was also built in the Neorussky style. On Plutalova Street.

The development of the architecture of the XVIII century in Russia was determined by the socio-economic and political conditions, the level of architectural and engineering and technical thought, the experience of architects and builders, tastes and the needs of the royal family, nobility and rich merchants.

At the beginning of the XVIII century. It begins purposeful, creative rethinking and practical use of the heritage of European art. As a result, as soon as possible, the foundations of the new architectural school were laid in the country, which represented the alloy of Russian and European town-planning traditions. Numerous manuals for fortification, construction of fortresses were translated into Russian. Thanks to the development of typical projects of residential and public buildings, in Russia began the XVIII century. Manufactory, ship shipyards, educational institutions, theaters were built. The erection of churches, cathedrals, palaces, embankments, canals, bridges were constructed.

The most important attribute of this time architecture has become order, The use of which made it possible to create fundamentally new monumental social facilities.

Peter I introduced the most crucial town planning discipline. He defined the standards for houses built in the capital: stone two-story citizens and wooden - for "sub rule" and "prosperous". In the conditions of war with Sweden, Peter was issued a decree, forbidden to build stone buildings outside of St. Petersburg, which significantly made it difficult to build in the province.

At the beginning of the XVIII century. Foreign architects Italian worked in Russia Domenico Andrea Trespsi (approx. 1670-1734),german Andreas Gaute (1660-1714)and others. The circle of their responsibilities included training of Russian specialists to their skills. Manifesto Peter I dated April 16, 1702 guaranteed them and specialists from other professions who came to Russia, safety in the way, freedom of religion, the right to be easily returned to their homeland.

The architecture of the new time most fully embodied in the construction of St. Petersburg, founded in 1703. From 1712, the city became the capital of Russia. In the town-planning and architectural forms of the new capital, the ideas of the greatness of the state, Petrovsky transformations, the formation of secular culture were embodied. The construction of a new capital was started with the Petropavlovsk Fortress - "Earth Forttion", laid on May 16, 1703 on the Hare Island at the mouth of the Neva. In 1704, the shipbuilding shipyard began to approve - the Admiralty, around which the Sailors of shipbuilders and sailors arose.

The construction of St. Petersburg was led by the Office of the City Affairs, established in 1706. Since 1709, it was transformed into office from buildings, the main function of which was monitoring the construction of the capital and the activities of foreign architects.

In 1710, the construction of the Alexander Nevsky Monastery was launched on the project D. Trezini, to which the road was laid - the future Nevsky Prospect. Under his leadership, Petropavlovsky Cathedral was also erected, the building of the Twelve College (with the participation of M. G. Zemtsov), a seating courtyard, the summer palace of Peter (together with A. Gaiter) and others. The city was decorated with palaces owned by A. D. Menshikov, and . M. Apraksin, P. I. Yaguzhinsky and other nobles. In 1711 The first winter palace was built, characterized by simplicity and modesty of finishing facades and interiors.

From 1714 in the suburbs of St. Petersburg Petergof, Strelna, Oranienbaum, country tsarist palaces and estates of approximate Peter - P. M. Bestumev - Ryumin, F. A. Golitsyn, G. I. Golovkin, and others.

Special brilliance was distinguished by the architectural ensemble of Peterhof, consisting of the Grand Petrovsky Palace and Parks, decorated with fountains and sculpture. The management of the construction of a summer residence of the sovereign was headed in different years, J.-B. Leblon (author of the General Plan of St. Petersburg), I. Brownshtein, N. Micketty. Russian and foreign sculptors, painters, masters of different specialties participated in the work. The construction of Peterhof was completed in 1725. Subsequently, the building of the Petrovsky Palace was repeatedly rebuilt.

The foundation of St. Petersburg and the transfer of the capital to it determined the entire further course of the Russian history: the country's culture was destined to distribute in two parallel ruses - Moscow and Petersburg. Since that time, it began with a clear, the secret rivalry of the two capitals of Russia - St. Petersburg and Moscow.

At the beginning of the XVIII century. There was noticeable changes in the architectural guide of Moscow - there was a desire for rational layout ("regularity"), uniformity of style, the same height of buildings, street width, etc. Built the buildings of industrial, administrative, educational, new temples and palaces of nobility were built. At the beginning of the XVIII century. Manufactory of a cloudy courtyard, the building of the main pharmacy (it later became the first placement of the first Russian university). After the fire in the Kremlin in 1701, Peter ordered to build arsenal ("Tseykhgauz" - its construction was completed in 1732). Nikolsky gates built the building of the first in the country of the Public Theater ("Comedine Horomina"). The construction of a large stone bridge 140 long and 22 meters width was completed. H. Konrad, M. Choglokov, D. Ivanov and other architects and engineers took part in the construction of these structures.

The construction of palaces owned by Venels Petrovsky continued. In Lefortovo, the project D. V. Aksamitova was built the palace of the companion of Peter I A. D. Menshikov. Upon his order I. P. Zherryna built the church of Mikhail Arkhangel (Menshikova Tower), etc.

The original architectural structures of the Petrovsky era include a triumphal gate. They were erected on the way of the royal empi at first in Moscow, and then in St. Petersburg and other cities of Russia. The triumphal gate was established in honor of the capture of Azov, victory under Poltava, the conclusion of Nesteadt world, etc.

Military-defensive tasks demanded the reconstruction of old and bookmarks of new cities. As a result, Narva, Riga, Revel, Voronezh, Taganrog, Solovki, Koporye, Solovki, Koporye, Yam, and others were restored or renewed or updated after her return during the Northern War was reconstructed and renamed Schlisselburg.

Stone buildings were also built in Tobolsk, which since 1708 became the center of Siberian province. In its construction, the architect, cartographer and geographer S. U. Remezov (1642-1720) played a prominent role. According to his projects, an ordinary chamber and a seating courtyard were built on the territory of the Tobolsk Kremlin.

In 1714, on the island of Kizhi in Onega Lake was built on the vehicles of local peasants, a wooden temple in memory of the Poltava Victory - the Church of Transfiguration. This is a unique structure, a height of 35 m., Decorated with 22 chapters, differing in the perfection of forms, was performed by Russian masters without a single nail. The Preobrazhensky Temple in the Kizhi can be considered one of the highest manifestations of Russian carpentry.

After the death of the first Russian emperor in 1725, the era of palace coups began. Changes in the political life of the country of this period were more visible than changes in cultural life. So, in the development of architecture, the line of the preceding period was markedly. The leading architect of this time was Francesco Bartolomeo Rastrelli (1700-1771).With his name is a feature-style flourishing baroque(from Italian- "Freaky", "Strange"). For Baroque, solemnity, figuries of forms, elegacy and worship of decor, contrast colors (blue or raspberry with white), abundance of gilding, surrounding the surrounding area, with a landscape were characterized. The main facilities of Rastrelli were the Winter Palace, the Cathedral of the Smolny Monastery in St. Petersburg, the St. Petersburg Church in Kiev, the Ekaterininsky Palace in the Tsarskoye Selo, etc.

The merit of Rastrelli is that his numerous disciples, by going through Russia, built in the province of the so-called "Rastrelyyevsky" churches, palaces, estates. One of them was Savva Ivanovich Chevakinsky (1713-1774). Under his leadership in St. Petersburg

nikolsky Naval Cathedral, Sheremetev's Palaces, I. I. Shuvalova, etc.

Great contribution to the development of domestic architecture of the 30-50s. XVIII introduced Pensioners, who studied the architectural business to the state account in Europe. Among them - M. G. Zemtsov, P. M. Eropkin, I. K. Korobov, I. A. Mortrein, I. F. Michurin. In St. Petersburg and Moscow, they were erected by churches, palaces, theaters, etc. The fate of most of them was difficult, but in some cases and tragic. So, with Anna Ioannovna was executed for participating in the "Volynsky case" the first Russian architecture theorist Peter Mikhailovich Eropkin (1698-1740).

In the middle of the XVIII century, Following Europe, the style of development in Russian art rococo (or Rocail -from fr. "sink"). For the architecture of this style was characterized by the manner and refined, elegant and complicated appearance. In the finishing of the premises, the motive of the ornament was often used in the form of a stylized shell. In the decor, carved and stucco patterns, curls, masks, amurists, etc. were widely used. In the decoration of the premises the picturesque panels, reliefs, mirrors, figurines were playing a major role. The objects of the situation were attacked by the curved forms. Bright, overflow tones prevailed.

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

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.
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* 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.