Showforum Russian classicism in architecture. Classic style in architecture

Classicism is an artistic and architectural style that dominated Europe in the 17th-19th centuries. The same term served as the name for the aesthetic direction. The objects created during this period were intended to serve as examples of the ideal, “correct” style.

Classicism is based on the ideas of rationalism and adheres to certain canons, therefore almost all projects implemented in the era of classicism are characterized by harmony and logic.

Classicism in architecture

Classicism replaced Rococo, which was subjected to public criticism for excessive complexity, pomposity, mannerism, excess of decorative elements. At the same time, European society increasingly began to turn to the ideas of enlightenment, which was expressed in all aspects of activity, including architecture. The architects' attention was attracted by the simplicity, conciseness, clarity, calm and rigor characteristic of ancient architecture, primarily Greek. In fact, classicism became a natural result of the development of Renaissance architecture and its transformation.

The goal of all objects created in the classicism style is the desire for simplicity, rigor, and at the same time, harmony and perfection - which is why medieval masters often turned to monumental ancient architectural forms. Classical architecture is characterized by regularity of layout and clarity of forms. The basis of this style was the order of ancient times, in particular spatial compositions, restraint of decoration, planning system, according to which the buildings were located on wide straight streets, proportions and strict geometric shapes.

The aesthetics of classicism were favorable for the creation of large-scale projects within entire cities. In Russia, many cities were replanned in accordance with the principles of classicist rationalism.

The tectonics of walls and vaults continued to influence the character of architecture. During the period of classicism, the vaults became flatter and a portico appeared. As for the walls, they began to be separated by cornices and pilasters. In the classic composition, following the composition of antiquity, symmetry prevails. Color range are predominantly light pastel shades, which serve to highlight architectural elements.

The most large-scale projects of the late 18th and first half of the 19th centuries are associated with classicism: new cities, parks, and resorts appear.

In the 20s of the 19th century, along with classicism, the eclectic style was popular, which at that time had a romantic overtones. In addition, classicism was diluted with elements of the Renaissance and (beaux-arts).

Development of classicism in the world

Classicism arose and developed under the influence of enlightenment progressive trends in social thought. The key ideas were the ideas of patriotism and citizenship, as well as the idea of ​​the value of the human person. In antiquity, supporters of classicism found an example of an ideal government structure and harmonious relations between man and nature. Antiquity is perceived as a free era, when the individual developed spiritually and physically. From the point of view of classicists, it was an ideal time in history without social contradictions and social conflicts. Cultural monuments also became role models.

Three stages in the development of classicism in the world can be distinguished:

• Early classicism (1760s - early 1780s).
• Strict classicism (mid-1780s - 1790s).
• Empire style

These periods are valid for both Europe and Russia, but Russian classicism can be considered a separate architectural movement. In fact, like European classicism, it became the opposite of Baroque and quickly supplanted it. In parallel with classicism, there were other architectural (and cultural) movements: rococo, pseudo-gothic, sentimentalism.

It all started with the accession of Catherine the Great. Classicism harmoniously fit into the framework of strengthening the cult of statehood, when the priority of public duty over personal feelings was proclaimed. A little later, the ideas of the Enlightenment were reflected in the theory of classicism, so that the “class classicism” of the 17th century was transformed into “enlightenment classicism.” As a result, architectural ensembles appeared in the centers of Russian cities, in particular St. Petersburg, Tver, Kostroma, and Yaroslavl.

Features of classicism

Classicism is characterized by a desire for clarity, certainty, unambiguity, and logical consistency. Monumental structures of rectangular shapes predominate.

Another feature and fundamental task was to imitate nature, harmonious and at the same time modern. Beauty was understood as something born of nature and at the same time surpassing it. She must portray truth and virtue and engage in moral education.

Architecture and art are intended to promote personal development so that man becomes enlightened and civilized. The stronger the connection between different types of arts, the more effective their action and the easier it is to achieve this goal.

Predominant colors: white, blue, as well as rich shades of green, pink, purple.

Following ancient architecture, classicism uses strict lines and smooth patterns; the elements are repeating and harmonious, and the shapes are clear and geometric. The main decorations are bas-reliefs in medallions, statues on roofs, rotundas. Antique ornaments were often present in the exterior. In general, the decor is restrained, without frills.

Representatives of classicism

Classicism has become one of the most widespread styles throughout the world. Throughout the entire period of its existence, many talented craftsmen, and it was created a large number of projects.

The main features of architectural classicism in Europe were formed thanks to the works of the Venetian master Palladio and his follower Scamozzi.

In Paris, one of the most influential architects of the classicism period was Jacques-Germain Soufflot - he was looking for optimal solutions for organizing space. Claude-Nicolas Ledoux anticipated many of the principles of modernism.

In general, the main features of classicism in France manifested themselves in such a style as the Empire style - the “imperial style”. This is the style of late classicism in architecture and art, which is also called high. It originated in France during the reign of Napoleon I and developed until the 30s of the 19th century. after which it was replaced by eclectic movements.

In Britain, the “Regency style” became the equivalent of the Empire style (in particular, a major contribution was made by John Nash). Inigo Jones, an architect, designer and artist, is considered one of the founders of the British architectural tradition.

Most characteristic interiors in the style of classicism were developed by the Scot Robert Adam. He tried to abandon parts that did not perform a constructive function.

In Germany, thanks to Leo von Klenze and Karl Friedrich Schinkel, public buildings in the spirit of the Parthenon appeared.

In Russia, Andrei Voronikhin and Andreyan Zakharov showed special skill.

Classicism in the interior

The requirements for an interior in the classicist style were actually the same as for architectural objects: monolithic structures, precise lines, conciseness and at the same time grace. The interior becomes lighter and more restrained, and the furniture becomes simpler and lighter. Egyptian, Greek or Roman motifs are often used.

Furniture from the Classical era was made from valuable types of wood; texture, which began to serve a decorative function, acquired great importance. Wooden carved inserts were often used as decoration. In general, the decor has become more restrained, but of higher quality and more expensive.

The shapes of objects are simplified, the lines become straight. In particular, the legs are straightened and the surfaces become simpler. Popular colors: mahogany plus light bronze finish. Chairs and armchairs are upholstered in fabrics with floral patterns.

Chandeliers and lamps are equipped with crystal pendants and are quite massive in design.

The interior also contains porcelain, mirrors in expensive frames, books, and paintings.

The colors of this style often have crisp, almost primal yellows, blues, and purples and greens, the latter being used with black and gray as well as bronze and silver embellishments. White color is popular. Colored varnishes (white, green) are often used in combination with light gilding of individual parts.

Currently, the classicism style can be successfully used both in spacious halls and in small rooms, but it is desirable that they have high ceilings - then this method of decoration will have a greater effect.

Fabrics may also be suitable for such an interior - as a rule, these are bright, rich varieties of textiles, including tapestries, taffeta and velvet.

Architecture examples

Consider the most significant works architects of the 18th century - this period marked the peak of the heyday of classicism as an architectural movement.

In Classical France, various public institutions were built, including business buildings, theaters, and commercial buildings. The largest building of those times was the Pantheon in Paris, created by Jacques-Germain Soufflot. Initially, the project was conceived as the Church of St. Genevieve, patroness of Paris, but in 1791 it was turned into the Pantheon - the burial place of great people of France. It became an example of architecture in the spirit of classicism. The Pantheon is a cruciform building with a grandiose dome and a drum surrounded by columns. The main facade is decorated with a portico with a pediment. The parts of the building are clearly demarcated; one can notice the transition from heavier to lighter forms. The interior is dominated by clear horizontal and vertical lines; the columns support the system of arches and vaults and at the same time create the perspective of the interior.

The Pantheon became a monument to enlightenment, reason and citizenship. Thus, the Pantheon became not only an architectural, but also an ideological embodiment of the era of classicism.

The 18th century was the heyday of English architecture. One of the most influential English architects of the time was Christopher Wren. His work combined functionality and aesthetics. He proposed his own plan for rebuilding downtown London when the fire of 1666 occurred; St. Paul's Cathedral also became one of his most ambitious projects, work on which lasted about 50 years.

St. Paul's Cathedral is located in the City - the business part of London - in one of the oldest areas, and is the largest Protestant temple. It has an elongated shape, like a Latin cross, but the main axis is located similar to the axes in Orthodox churches. The English clergy insisted that the building be based on a design typical of medieval churches in England. Wren himself wanted to create a structure closer to the forms of the Italian Renaissance.

The main attraction of the cathedral is its wooden dome covered with lead. Its lower part is surrounded by 32 Corinthian columns (height - 6 meters). At the top of the dome there is a lantern topped with a ball and a cross.

The portico, located on the western facade, has a height of 30 meters and is divided into two tiers with columns: six pairs of columns in the lower and four pairs in the upper. On the bas-relief you can see statues of the apostles Peter, Paul, James and the four evangelists. On the sides of the portico there are two bell towers: in the left tower there are 12, and in the right there is the “Great Floor” - the main bell of England (its weight is 16 tons) and a clock (the diameter of the dial is 15 meters). At the main entrance to the cathedral there is a monument to Anne, an English queen from a previous era. At her feet you can see allegorical figures of England, Ireland, France and America. The side doors are surrounded by five columns (which were not originally part of the architect's plan).

The scale of the cathedral is another distinctive feature: its length is almost 180 meters, the height from the floor to the dome inside the building is 68 meters, and the height of the cathedral with the cross is 120 meters.

The openwork grilles by Jean Tijou, made of wrought iron (late 17th century) and the carved wooden benches in the choir, which are considered the most valuable decoration of the cathedral, are still preserved.

As for the masters of Italy, one of them was the sculptor Antonio Canova. He performed his first works in the Rococo style. Then he began to study ancient literature and gradually became a supporter of classicism. The debut work was called Theseus and the Minotaur. The next work was the tombstone of Pope Clement XIV, which brought fame to the author and contributed to the establishment of the classicism style in sculpture. In more later works The master can be observed not only focusing on antiquity, but also the search for beauty and harmony with nature, ideal forms. Canova actively borrowed mythological stories, creating portraits and tombstones. Among his most famous works are the statue of Perseus, several portraits of Napoleon, a portrait of George Washington, and the tombstones of Popes Clement XIII and Clement XIV. Canova's customers included popes, kings and wealthy collectors. From 1810 he served as director of the Academy of St. Luke in Rome. IN last years life master built his own museum in Possagno.

In Russia, the era of classicism was created by many talented architects - both Russian and those who came from abroad. Many foreign architects who worked in Russia were only able to fully demonstrate their talent here. Among them are the Italians Giacomo Quarenghi and Antonio Rinaldi, the Frenchman Wallen-Delamot and the Scotsman Charles Cameron. All of them mainly worked at the court in St. Petersburg and its environs. According to the designs of Charles Cameron, the Agate Rooms, Cold Baths and Cameron Gallery were built in Tsarskoe Selo. He proposed a number of interior solutions in which he used artificial marble, glass with foil, faience, and precious stones. One of his most famous works - the palace and park in Pavlovsk - was an attempt to combine the harmony of nature with the harmony of creativity. The main facade of the palace is decorated with galleries, columns, a loggia and a dome in the center. At the same time, the English park begins with an organized palace part with alleys, paths and sculptures and gradually turns into the forest.

If at the beginning of a new architectural period While the still unfamiliar style was represented predominantly by foreign masters, by the middle of the century original Russian architects appeared, such as Bazhenov, Kazakov, Starov and others. The works show a balance of classic Western forms and fusion with nature. In Russia, classicism went through several stages of development; its heyday occurred during the reign of Catherine II, who supported the ideas of the French Enlightenment.

The Academy of Arts is reviving the tradition of training its best students abroad. Thanks to this, it became possible not only to master the traditions of architectural classics, but also to introduce Russian architects to foreign colleagues as equal partners.

This was a big step forward in the organization of systematic architectural education. Bazhenov got the opportunity to create Tsaritsyn’s buildings, as well as Pashkov’s house, which is still considered one of the most beautiful buildings in Moscow. Rational compositional solution combined with refined details. The building stands on the top of a hill, its façade faces the Kremlin and the embankment.

St. Petersburg was more fertile ground for the emergence of new architectural ideas, tasks and principles. At the beginning of the 19th century, Zakharov, Voronikhin and Thomas de Thomon implemented a number of significant projects. The most famous building of Andrei Voronikhin is the Kazan Cathedral, which some call a copy of St. Peter's Cathedral in Rome, but in its plan and composition it is an original work.

Another organizing center of St. Petersburg was the Admiralty of the architect Adrian Zakharov. The main avenues of the city tend towards it, and the spire becomes one of the most important vertical landmarks. Despite the colossal length of the Admiralty facade, Zakharov brilliantly coped with the task of its rhythmic organization, avoiding monotony and repetition. The Exchange building, which Thomas de Thomon built on the spit of Vasilievsky Island, can be considered a solution to a complex problem - preserving the design of the spit of Vasilievsky Island, and at the same time being combined with the ensembles of previous eras.

Classicism (from the Latin classicus – exemplary) – art style and the direction in the art of Europe in the 17th – 19th centuries. It is based on the ideas of rationalism, the main goal of which is to educate the public on the basis of a certain ideal, model, which is similar to. The culture of the ancient world served as such an example. The rules and canons of classicism were of paramount importance; they had to be observed by all artists working within the framework of this direction and style.

History of origin

As a movement, classicism embraced all types of art: painting, music, literature, architecture.

Classicism, the main goal of which is to educate the public on the basis of a certain ideal and compliance with all generally accepted canons, is completely opposite, which denied all the rules and was a rebellion against all artistic tradition in any direction.

In its development, classicism went through 3 stages:

1. Early classicism(1760s – early 1780s);
2. Strict classicism(1780s – 1790s);
3. Late classicism, called (the first 30 years of the 19th century).

The photo shows the Arc de Triomphe in Paris - a striking example of classicism.

Style features

Classicism is characterized by clear geometric shapes, high-quality materials, noble finishes and restraint. Majesty and harmony, grace and luxury - these are the main distinctive features of classicism. later displayed in minimalist interiors.

General style features:

• smooth walls with soft floral motifs;
• elements of antiquity: palaces and columns;
• stucco;
• exquisite parquet;
• fabric wallpaper on the walls;
• elegant, graceful furniture.

The peculiarities of the Russian classic style were calm rectangular shapes, restrained and at the same time varied decorative design, precise proportions, dignified appearance, harmony and taste.

Exterior

The external signs of classicist architecture are clearly expressed and can be identified at the first glance at the building.

• Designs: stable, massive, rectangular and arched. The compositions are clearly planned, strict symmetry is observed.
• Shapes: clear geometry, volume and monumentality; statues, columns, niches, rotunda, hemispheres, pediments, friezes.
• Lines: strict; regular planning system; bas-reliefs, medallions, smooth pattern.
• Materials: stone, brick, wood, stucco.
• Roof: complex, intricate shape.
• Predominant colors: rich white, green, pink, purple, sky blue, gold.
• Characteristic elements: restrained decor, columns, pilasters, antique ornaments, marble staircase, balconies.
• Window: semicircular, rectangular, elongated upward, modestly decorated.
• Doors: rectangular, paneled, often decorated with statues (lion, sphinx).
• Decor: carving, gilding, bronze, mother-of-pearl, inlay.

Interior

The interior of the premises of the classicism era contains nobility, restraint and harmony. However, all interior items do not look like museum exhibits, but only emphasize the subtle artistic taste and respectability of the owner.

The room has the correct shape, filled with an atmosphere of nobility, comfort, warmth, and exquisite luxury; not overloaded with details.

The central place in interior decoration is occupied by natural materials, mainly valuable types of wood, marble, stone, silk.

• Ceilings: light, tall, often multi-level, with stucco and ornaments.
• Walls: decorated with fabrics, light but not bright, pilasters and columns, stucco or painting are possible.
• Flooring: parquet made of valuable wood species (merbau, camsha, teak, jatoba) or marble.
• Lighting: chandeliers made of crystal, stone or expensive glass; gilded chandeliers with candle-shaped shades.
• Mandatory interior attributes: mirrors, fireplaces, cozy low armchairs, low tea tables, light handmade carpets, paintings with antique scenes, books, massive antique-style floor vases, tripod flower stands.

Antique motifs are often used in the decor of the room: meanders, festoons, laurel garlands, strings of pearls. Expensive textiles are used for decoration, including tapestries, taffeta and velvet.

Furniture

Furniture from the Classical era is distinguished by its quality and respectability, made of expensive materials, mainly valuable wood. It is noteworthy that the texture of wood acts not only as a material, but also as decorative element. Furniture items are made by hand, decorated with carvings, gilding, inlay, precious stones and metals. But the form is simple: strict lines, clear proportions. Dining room tables and chairs are made with elegant carved legs. Dishes - porcelain, thin, almost transparent, with a pattern, gilding. A secretary with a cubic body on high legs was considered one of the most important attributes of furniture.

Architecture

Classicism turned to the fundamentals of ancient architecture, using not only elements and motifs, but also patterns in design. The basis of the architectural language is the order with its strict symmetry, proportionality of the created composition, regularity of layout and clarity of volumetric form.

Classicism is the complete opposite with its pretentiousness and decorative excesses.

Unfortified palaces and garden and park ensembles were created, which became the basis of the French garden with its straightened alleys, trimmed lawns in the shape of cones and balls. Typical details of classicism are accented stairs, classic antique decor, a dome in public buildings.

Late classicism (Empire style) acquires military symbols (“Arc de Triomphe” in France). In Russia, St. Petersburg can be called the canon of the architectural style of classicism; in Europe, these are Helsinki, Warsaw, Dublin, Edinburgh.

Sculpture

In the era of classicism, public monuments embodying military valor and the wisdom of statesmen became widespread. Moreover, the main solution for the sculptors was the model of depicting famous figures in the image of ancient gods (for example, Suvorov - in the form of Mars). It has become popular among individuals to commission sculptors tombstones to perpetuate their names. In general, the sculptures of the era are characterized by calmness, restraint of gestures, dispassionate expressions, and purity of lines.

Fashion

Interest in antiquity in clothing began to manifest itself in the 80s of the 18th century. This was especially evident in the women's costume. A new ideal of beauty emerged in Europe, one that celebrated natural forms and the beautiful feminine lines. The finest smooth fabrics of light colors, especially white, came into fashion.

Women's dresses lost frames, padding and petticoats and took the form of long, pleated tunics, cut at the sides and tied with a belt under the bust. They wore skin-colored tights. Sandals with ribbons served as shoes. Hairstyles have been copied from antiquity. Powder still remains in fashion, with which the face, hands, and décolleté were covered.

Accessories included either muslin turbans decorated with feathers, Turkish scarves or Kashmiri shawls.

From the beginning of the 19th century, ceremonial dresses began to be sewn with trains and a deep neckline. And in casual dresses The neckline was covered with a lace scarf. The hairstyle gradually changes, and the powder goes out of use. Fashion includes short-cropped hair, curled into curls, tied with a gold ribbon or decorated with a crown of flowers.

Men's fashion developed under the influence of the British. English cloth tailcoat, redingote ( outerwear, reminiscent of a frock coat), frill and cuffs. It was in the era of classicism that men's ties came into fashion.

Art

In painting, classicism is also characterized by restraint and severity. The main elements of form are line and light and shade. Local color emphasizes the plasticity of objects and figures and divides the spatial plan of the picture. The greatest master of the 17th century. – Lorraine Claude, famous for his “ideal landscapes.” Civic pathos and lyricism combined in “ decorative landscapes"by the French painter Jacques Louis David (XVIII century). Among Russian artists one can single out Karl Bryullov, who combined classicism with (19th century).

Classicism in music is associated with such great names as Mozart, Beethoven and Haydn, who determined the further development of musical art.

Literature

The literature of the classic era promoted reason conquering feelings. The conflict between duty and passion is the basis of the plot of a literary work. Language reforms were carried out in many countries and the foundations of poetic art were laid. Leading representatives of the direction are Francois Malherbe, Corneille, Racine. Main compositional principle works are a unity of time, place and action.

In Russia, classicism develops under the auspices of the Enlightenment, the main ideas of which were equality and justice. The brightest representative of the literature of the era of Russian classicism is M. Lomonosov, who laid the foundations of versification. The main genre was comedy and satire. Fonvizin and Kantemir worked in this direction.

The "Golden Age" is considered the era of classicism for theatrical arts, which developed very dynamically and improved. The theater was quite professional, and the actor on stage did not just act, but lived, experienced, while remaining himself. The theatrical style was proclaimed the art of declamation.

Personalities

Among the brightest classicists one can also highlight such names as:

• Jacques-Ange Gabriel, Piranesi, Jacques-Germain Soufflot, Bazhenov, Carl Rossi, Andrey Voronikhin, (architecture);
• Antonio Canova, Thorvaldsen, Fedot Shubin, Boris Orlovsky, Mikhail Kozlovsky (sculpture);
• Nicolas Poussin, Lebrun, Ingres (painting);
• Voltaire, Samuel Johnson, Derzhavin, Sumarokov, Khemnitser (literature).

Video review of classicism

Conclusion

Ideas from the era of classicism are successfully used in modern design. It retains nobility and elegance, beauty and grandeur. The main features are wall paintings, drapery, stucco, furniture made of natural wood. There are few decorations, but they are all luxurious: mirrors, paintings, massive chandeliers. In general, the style still characterizes the owner as a respectable, far from poor person.

Later, another appears, which marked the arrival of a new era - this. became a combination of several modern styles, which include not only classical, but also baroque (in painting), ancient culture, and the Renaissance.

Russian classicism in literature, music, architecture

Russian classicism in literature

Classicism became the leading trend in Russian literature in the 18th century and is associated with the names of A. Sumarokov, D. Fonvizin. Classicism is characterized by the following genre forms: ode, tragedy, poem, comedy, poetic satire, fable, elegy. Classicism, like literary direction, originated in Italy in the middle of the 16th century. In the 17th century, it received full artistic expression in France in the works of Corneille, Racine, Moliere, and La Fontaine.

In general, European classicism is inextricably linked with the era of absolutism. The uniqueness of Russian classicism lies in the fact that it developed in the era of its formation national statehood. This seriously affected literature, which became the most important means of promoting the ideas of citizenship.

Antioch Cantemir (1708-1744) is considered the first representative of Russian classicism in literature. He became the founder of satire in Russia and the predecessor of A. S. Griboyedov, N. V. Gogol. Defending Peter's reforms, Cantemir opposed the reactionary nobility and clergy.

Another representative of classicism in Russian literature is (1703-1768). He was the first Russian professor and completed his education at the Sorbonne. Trediakovsky wrote poems, odes, tragedies, fables, and elegies. One of his main achievements was the reform of versification. Belinsky called M.V. Lomonosov (1711-1765) “Peter the Great of our literature.” This extraordinary man showed himself in various fields scientific knowledge. At the same time, Lomonosov was a poet and philologist. He completed the reform of versification, laid the foundation for the formation of the Russian literary language and created the genre of the Russian ode.

A.P. Sumarokov (1718-1777) set as his task the education noble class, the affirmation of civil ideals in it. He wrote mostly tragedies. The listed writers belong to the first period of development of Russian classicism (30-50s of the 18th century). Their work is united by the desire to solve national problems: the development of education and science, the creation of literature and a national language.

The second period of the development of classicism in Russian literature occurs at the end of the 18th century and is associated with the names of D. I. Fonvizin, G. R. Derzhavin, Ya. B. Knyazhnin and others. D. I. Fonvizin (1745-1792) became famous for two comedies: "The Brigadier" and "The Minor". In his work, he turned to the negative aspects of Russian life and subjected them to sharp criticism. The largest representative high poetry was G. R. Derzhavin (1743-1816). He worked in a wide variety of genres, but the most famous were his odes, combining lyrics with satire.

Ya. B. Knyazhnin (1742-1791) became famous for his comedies and the tragedy "Vadim Novgorodsky", in which the heroic image of a citizen is proclaimed. On the whole, the second stage is characterized by civic motives that acquire a social connotation and a critical perception of Russian reality. The third stage in the development of Russian classicism in literature occupies the first third of the 19th century. It is associated with the names of A. S. Shishkov, A. S. Shirinsky-Shikhmatov, A. N. Gruzintsev. During this period, classicism begins to be replaced by romanticism. Heavy odes and tragedies look outdated and do not meet the requirements of the times.

Russian classicism in architecture

In the history of Russian architecture, the period of classicism dates back to 1760-1820. In this area of ​​art, such signs of classicism as the cult of reason and ideal order and worship of ancient models were very clearly manifested. Classicism in architecture became a logical stage in the completion of the era of Peter's reforms and the rejection of the plastic redundancy of the Baroque.

The transition to classicism in architecture was based on the state structure of the Russian Empire, in which "enlightened absolutism" was proclaimed. Great importance had two state acts of Catherine II. The reform of the administrative structure marked the beginning of city self-government. This led to the emergence of new types of public buildings: courts, treasuries, noble and merchant meetings, etc.

A decree of 1763 provided for the preparation of “special plans” for urban development. The chaotic development of cities was replaced by clear planning. The flourishing of Russian culture led to the mass construction of theaters, museums, and libraries. Characteristic feature Russian architecture was that the customer of large-scale construction was always the state. All drawings of the era invariably contain the inscription of the emperor (empress): “Be it so.” The construction of palaces, estates, and museums is often carried out according to personal orders of the imperial family. The initiators of the construction of outstanding architectural monuments were also often wealthy nobles: the Yusupovs, Golitsyns, Sheremetevs. Medium and small landowners could not use the services of famous architects. Nevertheless, in arranging their estates, they imitated general style era.

Merchants and industrialists in construction are also inclined towards classicism, thanks to the common sense and direct calculation. The architecture of Russian classicism sets new system values. "Enlightened monarchy" is identified with dignity and order. “Noble simplicity” rises to the same level as pomp and magnificence. Successes of the Russian army at the end of the 18th - beginning of the 19th centuries. lead to the fact that architecture invariably contains military subjects designed to emphasize the importance of military valor.

Thanks to the development of education in Russia, enormous interest in ancient history. Art Ancient Greece And Ancient Rome becomes a role model, which inevitably finds expression in Russian architecture. Antiquity evokes admiration among both inveterate serf owners and representatives of the educated nobility. In the development of classicism architecture in Russia, three periods are distinguished: “early”, “strict” and “high” classicism. The early period is characterized by the preservation of the influence of the Baroque style, which is steadily declining. This period falls on the reign of Catherine II and is associated with the names of Rinaldi, V. Bazhenov, D. Quarenghi, M. Kazakov and others.

The first third of the 19th century is a period of “strict” classicism, which is often called the term “Empire”. Russian architecture is guided by French models. It is designed to fully emphasize the power of the Russian Empire. Among the architects of this period, K. Rossi, A. Zakharov, A. Voronikhin and others stand out. The second third of the 19th century is “late” or “Nicholas” classicism, which is characterized by official or “government” buildings. This period is represented by the names of V. Beretti, A. Melnikov and others.

Russian classicism in painting

In the 18th century, the nature of Russian painting changed significantly. In the Middle Ages it was completely under the influence of the church. Artists were obliged to depict only God and saints. In general, iconography dominated. The Age of Enlightenment freed painters from this and turned their attention to man. Portrait painting is beginning to become very popular.

In the spirit of classicism, the so-called ceremonial and allegorical portraits. The first are characterized by the image of a man in a proud pose, reflecting his greatness (portrait of A. B. Kurakin, artist V. L. Borovikovsky). In the allegorical portrait, a person appeared in the image of an ancient deity or hero. The most striking example is the legislator,” in which the empress is depicted in the image of the goddess of justice Themis.

The borrowing of European achievements, begun by Peter, allowed Russian artists to turn to new genres (landscape, still life) and master new techniques: chiaroscuro, linear and aerial perspective, oil painting. Classicism left its most noticeable trace in Russian historical painting. Artists took subjects for paintings from ancient history and mythology, which was considered a role model.

One of the most striking examples is the painting by A.P. Losenko “Hector’s Farewell to Andromache.” The scene was not chosen by chance: Hector appears as a true citizen and patriot, for whom the public good comes first. One of the outstanding artists of the era of classicism was I. N. Nikitin (1690-1742), who was the first to turn to portrait painting. The most famous work master - a portrait of Chancellor G. I. Golovkin. It belongs to him famous painting"Peter I on his deathbed."

(1716-1795) is known for two ceremonial portraits of Peter III. A. P. Losenko (1737-1773) is considered the founder of Russian historical painting. His most famous paintings are “Vladimir and Rogneda” (for this painting the artist received the title of professor at the Academy of Arts) and “Hector’s Farewell to Andromache.”

Russian classicism in music

Russian music remained dependent on the church longer than other art movements. Until the end of the 18th century, church music remained the only form of creativity of Russian composers. At the same time, foreign musicians coming to Russia did not pay any attention to the established national musical traditions. This led to the fact that Russian music was "late" in the transition to classicism.

During the formation of the national composer school ( last third XVIII century) classicism is already beginning to lose its position in art. Therefore, in Russian music, classicism did not become the dominant trend; there was mixing and mutual influence. various styles. The most famous Russian composers of this era include D. S. Bortyansky, V. A. Pashkevich, E. I. Fomin, in whose work elements of classical imagery are noticeable.

Fomin's "Orpheus" has become a unique work in which classicism is combined with pre-romantic and sentimentalist elements. Bortyansky's music contains the harmony, completeness and balance of form inherent in classicism. But at the same time, classical severity is organically combined with romantic passion and sensitive tones, akin to sentimentalism.

Russian music of the late 18th century was generally at the level of "early" music. European classicism. At this time, symphonism was already dominant in Europe as the leading method of artistic generalization in music. Russian composers were just beginning to master this method. main feature creativity of Russian composers second half of the XVIII century - preservation national characteristics with active perception of European norms of musical thinking.

The most important achievement This period saw the formation of the Russian school of composition, which manifested itself in opera, monumental choral music and chamber genres.

• The invasion of classicism into architecture is clearly illustrated by the failure of the famous architect Rastrelli. In 1757 he designed Gostiny Dvor in St. Petersburg in the Baroque style. But the construction, at the request of the merchants, was completed in the spirit of “simpler” (i.e., cheaper) classicism according to the project of J.-B. Wallen-Delamotte.
• The window to Europe “cut” by Peter I could not limit the traditional unlimited nature of tsarist power.
• Considered the main artist of Russia, I. N. Nikitin in 1732 was accused by denunciation of “malicious intentions” against F. Prokopovich. Together with his brother, he spent five years in Peter and Paul Fortress and then was exiled to Tobolsk.
• One of the outstanding Russian architects of classicism, V. I. Bazhenov, was awarded a business trip abroad for his successes. In France, his talent was appreciated: Louis XV invited Bazhenov to become an architect of the French court. The architect refused, explaining this with one phrase: "I can't live without a homeland."

Classicism gave the world the architecture of such cities as London, Paris, Venice and St. Petersburg. Classicism in architecture dominated for more than three hundred years, from the 16th to the 19th centuries, and it was loved for its harmony, simplicity, rigor and, at the same time, grace. Referring to the forms of ancient architecture, classicism in architecture is characterized by clear volumetric forms, symmetrical axial compositions, straight monumentality and a spacious city planning system.

The origin of classicism in architecture, Italy

Classicism in architecture arose at the end of the Renaissance, in the 16th century, and the great Italian and Venetian architect Andrea Palladio is considered to be the father of this architectural style. As the writer Peter Vail said about Palladio in his book The Genius of Place:

“Without going into architectural details, the easiest way is to conjure up Grand Theatre or the district House of Culture - they are such thanks to Palladio. And if you were to make a list of people whose efforts the world - at least the world of the Hellenic-Christian tradition from California to Sakhalin - looks like it looks, and not otherwise, Palladio would take first place.

The city where Andrea Palladio lived and worked is Italian Vicenza, located in northeastern Italy near Venice. Now Vicenza is widely known in the world as the city of Palladio, who created many beautiful villas. In the second half of his life, the architect moved to Venice, where he designed and built remarkable churches, palazzos and other public buildings. Andrea Palladio was awarded the title of "the most prominent citizen of Venice".

Cathedral of San Giorgio Mangiore, Andrea Palladio

Villa Rotunda by Andrea Palladio

Loggia del Capagno, Andrea Palladio

Teatro Olimpico, Andrea Palladio and Vincenzo Scamozzi

Andrea Palladio's follower was his talented student Vincenzo Scamozzi, who, after the death of his teacher, completed work on the Teatro Olimpico.

Palladio's works and ideas in the field of architecture were loved by his contemporaries and were continued in the works of other architects of the 16th and 17th centuries. The architecture of classicism received the most powerful impetus in its development from England, Italy, France and Russia.

Further development of classicism

Classicism in England

Classicism literally swept into England, becoming royal architectural style. A whole galaxy of the most talented architects in England of those times studied and continued the ideas of Palladio: Inigo Jones, Christopher Wren, Earl of Burlington, William Kent.

The English architect Inigo Jones, an admirer of the works of Andrea Palladio, moved architectural heritage Palladio to England. It is believed that Jones was one of the architects who laid the foundation for the English school of architecture.

Queens House, Greenwich, Inigo Jones

Banquet House, Inigo Jones

England was rich in architects who continued classicism - along with Jones, such masters as Christopher Wren, Lord Burlington and William Kent made a huge contribution to the architecture of England.

Sir Christopher Wren, an architect and professor of mathematics at Oxford, who rebuilt central London after the great fire of 1666, created the national English classicism "Wren classicism".

Royal Chelsea Hospital, Christopher Wren

Richard Boyle, Earl Architect of Burlington, philanthropist and patron of architects, poets and composers. The count-architect studied and collected the manuscripts of Andrea Palladio.

Burlington House, Earl Architect of Burlington

The English architect and gardener William Kent collaborated with the Earl of Burlington, for whom he designed gardens and furniture. In gardening he created the principle of harmony of form, landscape and nature.

palace complex in Golkhem

Classicism in French architecture

In France, classicism has been the dominant style since the Great french revolution, when the desire for brevity arises in architecture.

It is believed that the beginning of classicism in France was laid by the construction of the church of Saint Genevieve in Paris. , designed by French self-taught architect Jacques Germain Soufflot in 1756, later called the Pantheon.

Temple of Saint Genevieve in Paris (Pantheon), Jacques Germain Soufflot

Classicism brought serious changes to the planning system of the city; winding medieval streets were replaced by majestic, spacious avenues and squares, at the intersection of which architectural monuments were placed. At the end of the 18th century, a unified urban planning concept appeared in Paris. An example of a new urban planning concept of classicism was Rivoli Street in Paris.

Rue de Rivoli in Paris

Architects imperial palace, prominent representatives architectural classicism in France - Charles Percier and Pierre Fontaine. Together they created a number of majestic architectural monuments - the Arc de Triomphe on Carruzel Square in honor of Napoleon's victory in the battle of Austerlitz. They own the construction of one of the wings of the Louvre, the Marchand Pavilion. Charles Percier participated in the restoration of the Compiègne Palace, created the interiors of Malmaison, Saint-Cloud Castle and Fontainebleau Palace.

Arc de Triomphe in honor of Napoleon's victory at the Battle of Autherlitz, Charles Percier and Pierre Fontaine

Wing of the Louvre, Marchand Pavilion, Charles Percier and Pierre Fontaine

Classicism in Russia

In 1780, at the invitation of Catherine II, Giacomo Quaregi arrived in St. Petersburg as “Her Majesty’s Architect.” Giacomo himself was from Bergamo, Italy, studied architecture and painting, his teacher was the largest German painter of the classic era, Anton Raphael Mengs.

Quarenghi is the author of several dozen beautiful buildings in St. Petersburg and its environs, including the English Palace in Peterhof, the pavilion in Tsarskoe Selo, the building of the Hermitage Theater, the Academy of Sciences, the Assignation Bank, the summer palace of Count Bezborodko, the Horse Guards Manege, the Catherine Institute of Noble Maidens and a lot others.

Alexander Palace, Giacomo Quarenghi

The most famous projects of Giacomo Quarenghi are the buildings of the Smolny Institute in St. Petersburg and the Alexander Palace in Tsarskoe Selo.

Smolny Institute, Giacomo Quarenghi

An admirer of the traditions of the Palladian and new Italian schools of architecture, Quarenghi designed surprisingly elegant, noble and harmonious buildings. The city of St. Petersburg owes its beauty largely to the talent of Giacomo Quarega.

Russia of the 18th and 19th centuries was rich in talented architects who worked in the style of classicism along with Giacomo Quarenghi. In Moscow, the most famous masters of architecture were Vasily Bazhenov and Matvey Kazakov, and Ivan Starov in St. Petersburg.

The artist and architect, teacher, Vasily Bazhenov, a graduate of the Academy of Arts and a student of the French professor of architecture Charles Devayi, created designs for Tsaritsinsky palace and park ensemble and the Grand Kremlin Palace, which remained unrealized, since the architect fell out of favor with Catherine II. The facilities were completed by M. Kazakov.

Plan of the architectural ensemble of Tsaritsino, Vasily Bazhenov

Russian architect Matvey Kazakov during the reign of Catherine the Great worked in the center of Moscow in the Palladian style. His work belongs to such architectural ensembles as the Senate Palace in the Kremlin, the Petrovsky Travel Palace, the Grand Tsaritsy Palace.

Petrovsky Travel Palace, Matvey Kazakov

Tsaritsin Palace, Vasily Bazhenov and Matvey Kazakov

Academician of the St. Petersburg Academy of Sciences Ivan Starov is the author of such architectural structures as the Trinity Cathedral in the Alexander Nevsky Lavra, St. Sophia Cathedral near Tsarskoye Selo, the Pellinsky Palace, the Tauride Palace and other beautiful buildings.

MASTERPIECES OF CLASSICISM IN RUSSIAN ARCHITECTURE

Russian classicism is one of the brightest pages in the history of world architecture. It went through several stages in its development and reached unprecedented prosperity during the reign of Catherine II (1762-1796). Russia, which quite recently adopted the European artistic language, turned out to be a country especially rich in talented architects.

"Architectural Theater" of Moscow: V. I. Bazhenov and M. F. Kazakov

Although “old Moscow faded before the new capital” (A.S. Pushkin), it was here that many architectural masterpieces of global significance. The main one is Pashkov house- belongs to the great Russian architect Vasily Ivanovich Bazhenov(1737/38-1799). This marvelous white palace, rising on a hill as if on a pedestal, is still a true decoration of Moscow today. IN general composition ensemble, the hand is easily guessed great master, endowed with an excellent knowledge of the traditions of Western European architecture, an unmistakable sense of proportions, exquisite detail finishing, and the ability to organically connect the building with the surrounding nature.

IN AND. Bazhenov. Pashkov house. 1784 - 1788 Moscow

The entrance to the courtyard of the estate led through the arch of the front entrance gate. From the outer façade of the building there was a staircase, at the foot of which a regular park was laid out, fenced with a beautiful wrought-iron fence with lanterns on poles (at present only part of the lattice has been preserved). Rare birds walked in the garden, decorated with gazebos, fountains and sculptures. Exotic fish and snow-white swans swam in the blue mirrors of the ponds. The main house is magnificent with two low wings, emphasizing the length of the ensemble and its openness towards the Kremlin. The lower part of the building is decorated with rustication. It protrudes forward and serves as a support for the Ionic columns of the portico and two statues located at the edges at the level of the second floor windows. Against the background of the rusticated wall, the arches of the window openings, decorated with stucco garlands and lion masks, are smoothly repeated. They form a kind of arched gallery and emphasize the overall rhythm of the building. Pilasters located on the two main floors convey an upward direction to the walls.

The visual effect is designed in such a way that the gaze certainly slides upward, towards belvedere(Italian belvedere - beautiful view) - a round superstructure in the form of a pavilion or gazebo. Before the fire in 1812, it was crowned with a statue of the goddess Minerva. Antique vases on the balustrade add lightness and grace to the building. The festive elegance and beauty of the building was achieved not by an abundance of decorations, but by the proportionality of parts, the severity of proportions and the integrity of the author's plan.

IN AND. Bazhenov. Palace ensemble in Tsaritsino. 1775 -1785 Moscow

All his life V.I. Bazhenov dreamed of building structures “to glory” great empire, to the honor of his century, to the unparalleled memory of future times, to the decoration of the capital city, to the joy and pleasure of his people.” But, unfortunately, many of his plans were not destined to come true. The fantastic plan for rebuilding the Kremlin remained only in drawings on paper and in a wooden model. Catherine II did not like the construction of the palace ensemble in Tsaritsino, which took ten whole years! By her order, construction was prohibited: the erected buildings had to be immediately demolished. Having fallen into disgrace, Bazhenov left Moscow and settled in St. Petersburg. Paul I, a longtime admirer and patron of the architect, upon ascending the throne, gave Bazhenov the high rank of actual state councilor, and a month later donated a thousand souls of peasants. But the royal mercy came too late...

Creation Matvey Fedorovich Kazakov(1738-1812) is firmly associated with the classical architecture of Moscow. Over the fifty years of his activity, he significantly changed the appearance of the ancient capital. Here he created something more than dozens of palaces, public buildings, temples and houses... He managed not only not to disturb the “nature” of the city, but also to enter into a brilliant dialogue with architectural structures old Moscow.

His name did not immediately shine on the architectural Olympus. He was a student of the famous Moscow architect D.V. Ukhtomsky (1719-1774). Unlike V.I. Bazhenov, who studied in Italy and France, Kazakov was educated at the St. Petersburg Academy of Arts. In his work, he always focused on Russian architectural traditions.

In 1768, fate brought two wonderful architects together. They were tasked with creating the “most glorious building in the world” of the Grand Kremlin Palace. Despite the unfinished work, Kazakov, Bazhenov’s first assistant, went through an excellent school of architectural creativity. In 1763-1767 under his leadership the Travel Palace was erected in Tver. From that time on, his entire future fate was connected with Moscow.

Architectural talent M.F. Kazakov was fully manifested in the creation of entertainment buildings on the Khodynskoye field (1775). Empress Catherine II was quite pleased and granted Kazakov the rank of architect. Extant graphic drawings, executed with exceptional skill, are considered one of the highest achievements of the great architect. Since then, a flood of orders literally poured into him in Moscow.

M.F. Kazakov. Petrovsky Palace. 1775 - 1782 Moscow

Petrovsky Palace(1775-1782; now the N.E. Zhukovsky Air Force Engineering Academy) - one of the most significant creations of M.F. Kazakova. The ensemble of the palace is unusual and original. Front yard closed with one-story service buildings, interrupted by eight towers (four on each side). Classical motifs are combined with traditional old Russian motifs (barrel-shaped pillars, lancet arches and windows, hanging weights, intricate architraves). The red brick walls are covered with an intricate pattern of white stone decorations. The architectural appearance of the palace also contains Gothic and Naryshkin baroque.

A year later M.F. Kazakov was already thinking about the building project Senate in the Kremlin. He immediately rejected its total restructuring, wanting only to “renew it with fresh colors.” A striking sense of proportion and scale is inherent in the triangular building, decorated with a huge rotunda dome. It seems that the spirit of Antiquity and the classical “laws” have come to life in him pure reason" Kazakov managed to breathe life into the “silent mass of cold stones.” The centers of the facades were skillfully decorated with Doric columns and pilasters.

M.F. Kazakov. Senate building in the Moscow Kremlin. 1783

The severity and simplicity of the external appearance of the Senate contrasted with the magnificent interior of the Round Hall, which contemporaries rightly called the “Russian Pantheon”. Its decoration is especially elegant and perfect. Along the walls there is a solemn row of Corinthian columns; relief panels are placed in the spaces between the columns. The high dome (diameter 24.7 m) is richly decorated with caissons.

Catherine II, who entered under its majestic arches, could not contain her delight.

TO greatest creations M.F. Kazakov owns the building of the “home of science” - Moscow University (1786-1793), the building of the Noble Assembly (1784-90s of the 18th century, now the Hall of Columns), the Golitsyn Hospital (1796-1801, now the First City Hospital) and others structures. In addition, he left us his priceless albums of drawings of all the main Moscow buildings. Looking at them today, it’s as if we are taking a trip through the old streets of Moscow, admiring the creations of his brilliant imagination. And the feelings that filled the artist’s soul when he received the news of a fire in Moscow in 1812 become clear. It was received by M.F. Kazakov as a national tragedy, a catastrophe of unprecedented scale, the collapse of all plans and plans. There was only death ahead...

“Strict, slender look” of St. Petersburg

From the beginning of the 18th century. Petersburg became the center of classical architecture - new capital Russian state.

The whole city is in smooth turns,

And only emphasizes the distance

In avenues, arches and gates

Classic vertical.

And all the palaces, fences, buildings,

And these lions and this horse

Visible, as if for admiration

Placed on the palm.

And the waters flow smoothly

To the gray city granites -

Nature's Great Designs

To the great plans of men...

D. Samoilov."Above the Neva"

The architectural appearance of St. Petersburg was formed thanks to the creations of remarkable masters: Zh.B. Leblona (1679-1719; development of Vasilyevsky Island), D. Trezzini (1670-1734; ensemble of the Peter and Paul Fortress and the building of the Twelve Colleges), A. Rinaldi (1710-1794; Marble Palace), I.E. Starova (1745-1808; Tauride Palace), D. Quarenghi (1744-1817; Hermitage Theater, building of the Academy of Sciences, Smolny Institute of Noble Maidens).

An excellent addition were architectural creations in the spirit of classicism in the suburbs of St. Petersburg: “Chinese Palace” by A. Rinaldi in Oranienbaum, Gatchina Palace by N.A. Lvov (1751 -1803/04), the Alexander Palace in Tsarskoe Selo by D. Quarenghi, the Cameron Gallery in Tsarskoe Selo and the palace in Pavlovsk by Charles Cameron (40s of the 18th century - 1812).

Carl Rossi. Alexandrinsky Theater. 1828 - 1832 Saint Petersburg

Outstanding creations of classicism include buildings from the early 19th century: the Admiralty building A.D. Zakharov (1761-1811), the first Russian stock exchange of Thomas de Thomon (1760-1813), Kazan Cathedral and the building of the Mining Institute A.N. Voronikhin (1759-1814), Mikhailovsky Palace, Alexandrinsky Theater, ministries buildings and the arches of the General Staff on Palace Square K.I. Rossi (1775-1849), Saint Isaac's Cathedral O. Montferrand (1786-1858).

It is impossible to talk about each of these ingenious creations, and therefore we will turn to only a few of them.

Domenico Trezzini. The building of the Twelve Colleges. 1722 - 1734 Saint Petersburg

Building of the Twelve Colleges(1722-1734; now St. Petersburg University) created by a famous architect Domenico Trezzini. Twelve three-story buildings, united into one architectural ensemble, emphasize the idea of ​​unity and consistency of actions of the most important administrative services of the Russian state. Peter I, on whose initiative this ensemble was erected, demanded that its twelve buildings “on the outside all be equal in length and height.” Trezzini strictly followed this instruction: twelve buildings of the same type form a single wall more than half a kilometer long, covered with a jagged hipped roof. Only double pilasters at the junctions of buildings clearly define their boundaries.

Each collegium had a length of nine windows, its central part had three windows - risalit- protrudes somewhat forward, thus breaking the impression of monotony and monotony of the long facade. Each of the risalits has a main entrance, over which, at the level of the second floor, hangs a balcony with a beautiful wrought-iron lattice. The risalit is decorated with an elegant pediment, in the middle of which there is a stucco image of the emblem of the college. On the sides lay stone symbolic figures.

In the architectural appearance of the building one can feel the rationality of the layout, the severity of proportions, and the spirit of efficiency and economy prevails throughout. Despite the fact that in general the building is clearly oriented toward Western European classical architecture, it also preserves Russian traditions. The white details of the window frames against the red brick background of the facade are reminiscent of the white stone carvings of the ancient capital of Moscow.

HELL. Zakharov. Admiralty. 1806 - 1823 Saint Petersburg

One of the main attractions business card Petersburg became a building Admiralty, to which three main highways of the city led. It was created on the instructions of Peter I by the Russian architect I.K. Korobov. Peter I's dream that “all the flags will come to visit us” soon became a reality: ships “...from all corners of the earth to rich piers” strove.

TO early XIX V. The Admiralty building was dilapidated and required major reconstruction. In 1805 Andreyan Dmitrievich Zakharov was appointed chief architect of the Admiralty. He saw his tasks in carefully preserving the original structure of the building, in developing and refining the plan architectural complex, bringing it into a coherent system, in a unified external design. Zakharov preserved two U-shaped buildings, between which the canal from the Neva once ran.

The main facade, 406 m long (!), had a small height - 16 m. How, in this case, can one avoid monotony and monotony? Zakharov breaks the facade into five parts. Its center remains the tower with the gilded spire of the “Admiralty Needle”, rising to a height of 72 m. The ship crowning the spire has become a kind of symbol of the city - the capital of a maritime power. The first tier of the tower is a monolithic cube that serves as the basis for a light and elegant colonnade. The main entrance was through the central tower; it was designed in the form of a triumphal arch in honor of the Russian fleet.

On both sides of the central tower there are two twelve-column porticos, maintained in a calm Doric style. They are echoed by additional projections - risalits, decorated with six columns. Thus, the strict surface of the walls, combined with the colonnades, forms a single rhythm of the facade. Zakharov decorates the part of the building facing the Neva with two pavilions. In front of one of them lions are dozing - the personification of strength and power, in front of the other lie antique amphorae - a symbol eternal beauty and harmony.

F.F. Shchedrin. Sea nymphs on the Admiralty building. 1812 - 1813 Saint Petersburg

HELL. Zakharov carefully thought out the sculptural decorations of the entire architectural complex. They were also intended to enliven the overall appearance of the monumental building. The best sculptors of the time were brought in for these purposes. F.F. Shchedrin(1751-1825) sculpted two groups of sea nymphs supporting the celestial sphere - a symbol of Russian navigation, which covered all the oceans of the Earth. He also created 450 allegorical masks over the windows. I.I. Terebnev (1780-1815) decorated the building with two flying figures of Glory with crossed banners, overshadowing the ships of the Russian fleet. He owns an allegorical panel depicting Neptune handing over a trident to Peter I - a symbol of dominion over the seas. In general, all sculptural decorations were intended to glorify the maritime power of Russia.

Overcoming the winds of villainy

And the blizzard swirls in the darkness,

Above the city Admiralty

The immortal needle was lit.

So that in the thunder of cannon strikes

Ships entered the Neva

Directed by Andreyan Zakharov

Lighthouse of the Fatherland.

And this sword has a sharp flame,

Breaking through the damp fog of the swamps,

Elongated stone facade

Lifted into a daring flight.

V. Rozhdestvensky

Kazan Cathedral- one of the most grandiose in design and magnificent in execution structures Andrey Nikiforovich Voronikhin. This wonderful building, which became the architect’s life’s work, is still a decoration of St. Petersburg.

A.N. Voronikhin was forty years old when Paul I decided to build a cathedral in honor of the famous icon of Our Lady of Kazan. The Emperor wished that new temple resembled St. Peter's Basilica in Rome as closely as possible. A prerequisite was the construction of a colonnade in front of the building's façade. Having won the design competition, Voronikhin did not intend to mechanically transfer the Italian creation to the banks of the Neva. His original plan was distinguished by the courage of his decision and the accuracy of his scientific calculations.

The proportions of the central portico of the main building, decorated with six Corinthian columns and a huge triangular pediment, are ideally harmonious and light. The high dome (diameter - 17 m) is ideally proportioned to the scale and proportions of the entire building. It does not suppress, but solemnly crowns the drum, cut through by elongated and narrow windows. During the construction of the dome, metal structures made of iron and cast iron were used for the first time in construction.

A.N. Voronikhin. Kazan Cathedral. 1801 1811 Saint Petersburg

The main decoration of the cathedral is a colonnade of 144 columns arranged in four rows. It naturally turns into a wide square, merging with the main thoroughfare of St. Petersburg - Nevsky Prospekt. The measured and restrained rhythm of the colonnade on both sides ends with wide passages (about 7 m), reminiscent of ancient triumphal arches. Contemporaries doubted whether the columns could withstand the weight of the massive vault, but their fears were in vain. Voronikhin’s brilliant project was impeccable not only from an artistic but also from a technical point of view.

The feeling of solemnity and harmony is not only preserved, but also intensified inside the building. Slender rows of paired columns, carved from monolithic blocks of pink granite, divide the spaces of the three naves. Despite the stinginess of the decorative interior decoration, the walls, columns and high arches of the cathedral shine and shimmer with polished granite, marble and gilded bronze.

Unfortunately, A.N. Voronikhin was not able to complete the construction of the cathedral, but what he managed to do testifies to the outstanding abilities of the great master.

At the end of the first third of the 19th century. the system of architectural views of classicism begins to change rapidly. Artistic ideals, which seemed unshakable just recently, are being questioned and causing skepticism. In the article "On the architecture of the present time" (1834) N.V. Gogol wrote: “They began to give all city buildings a completely flat, simple form. They tried to make the houses as similar as possible to one another; but they looked more like barns or barracks than the cheerful homes of people. Their completely smooth form did not take on the liveliness of the small, regular windows, which in relation to the entire structure would have looked like closed eyes. And we recently boasted of this architecture as the perfection of taste, and built entire cities in its spirit!.. new cities have no appearance: they are so regular, so smooth, so monotonous that, having walked one street, you already feel bored and give up from the desire to look into another.”