Mucha Academy of Arts and Industry. Art College named after

St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz trains artists, restorers, masters of decorative and applied arts, and designers.

St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz - former LVHPU named after. IN AND. Mukhina is one of the most famous universities in Russia.

"""Central School of Technical Drawing""" was founded in 1876 on the initiative of Baron Alexander Ludwigovich Stieglitz. A passionate fan of art, financier and industrialist, he not only donated a significant amount for the creation of an educational institution, but opened a whole milestone in Russian art education.

TSUTR Baron Stieglitz became one of the first Russian Schools that trained artists for industry. In addition to traditional creative training, students were trained in specialized disciplines that made it possible to produce specialists with a wide range of profiles.

Today the Stieglitz Academy is one of the most authoritative Russian universities in the field of art and design. About 1,500 undergraduate and graduate students study at the Academy, there are 2 faculties and 14 graduating departments of various profiles - from artistic metal processing to industrial design.

Museum of Baron A.L. Stieglitz On the territory of the former Salt Town in 1885-1895. a museum building was erected. The building was built according to the design of the first director of the museum, architect. R.A. Messmacher. By the time the museum opened, it contained over 15,000 works of applied art. After the revolution, the collection was transferred to the Hermitage. CENTRAL SCHOOL OF TECHNICAL DRAWING of Baron A. L. Stieglitz (Solyanoy lane, 13-15) Art and Industry Academy named after. Stieglitz is one of the most famous art universities not only in Russia, but also in Europe and the world. The history of the academy begins in 1876, when, according to the rescript of Alexander II, with funds donated by the banker and industrialist Baron Alexander Ludvigovich Stieglitz (1814 - 1884), the central school of technical drawing was founded. The history of the school before the revolution is the history of the intensive development and formation of the school . Founded Jan. 1876 (opened 11/12/1879) along with the primary one. school of drawing, drawing and modeling on the initiative and at the expense of Baron A. L. Stieglitz. The school existed on interest from the capital bequeathed to him in 1884 (approx. 7 million rubles) and trained artists of decorative and applied arts for industry, as well as drawing and drawing teachers for secondary art and industrial schools. The school became known as Central (TSUTR) after its creation in the 1890s. branches in Narva, Saratov, Yaroslavl. After October 1917, the school was transformed several times. In 1918, the school was reorganized into the Petrograd State Art and Industrial Workshops, which in 1922 were transformed into a school for architectural decoration of buildings under the city Executive Committee. Closed in 1924. In 1943-45, on the basis of TSUTR, the Art and Industry was created. school (now the Academy of Arts and Industry). Ch. The school building was built in 1878-81 (architects R. A. Gedicke and A. I. Krakau) and added a 5th floor (1886, architect Messmacher). The adjacent museum building was built in 1885-96 according to the design of Messmacher (since 1945 the Museum of Decorative and Applied Arts). In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative, applied and industrial art; in 1948 it became University - Leningrad Higher Art and Industrial School. Since 1953, LVHPU has been named after People's Artist of the USSR Vera Ignatievna Mukhina. In 1994, LVHPU named after. V.I. Mukhina was renamed the St. Petersburg State Academy of Arts and Industry. In December 2006, the academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz (SPGHPA named after A.L. Stieglitz).

Saint Petersburg. Museum of Applied Arts of the St. Petersburg State Academy of Arts and Industry named after. A. L. Stieglitz

Museum of the Art and Industry Academy named after. A.L. Stieglitz has always been at the center of the cultural life of St. Petersburg. Its unique museum collection is distinguished by its great diversity and high artistic level of its exhibits. Today the museum's holdings number about thirty thousand objects of applied art from antiquity to the present day. This is an extensive collection of Western European porcelain and oriental ceramics, furniture of the 16th-19th centuries, a collection of Russian tiled stoves of the 18th century, artistic metal and fabrics, as well as the best student works of the last half century, reflecting all areas of Soviet decorative and applied art.

In fourteen halls located on the ground floor, you can see more than 1,300 works of decorative and applied art and artistic crafts from the 9th century BC. until the beginning of the twentieth century. The Italian gallery hosts an exhibition of Dutch and French cabinets from the 16th-19th centuries; Italian and Spanish majolica, French and English faience, German “steinguts” (products made from clay-stone masses) and J. Wedgwood’s “jasper masses”, Meissen and Berlin porcelain - all this can be seen in the museum today.

Ancient Russian stoves were collected throughout Russia especially for the museum.

Interiors of the Stieglitz Academy of Arts and Industry. Furniture carved from stone.

Academy Halls. The Great Exhibition Hall is a two-story hall reminiscent of the courtyard of an Italian palazzo, originally intended for student and faculty exhibitions. It was the largest not only in the museum, but in all of St. Petersburg. The perimeter of the hall is surrounded by a spectacular two-tier gallery, which creates the best conditions for viewing the exhibition. This arcade serves as a support for a double glass ceiling (originally the inner dome was stained glass, and a greenhouse was located in the space between the domes). By analogy with the facade of the building, the hall is decorated with a frieze with sculptural portraits of artists, architects and sculptors. The arcades of the second tier are divided by powerful pylons decorated with four columns. Half-arcs of a two-flight marble staircase lead to the second floor gallery. At the top of the stairs under Messmacher there is a marble statue of Baron A.L. Stieglitz sitting in an armchair by M.M. Antokolsky. During Soviet times, the monument was removed. But the sculpture was preserved, and in June 2011 it was returned to its historical place (photo source:). Since 2002, a plaster copy of the large frieze of the Pergamon Altar (180-160 BC), donated by the Hermitage, has been placed along the perimeter of the Great Hall.

Furniture set for the living room in the “third Rococo” style. FROM THE PALACE OF THE COUNTESS E.V. SHUVALOVA. France, Paris, 1890s. Birch, carving, French enamel, gesso, gilding, embroidery, metal, bone.

In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz. The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 and trained artists of decorative and applied arts for industry, as well as drawing and drafting teachers for secondary art and industrial schools. January 1898 - S. P. Diaghilev organizes an Exhibition of Russian and Finnish artists, in which Finnish artists V. Blomsted, A. Gallen-Kallela and others participate along with A. N. Benois and M. A. Vrubel. The school became known as the Central School after the creation of branches in Narva, Saratov, and Yaroslavl in the 1890s. The first director was from 1879 to 1896 - architect Maximilian Egorovich Messmacher. In 1892, 200 people studied at TSUTR; There were departments: general art, majolica, decorative painting and carving, embossing, woodcut and etching, porcelain painting, weaving and printing. Over the years, CUTR teachers were: A. D. Kivshenko, M. K. Klodt, A. T. Matveev, V. V. Mate, A. I. von Gauguin, N. A. Koshelev, A. A. Rylov. After October 1917, the school was transformed several times. In 1918, the school was named the State Art and Industrial Workshops. In 1922, the school, with the attached museum and library, merged with the Petrograd VKHUTEIN, and in 1924, ceased to exist as an independent educational institution. In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative and industrial arts. In 1948 it became a higher educational institution - the Higher Art and Industrial School. In 1953, the Leningrad Higher Art and Industrial School, by decree of the Soviet government, was named after the People's Artist of the USSR, Full Member of the Academy of Arts of the USSR - Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative and applied art of the USSR. In 1994, LVHPU named after. V.I. Mukhina was transformed into the St. Petersburg State Academy of Arts and Industry. On December 27, 2006, the academy was named after A. L. Stieglitz. The new name of the academy is St. Petersburg State Academy of Arts and Industry named after A. L. Stieglitz.

Academy today

Today the university has 1,500 students and 220 teachers.

Faculties

Faculty of Decorative and Applied Arts
- Faculty of Monumental Art
- Faculty of Design

Story

Founded in 1876 by rescript of Alexander II with donations from banker and industrialist Baron Alexander Ludwigovich Stieglitz (-) as Central School of Technical Drawing.
In 1918 the school was reorganized into Petrograd State Art and Industrial Workshops.
In 1922 the workshops were transformed into School for architectural decoration of buildings under the city Executive Committee.
In 1945, by government decision, the school was recreated as a multidisciplinary educational institution training artists of monumental, decorative and industrial arts, in 1948 it became a university - Leningrad Higher Art and Industrial School.
Since 1953, LVHPU has been named after People's Artist of the USSR Vera Ignatievna Mukhina.
In 1994, LVHPU named after. V. I. Mukhina transformed into St. Petersburg State Academy of Arts and Industry.
In December 2006, the academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Art and Industry Academy named after A. L. Stieglitz(SPGHPA named after A.L. Stieglitz).

Famous graduates

Bosco, Yuri Ivanovich - Soviet monumental artist, Honored Artist of Russia, People's Artist of Russia.
Zarins, Richard Germanovich - Russian and Latvian artist, graphic artist, popularizer of Latvian folk art, author of the first revolutionary stamps of Soviet Russia. Author of the coat of arms and banknotes of Latvia.
Ostroumova-Lebedeva, Anna Petrovna - People's Artist of the RSFSR, Russian engraver and painter, watercolorist, master of landscape.
Petrov-Vodkin, Kuzma Sergeevich - Honored Artist of the RSFSR, symbolist painter, graphic artist, art theorist, writer and teacher.
Pisakhov, Stepan Grigorievich - Russian artist, writer, ethnographer, storyteller.
Protopopov, Vladislav Vasilievich - Russian artist.
Salnikov, Anatoly Aleksandrovich - Honored Architect of the Autonomous Republic of Crimea, Laureate of the Award of the Autonomous Republic of Crimea, chief architect of the city of Kerch.

Sources

Wikimedia Foundation. 2010.

See what "Mukhina Art School" is in other dictionaries:

In the USSR, the system of training masters of fine, decorative and industrial arts, architects, artists, art critics, artist teachers. In Rus' it originally existed in the form of individual training... ... Great Soviet Encyclopedia

- (named after the philanthropist Baron A.L. Stieglitz), founded in St. Petersburg in 1876, opened in 1879, in 1922 merged with the Petrograd Vkhutein. In 1945 it was recreated as the Leningrad (now St. Petersburg) Higher Artistic and Industrial... ... encyclopedic Dictionary

- (TSUTR) (Solyanoy Lane, 13 and 15), state art educational institution. Founded in 1876 (opened in 1879) together with an elementary school of drawing, drafting and modeling on the initiative and at the expense of the philanthropist Baron A. L. Stieglitz (the first ... ... St. Petersburg (encyclopedia)

Wikipedia has articles about other people with this surname, see Pavlov. Wikipedia has articles about other people named Pavlov, Alexander Borisovich. Alexander Borisovich Pavlov (born 1963, Donetsk) Russian artist. Born into a working-class family. Since 1971... ... Wikipedia

Oleg Georgievich Atroshenko (1940 1989) Soviet artist. Graduated from the Mukhina Higher Art School with a degree in Interior Designer. He is the author of numerous interior design projects for public institutions and... ... Wikipedia

Wikipedia has articles about other people with this surname, see Vax. Joseph Aleksandrovich Vaks Professor I. A. Vaks ... Wikipedia

Coordinates : 59°56′37″ n. w. 30°20′27″ E. d. / 59.94361° s. w. 30.34083° E. d. / 59.94361; 30.34083(G) (I)K:Educational institutions founded in 1876

Federal State Budgetary Institution of Higher Education "St. Petersburg State Academy of Arts and Industry named after A.L. Stieglitz"(Stiglitz Academy) - one of the most authoritative Russian universities, leading training of specialists in the field fine art, And design. Founded in 1876 with funds donated by the baron Alexander Stieglitz.

The main building of the academy is located in a building designed by the first director of this educational institution - an architect M. E. Mesmacher.

Story

Technical Drawing School

IN 1876 by decree Alexandra II with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz(-), the Central School of Technical Drawing was founded.
The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 (about 7 million rubles) and trained artists of decorative and applied arts for industry, as well as drawing and drawing teachers for secondary art and industrial schools.
January - S. P. Diaghilev organizes an Exhibition of Russian and Finnish artists, in which, along with A. N. Benois And M. A. Vrubel Finnish artists V. Blomsted are participating, A. Gallen-Kallela and etc.
The school began to be called Central after its creation in 1890s branches in Narva , Saratov , Yaroslavl. First director from to 1896 was the architect M.E. Messmacher.
IN 1892 200 people studied at TSUTR; There were departments: general art, decorative painting and carving, majolica, embossing, woodcuts, porcelain painting, weaving and printing.
Over the years, CUTR teachers were: A. D. Kivshenko , M. K. Klodt , A. T. Matveev , V. V. Mate , A. I. von Gauguin , N. A. Koshelev , A. A. Rylov.

TSUTR in artistic culture Latvia

From the first years of creation Central School of Technical Drawing, this educational institution has become very popular among young people Latvia who wants to get an education in the field arts and crafts.

About 130 ethnic Latvian students were educated at CUTR. Some of them subsequently became teachers of this school, among them: Gustav Schilter- specialist in decorative finishing of buildings (1905-1918), Karl Brenzen- taught artistic glass processing and stained glass (1907-1920), Yakov Belzen- teacher of drawing and painting (1905-1917), Julius Jaunkalnins - teacher of porcelain painting (1896-1918).

Masters of art trained in Central School of Technical Drawing, subsequently laid the foundation for artistic culture Latvia and became the creators of art education Latvian Soviet Socialist Republic :

State art and industrial workshops

LVHPU named after V.I. Mukhina

IN 1945 By decision of the government, the school is being recreated as a multidisciplinary one secondary specialized educational institution, which trains artists of monumental, arts and crafts, industrial and restoration art.
IN 1948 it becomes an institution of higher education - Higher Art and Industrial School, in which a division is maintained where specialists with secondary specialized education are trained (the so-called “department of masters”).
IN 1953 By government decree, the Leningrad Higher Art and Industrial School was named after the People's Artist of the USSR, full member of the USSR Academy of Arts, sculptor Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative arts of the USSR.

Academy of Arts and Industry

The university has 1,500 students and 220 teachers.

At half past five Napoleon rode on horseback to the village of Shevardin.
It was beginning to get light, the sky cleared, only one cloud lay in the east. Abandoned fires burned out in the weak morning light.
A thick, lonely cannon shot rang out to the right, rushed past and froze in the midst of general silence. Several minutes passed. A second, third shot rang out, the air began to vibrate; the fourth and fifth sounded close and solemnly somewhere to the right.
The first shots had not yet sounded when others were heard, again and again, merging and interrupting one another.
Napoleon rode up with his retinue to the Shevardinsky redoubt and dismounted from his horse. The game has begun.

Returning from Prince Andrei to Gorki, Pierre, having ordered the horseman to prepare the horses and wake him up early in the morning, immediately fell asleep behind the partition, in the corner that Boris had given him.
When Pierre fully woke up the next morning, there was no one in the hut. Glass rattled in the small windows. The bereitor stood pushing him away.
“Your Excellency, your Excellency, your Excellency...” the bereitor said stubbornly, without looking at Pierre and, apparently, having lost hope of waking him up, swinging him by the shoulder.
- What? Began? Is it time? - Pierre spoke, waking up.
“If you please hear the firing,” said the bereitor, a retired soldier, “all the gentlemen have already left, the most illustrious ones themselves have passed a long time ago.”
Pierre quickly got dressed and ran out onto the porch. It was clear, fresh, dewy and cheerful outside. The sun, having just broken out from behind the cloud that was obscuring it, splashed half-broken rays through the roofs of the opposite street, onto the dew-covered dust of the road, onto the walls of the houses, onto the windows of the fence and onto Pierre’s horses standing at the hut. The roar of the guns could be heard more clearly in the yard. An adjutant with a Cossack trotted down the street.
- It's time, Count, it's time! - shouted the adjutant.
Having ordered his horse to be led, Pierre walked down the street to the mound from which he had looked at the battlefield yesterday. On this mound there was a crowd of military men, and the French conversation of the staff could be heard, and the gray head of Kutuzov could be seen with his white cap with a red band and the gray back of his head, sunk into his shoulders. Kutuzov looked through the pipe ahead along the main road.
Entering the entrance steps to the mound, Pierre looked ahead of him and froze in admiration at the beauty of the spectacle. It was the same panorama that he had admired yesterday from this mound; but now this entire area was covered with troops and the smoke of gunfire, and the slanting rays of the bright sun, rising from behind, to the left of Pierre, threw upon it in the clear morning air a piercing light with a golden and pink tint and dark, long shadows. The distant forests that completed the panorama, as if carved from some precious yellow-green stone, were visible with their curved line of peaks on the horizon, and between them, behind Valuev, cut through the great Smolensk road, all covered with troops. Golden fields and copses glittered closer. Troops were visible everywhere - in front, right and left. It was all lively, majestic and unexpected; but what struck Pierre most of all was the view of the battlefield itself, Borodino and the ravine above Kolocheya on both sides of it.
Above Kolocha, in Borodino and on both sides of it, especially to the left, where in the marshy banks Voina flows into Kolocha, there was that fog that melts, blurs and shines through when the bright sun comes out and magically colors and outlines everything visible through it. This fog was joined by the smoke of shots, and through this fog and smoke the lightning of the morning light flashed everywhere - now on the water, now on the dew, now on the bayonets of the troops crowded along the banks and in Borodino. Through this fog one could see a white church, here and there the roofs of Borodin's huts, here and there solid masses of soldiers, here and there green boxes and cannons. And it all moved, or seemed to move, because fog and smoke stretched throughout this entire space. Both in this area of the lowlands near Borodino, covered with fog, and outside it, above and especially to the left along the entire line, through forests, across fields, in the lowlands, on the tops of elevations, cannons, sometimes solitary, constantly appeared by themselves, out of nothing, sometimes huddled, sometimes rare, sometimes frequent clouds of smoke, which, swelling, growing, swirling, merging, were visible throughout this space.
These smokes of shots and, strange to say, their sounds produced the main beauty of the spectacle.
Puff! - suddenly a round, dense smoke was visible, playing with purple, gray and milky white colors, and boom! – the sound of this smoke was heard a second later.
“Poof poof” - two smokes rose, pushing and merging; and “boom boom” - the sounds confirmed what the eye saw.
Pierre looked back at the first smoke, which he left as a round dense ball, and already in its place there were balls of smoke stretching to the side, and poof... (with a stop) poof poof - three more, four more were born, and for each, with the same arrangements, boom... boom boom boom - beautiful, firm, true sounds answered. It seemed that these smokes were running, that they were standing, and forests, fields and shiny bayonets were running past them. On the left side, across the fields and bushes, these large smokes were constantly appearing with their solemn echoes, and closer still, in the valleys and forests, small gun smokes flared up, not having time to round off, and in the same way gave their little echoes. Tah ta ta tah - the guns crackled, although often, but incorrectly and poorly in comparison with gun shots.
Pierre wanted to be where these smokes were, these shiny bayonets and cannons, this movement, these sounds. He looked back at Kutuzov and his retinue to compare his impressions with others. Everyone was exactly like him, and, as it seemed to him, they were looking forward to the battlefield with the same feeling. All faces now shone with that hidden warmth (chaleur latente) of feeling that Pierre had noticed yesterday and which he understood completely after his conversation with Prince Andrei.
“Go, my dear, go, Christ is with you,” said Kutuzov, without taking his eyes off the battlefield, to the general standing next to him.
Having heard the order, this general walked past Pierre, towards the exit from the mound.
- To the crossing! – the general said coldly and sternly in response to one of the staff asking where he was going. “And I, and I,” thought Pierre and followed the general in the direction.
The general mounted the horse that the Cossack handed to him. Pierre approached his rider, who was holding the horses. Having asked which was quieter, Pierre climbed onto the horse, grabbed the mane, pressed the heels of his outstretched legs to the horse’s belly and, feeling that his glasses were falling off and that he was unable to take his hands off the mane and reins, galloped after the general, exciting the smiles of the staff, from the mound looking at him.

The general, whom Pierre was galloping after, went down the mountain, turned sharply to the left, and Pierre, having lost sight of him, galloped into the ranks of the infantry soldiers walking ahead of him. He tried to get out of them, now to the right, now to the left; but everywhere there were soldiers, with equally preoccupied faces, busy with some invisible, but obviously important matter. Everyone looked at this fat man in a white hat with the same dissatisfied, questioning look, who for some unknown reason was trampling them with his horse.
- Why is he driving in the middle of the battalion! – one shouted at him. Another pushed his horse with the butt, and Pierre, clinging to the bow and barely holding the darting horse, jumped out in front of the soldier, where there was more space.
There was a bridge ahead of him, and other soldiers stood at the bridge, shooting. Pierre drove up to them. Without knowing it, Pierre drove to the bridge over Kolocha, which was between Gorki and Borodino and which the French attacked in the first action of the battle (having occupied Borodino). Pierre saw that there was a bridge in front of him and that on both sides of the bridge and in the meadow, in those rows of lying hay that he had noticed yesterday, soldiers were doing something in the smoke; but, despite the incessant shooting that took place in this place, he did not think that this was the battlefield. He did not hear the sounds of bullets screaming from all sides, or shells flying over him, he did not see the enemy who was on the other side of the river, and for a long time he did not see the dead and wounded, although many fell not far from him. With a smile never leaving his face, he looked around him.
- Why is this guy driving in front of the line? – someone shouted at him again.
“Take it left, take it right,” they shouted to him. Pierre turned to the right and unexpectedly moved in with the adjutant of General Raevsky, whom he knew. This adjutant looked angrily at Pierre, obviously intending to shout at him too, but, recognizing him, nodded his head to him.
- How are you here? – he said and galloped on.
Pierre, feeling out of place and idle, afraid to interfere with someone again, galloped after the adjutant.
- This is here, what? Can I come with you? - he asked.
“Now, now,” answered the adjutant and, galloping up to the fat colonel standing in the meadow, he handed him something and then turned to Pierre.
- Why did you come here, Count? - he told him with a smile. -Are you all curious?
“Yes, yes,” said Pierre. But the adjutant, turning his horse, rode on.
“Thank God here,” said the adjutant, “but on Bagration’s left flank there is a terrible heat going on.”
- Really? asked Pierre. - Where is this?
- Yes, come with me to the mound, we can see from us. “But our battery is still bearable,” said the adjutant. - Well, are you going?
“Yes, I’m with you,” said Pierre, looking around him and looking for his guard with his eyes. Here, only for the first time, Pierre saw the wounded, wandering on foot and carried on stretchers. In the same meadow with fragrant rows of hay through which he drove yesterday, across the rows, his head awkwardly turned, one soldier lay motionless with a fallen shako. - Why wasn’t this raised? - Pierre began; but, seeing the stern face of the adjutant, looking back in the same direction, he fell silent.
Pierre did not find his guard and, together with his adjutant, drove down the ravine to the Raevsky mound. Pierre's horse lagged behind the adjutant and shook him evenly.
“Apparently you’re not used to riding a horse, Count?” – asked the adjutant.
“No, nothing, but she’s jumping around a lot,” Pierre said in bewilderment.
“Eh!.. yes, she’s wounded,” said the adjutant, “right front, above the knee.” Must be a bullet. Congratulations, Count,” he said, “le bapteme de feu [baptism by fire].
Having driven through the smoke through the sixth corps, behind the artillery, which, pushed forward, was firing, deafening with its shots, they arrived at a small forest. The forest was cool, quiet and smelled of autumn. Pierre and the adjutant dismounted from their horses and entered the mountain on foot.
- Is the general here? – asked the adjutant, approaching the mound.
“We were there now, let’s go here,” they answered him, pointing to the right.
The adjutant looked back at Pierre, as if not knowing what to do with him now.
“Don’t worry,” said Pierre. – I’ll go to the mound, okay?
- Yes, go, you can see everything from there and it’s not so dangerous. And I'll pick you up.
Pierre went to the battery, and the adjutant went further. They did not see each other again, and much later Pierre learned that this adjutant’s arm was torn off that day.
The mound that Pierre entered was the famous one (later known among the Russians under the name of the kurgan battery, or Raevsky’s battery, and among the French under the name la grande redoute, la fatale redoute, la redoute du center [the great redoubt, the fatal redoubt, the central redoubt ] a place around which tens of thousands of people were positioned and which the French considered the most important point of the position.
This redoubt consisted of a mound on which ditches were dug on three sides. In a place dug in by ditches there were ten firing cannons, stuck out into the opening of the shafts.
There were cannons lined up with the mound on both sides, also firing incessantly. A little behind the guns stood the infantry troops. Entering this mound, Pierre did not think that this place, dug in with small ditches, on which several cannons stood and fired, was the most important place in the battle.
To Pierre, on the contrary, it seemed that this place (precisely because he was on it) was one of the most insignificant places of the battle.
Entering the mound, Pierre sat down at the end of the ditch surrounding the battery, and with an unconsciously joyful smile looked at what was happening around him. From time to time, Pierre still stood up with the same smile and, trying not to disturb the soldiers who were loading and rolling guns, constantly running past him with bags and charges, walked around the battery. The guns from this battery fired continuously one after another, deafening with their sounds and covering the entire area with gunpowder smoke.