Classicism in the architecture of Western Europe lesson notes. Baroque and Classical Architecture in Western Europe

Classicism is a stylistic trend in European art, the most important feature of which was the appeal to ancient art as a standard and reliance on the traditions of the harmonious ideal of the High Renaissance. “…. . Let's leave the Italians the empty tinsel with its false gloss. What matters most is the meaning; but in order to come to it, you will have to overcome obstacles and paths, strictly adhere to the intended path: Sometimes the mind has only one road... “The theorist of early classicism was the poet Nicolas Boileau (1636 -1711) “love thought in poetry,” that is, emotions are subordinate to reason. "Poetic art. » Nicola Boileau

Architecture of classicism - “Strict style” Characteristic features: Appeal to the forms of ancient architecture - the Greek order system, strict symmetry, clear proportionality of parts and their subordination to the general plan. Simplicity and clarity of forms. Calm harmony of proportions. Preference for straight lines. Unobtrusive decor that follows the outline of the object. Simplicity and nobility of finishing. Practicality and expediency. Bolshoi Theater in Warsaw.

XVII century - XVII century France. Urban planning. - creation of a large urban ensemble with development carried out according to a single plan. New cities arise as settlements near the palaces of the rulers of France. - cities are designed in the form of a square or rectangle in plan. Inside them, a strictly regular rectangular or radial ring system of streets with a city square in the center is planned. - old medieval cities are being rebuilt on the basis of new principles of regular planning. - Large palace complexes are being built in Paris - the Luxembourg Palace and the Palais Royal (1624, architect J. Lemercier). Salomon de Bros Luxembourg Palace in Paris 1615 -1621 Jacques Lemercier Palais Royal Paris 1624 -1645

One of the outstanding architectural structures of this time was the residence of the French kings on the outskirts of Paris - the Palace of Versailles. Versailles was built under the leadership of Louis XIV in 1661. France. The main creators were the architects Louis Levo and Jules Hardouin-Mansart, the master of landscape art Andre Le Nôtre (1613 -1700) and the artist Charles Lebrun, who participated in the creation of the interiors of the palace.

Versailles is a village 24 kilometers from Paris. It was originally chosen by King Louis XIII to build a modest hunting castle. The king wanted to indulge here in his favorite passion - hunting. His son, Louis XIV, was also an avid hunter, but he had much more ambitious plans for this place. Dissatisfied with his other palaces (including the Louvre and the Tuileries), in 1660 he decided to rebuild Versailles into a luxurious palace and park ensemble. Everything here had to amaze with its splendor and scale - after all, the king wanted, in the end, the entire royal court to be located here.

Features of the ensemble construction are a strictly ordered centralized system. The ensemble of the royal palace at Versailles was built in several stages, starting from the first half of the 17th century. , and it received its completion in 1679. Three wide straight radial avenues of the city converge on the Palace of Versailles, located on a hill (dominance), forming a trident. The middle trident avenue leads to the center of Paris (Avenue de Paris), the other two lead to the royal palaces of Saint-Cloud (Avenue de Saint-Cloud) and Sceaux (Avenue de Saux), as if connecting the main country residence with the regions of the country.

the plan of Versailles includes an extended main palace; two front yards; one-story Grand Trianon palace; three avenues radiating from the main palace; alleys; swimming pools; channels; fountains. The center of the entire architectural layout of Versailles is the royal palace.

Interiors of the Grand Palace Mirror Gallery Theater of Versailles Queen's Staircase The premises of the palace were distinguished by luxury and variety of decoration. Expensive finishing materials (mirrors, hammered bronze, precious woods), widespread use of decorative painting and sculpture - all this is designed to create the impression of stunning splendor. In the Mirror Gallery, thousands of candles were lit in shining silver chandeliers and a noisy, colorful crowd of courtiers filled the palace enfilades, reflected in the tall mirrors.

Allegorical compositions on mythological themes glorifying the reign of the “Sun King” Louis XIV Golden lampshade in the mirror gallery. Charles Lebrun.

The King's Bedroom The Queen's Bedroom The King's bedroom is located in the central part of the palace and faces the rising sun with its windows. The balcony overlooked the Park of Versailles.

The Park of Versailles served as a magnificent “stage area” for colorful and magnificent spectacles - fireworks, illuminations, balls, performances, masquerades. From the palace the terraces of the Versailles Park go down and the alleys move away towards the Grand Canal. Fountains, sculptural groups, and relief compositions complete the decoration of the park. Sculptural groups form complex and beautiful combinations with a variety of fountains and pools.

Andre Le Nôtre, from the family of royal gardeners, will forever go down in history as one of the best masters of landscape art. In addition to Versailles, he created, for example, the Tuileries Park in Paris, the gardens of the Chantilly Castle, Marly near London and Vaux-le-Vicomte, which was commissioned by the Minister of Finance Fouquet. Seeing this park, Louis XIV was delighted and offended that his subject had a garden that even the king did not have. Therefore, Fouquet was soon arrested, and Le Nôtre received an order to create a truly royal park, like no other in the world.

“Fountain of Latona” - decorated with sculptures of the goddess Latona with Apollo and Diana, seated on concentrically placed pools in the form of a pyramid.

An example of mature French classicism of the 17th century. is the Louvre - a royal palace in Paris. Stretching 173 m in length, decorated on two floors with a massive colonnade and risalits protruding in the middle and at the corners of the façade in the form of classical porticoes, it gives the impression of power and stern grandeur, expressing the idea of ​​​​the inviolability of law and order.

In the middle of the 18th century. classicism in France is experiencing its rebirth. The surge of increased interest in antiquity is reinforced by the discovery of remarkable monuments of artistic culture during excavations of ancient cities that were once buried during a volcanic eruption. Neoclassicism A prominent representative of his views on classicism found a “new” classicism in architecture is Jacques-Angie's expression in the Petit Trianon - the country palace of the French king in Gabriel. Versailles, which rather resembles a small mansion. Gazebo in Petit Trianon. Tall columns of the Corinthian order, placed on the plinth, unite the two floors. The building has a flat roof ending in a balustrade. Strict harmony and simplicity are combined in it with a feeling of calm dignity.

Place de la Concorde. Jean Ange Gabriel. Place Louis XV 1759 -1779. Paris. New urban planning tasks put forward by time are embodied in Gabriel’s work. The square, rectangular in plan, is connected to the city by the rays of three alleys. It is surrounded on two sides by the green areas of the Tuileries Gardens and the Champs Elysees, and on the third by the river. The ensemble is closed by two buildings, with wings covering the square on the fourth side.

Empire (from the French empire - empire) is a style in architecture and art that completes the evolution of classicism. Empire is a monumental style that developed in France during the heyday of Napoleon's empire (1799 -1815). The main trend of that time was total imitation of the art forms of late Rome. The Empire style is solemn, official, and sometimes theatrical. It manifested itself most clearly in the design of the residences of Napoleon and his retinue, from where it quickly penetrated into the aristocratic environment of France and the courts of the largest European monarchs. Pierre Francois Monard, Charles Percier. Throne room (fragment). 1807. Fontainebleau Castle

Jacob Desmalter. Bedroom of Empress Josephine. 1804. Malmaison Palace by Francois Moens. Napoleon's bedroom / 1808/ Fontainebleau Castle

Austerlitz Bridge. The length of the bridge is 200 m, width - 32 m. Named in honor of the victory won by the army of Napoleon I over Russian and Austrian troops on December 2, 1805 near the village of Austerlitz. The ornaments decorating the bridge are engraved with the names of French military leaders killed at the Battle of Austerlitz. Paris is divided into two parts by the Seine River. 38 bridges are thrown across it, the distance between them is about half a kilometer.

Jules Hardouin-Mansart Place des Invalides in Paris Started in 1684 Place Vendôme 1687 -1720 Jules Hardouin-Mansart, Liberal Bruant Ensemble of the Invalides in Paris Jules Hardouin-Mansart Cathedral of the Invalides 1679 -1706 Question: In residential architecture, the name of Mansart is immortalized by an element he invented. Which one?

In 1630, François Mansart introduced into the practice of building urban housing a high, broken roof shape using an attic for housing. The device, which received the name “attic” after the author’s name.

Homework Ch. 7, creative workshop pr3 p73 Compare the design of the interior decoration (interiors) of the Francisco I gallery in Fontainebleau and the Mirror Gallery of Versailles.

Baroque is associated with the Catholic Church, even the early name of this architecture sounded like “Jesuit style”. More restrained classicism was more suitable for Protestant countries, although France, along with England, was one of the countries where the style was born.

If Gothic expressed mysticism, Baroque - expression, then classicism is the embodiment of rationalism. Andrea di Pietro, who received the pseudonym Palladio(1508-1580), wrote four books about architecture, where he outlined the principles of architectural composition that he himself formulated. Appeal to the forms of ancient architecture as a standard of harmony, simplicity, rigor, logical clarity and monumentality was the dictate of the time and attracted many Italian architects, just remember Brunelleschi. But Palladio turned out to be faithful to the principles of antiquity to a much greater extent.

The architecture of classicism as a whole is characterized by regularity of layout and clarity of volumetric form. The harmony of the building is based on high stylobates and large orders. A stylobate in ancient architecture is the lower part of a building, the base on which a colonnade stands. Palladio called the order, symmetrical axial compositions and restraint of decoration the main features of the classical structure.

Classicism had national characteristics. Inigo Jones in England was closer to Palladio's models. In France, the influence of Italian Baroque and local Gothic traditions turned out to be stronger in the work of Nicolas François Mansart.

Inigo Jones(1573-1652) built the royal palace at Greenwich, decorated with a spiral "tulip-shaped" staircase rising directly to the oculus, covered with a glass frame. The Wilton estate gives the most complete idea of ​​Jones's style. A number of Jones's architectural finds were copied by J. Cameron at Tsarskoe Selo in Russia. Another follower of Palladio Christopher Wren(1632-1723) studied the orientation of the pillars of Stonehenge and formulated the idea of ​​strict orientation of city streets according to the cardinal directions. He is the author of the current version of St. Paul's Cathedral in Covent Garden. William Kent(1684-1748) laid the foundations of the English landscape park.

French architect Nicolas Francois Mansarou(1598-1666) was responsible for the development of a new type of urban dwelling for the nobility - a “hotel” - with a cozy and comfortable layout, including a vestibule, a main staircase, and a number of enfiladed rooms, often enclosed around a courtyard. A special feature of Mansar hotels is their high roofs, under which additional living space was located. The Maisons-Laffite Palace near Paris is an exemplary creation of the architect.

Mansart's innovation went hand in hand with his unceremonious attitude towards the construction budget. Over time, even the king of France found it unaffordable. Therefore, the design competition for the construction of Versailles was won by Louis Levo. He came up with the idea of ​​a freely formed living space of enfilade rooms due to numerous interior doors that can be opened or closed at the will of the owners (first used in the Lambert Hotel project), which became a characteristic feature of urban buildings of the 18th-20th centuries. Levo is the chief architect of Versailles.

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Slide captions:

for the MHC lesson in the 11th grade. The presentation was prepared by the teacher of Russian language and literature MBU "Mstera secondary school of the Vyaznikovsky district Yusova Irina Viktorovna

The main features of the architecture of classicism "Fairytale Dream" of Versailles Empire

Greek order system Strict symmetry Clear proportionality of the parts of the composition and their subordination to the overall design Simple and clear forms Calm harmony of proportions Straight lines Unobtrusive decor that follows the outline of the object Simplicity and nobility of decoration Practicality and expediency

Versailles is a fairy-tale dream, striking with its splendor of facades and the brilliance of the decorative decoration of the interiors. It became a visible embodiment of the ceremonial official architecture of classicism, expressing the idea of ​​a rationally organized model of the world. "Fairytale Dream"

Historical information The oldest village of Ile-de-France, Versailles, has been mentioned in historical documents since the 11th century. This is not even a village, but a very modest hamlet nestled against a hill. There were many of these scattered around the capital. Versailles was crossed by the road leading from Normandy to Paris, which was 18 km from here. The village went down in history at the end of the 16th century, when Henry IV, the future king of France, stopped at the local castle in 1570 on his way to meet Catherine de Medici. Having already become king, it was here that he came to hunt.

Louis XIII In 1606, Henry IV's son, the future King Louis XIII, was on his first hunt at Versailles, and enjoyed retiring there with a few close friends. In these places he wanted to build a modest hunting lodge, where he could furnish his short hours of entertainment with great comfort.

The fate of the Small Castle In 1624, the king bought marshy land surrounded by fields. At that time, only a windmill stood on the site of the future palace. Soon, hasty construction began, but the castle being built was so small and modest that it did not even have rooms for the Queen Mother and Queen Wife. After the death of Louis XIII, the castle was empty for a long time: Louis XIV, the heir and future king, was only 5 years old. But in 1661, as soon as the new king proclaimed “I am the State,” the “age of Louis the Great” began.

Louis XIV Realizing himself as a king, Louis XIV immediately began to dream of his own palace. After much thought and doubt, the king’s choice fell on the castle of Vincennes, but suddenly, unexpectedly, the king chose Versailles with its small hunting lodge. The castle of Louis XIII was not destroyed; Louis the son decided that the builders should keep the Small Castle intact. Louis XIV often visited Versailles, where he forgot about his royal rank and frolicked like a child.

Architects of Versailles A competition was announced among the kingdom's architects for the best renovation project for a small hunting castle. Soon L. Levo was appointed architect of Versailles, and in general Louis XIV (at his own expense) hired Levo - “the first architect of the king”, C. Le Brun - “the first painter of the king” and A. Le Nôtre - “the first royal gardener”. Soon this creative team got to work. The following architects participated in the creation of the architectural appearance of Versailles: - Louis Levo (1612-1670) - Jules Hardouin Mansart (1646-1708) - Andre Le Nôtre (1613-1700)

The focal point is a palace, to which 3 converging access avenues lead. The façade is represented by 3 floors.

An abundance of sculptural decorations Rich decor in the form of gilded moldings and carvings Many mirrors Exquisite furniture Marble tiles with clear geometric patterns Bronze chandeliers Mirror gallery Park

Mirror gallery

Mirror Gallery The most ceremonial room of the Grand Palace of Versailles is the Mirror Gallery. The king's birthdays were celebrated in this hall, marriages took place, balls were held, and foreign ambassadors were received here. The Mirror Gallery is called the miracle of Versailles. The view of this salon is simply breathtaking: the gallery stuns with its size, color, lavish luxury of decoration, and on fine sunny days with an excess of light and air. When decorating the Mirror Gallery, the calculation was deliberately made to stun with luxury and splendor. The mirror gallery is not just a hall. This is a huge avenue, 73 meters long and 10.5 meters wide.

Bedroom interior

Regular (French) parks subordinated nature to the will and intention of the artist. Versailles Park amazes with its clarity and rational organization of space, its drawing was precisely verified by the architect (A. Le Nôtre) using a compass and ruler

Versailles is the wealth of France, which is increasing over time. France is proud of this treasure; it is its glory. In 1830, the Versailles ensemble was turned into the National Museum of France, and our century has ranked it among the phenomena of world artistic culture.

Empire Empire, or “Empire Style” (French Empire - empire from Latin imperium - command, power) is a historical artistic style that first developed in France at the beginning of the 19th century.

Empire style refers to the so-called “royal styles”, which can be characterized by theatricality in the design of architectural buildings and interior interiors. The peculiarity of the architectural Empire style lies in the obligatory presence of columns, pilasters, stucco cornices and other classical elements, as well as motifs that reproduce almost unchanged ancient examples of sculpture, such as griffins, sphinxes, lion paws and similar sculptural structures. These elements are arranged in an orderly manner in the Empire style, maintaining balance and symmetry. The artistic concept of the style with its massive lapidary and monumental forms, as well as rich decoration, the content of elements of military symbolism, the direct influence of artistic forms primarily of the Roman Empire, as well as Ancient Greece and even Ancient Egypt, was designed to emphasize and embody the ideas of the power of government and the state, the presence of a strong army [Vendome Column. Paris

Thank you for your attention!

Resources used: http://ru.wikipedia.org/wiki/%C0%EC%EF%E8%F0 http://arkhi.net/?p=31 http://genaistoriya.ucoz.ru/load/mirovaja_khudozhestvennaja_kultura_11_klass /klassicizm_v_arkhitekture_zapadnoj_evropy/5-1-0-207 http://moruss.ucoz.ru/load/mkhk/prezentacii/klassicizm_v_arkhitekture_zapadnoj_evropy/20-1-0-102 http://www.myshared.ru/slide/86247/

• Novotroitsk secondary school.

• Completed by: 11th grade student
• Lamonova Svetlana.
• Head: MHC teacher:
• Cherkasova R.A.

• year 2009.

• Classicism, as a movement, was first mentioned by Italian thinkers, but it received its development in France, which is considered its ancestor. French classicism, while remaining faithful to all the basic principles of this movement, was no less luxurious and magnificent than everything else that the hand of French masters touched.
• In contrast, classicism in Germany became a much more ascetic movement, promoting freedom of space, tightly fitted forms and clear, strict silhouettes. This is the true kingdom of reason, reason in everything, especially in architecture.

• It must be said that Russian classicism managed to combine the features of all the above-mentioned trends, adding to them its own unique features. Like everything that passes through the prism of perception of Russian figures of art and culture, classicism has become more “vital” and less static in Russian architecture and sculpture. In addition, it was with classicism that the rise of Russian science and enlightenment began. That is why we can say that in no other European country has classical ideology left such a clear trace as in Russia. Here, the emergence of educational institutions, the development of archeology, history, and translation activities are associated with this direction.

• The heyday of Russian classicism dates back to the last third of the 18th-1st third of the 19th centuries, although already at the beginning of the 18th century. marked by a creative appeal (in the architecture of St. Petersburg) to the urban planning experience of French classicism of the 17th century. (the principle of symmetrical-axial planning systems). Russian classicism embodied a new historical stage in the flowering of Russian secular culture, unprecedented for Russia in scope, national pathos and ideological content.

• Early Russian classicism in architecture (1760-70s; J. B. Vallin-Delamot, A. F. Kokorinov, Yu. M. Felten, K. I. Blank, A. Rinaldi) still retains plasticity, richness and the dynamics of forms inherent in Baroque and Rococo. Architects of the mature era of classicism (1770-90s; V.I. Bazhenov, M.F. Kazakov, I.E. Starov) created classical types of capital palace-estate and large comfortable residential building, which became models in the widespread construction of suburban noble estates and in the new, ceremonial buildings of cities.

• A feature of Russian classicism in architecture is the unprecedented scale of organized state urban planning: regulatory plans for more than 400 cities were developed, ensembles of the centers of Kostroma, Poltava, Tver, Yaroslavl and other cities were formed; the practice of “regulating” urban plans, as a rule, consistently combined the principles of classicism with the historically established planning structure of the old Russian city.

• The works of Russian classicism constitute not only the most important chapter in the history of Russian and European architecture, but also our living artistic heritage. This legacy lives on not as a museum treasure, but as an essential element of a modern city. It is almost impossible to attach the name of architectural monuments to buildings and ensembles created in the 18th and early 19th centuries - they so firmly retain creative freshness, free from signs of old age.

• After 1932 in Russian architecture there was
• only one direction is allowed, one
• style, later nicknamed “Stalinist”
• Empire style." Built in this style
• huge buildings with columns, stucco and
• sculptures could and should have
• glorify the triumph for centuries
• communist empire. This official style lasted in the Soviet Union for almost a quarter of a century. Until 1955. The top of it can be considered the seven high-rise buildings of Moscow. They began to be built three years after the end of World War II, when most of the cities and villages of the European part of the USSR were still in ruins. But the Soviet government needed to demonstrate to the West its strength, its inexhaustible capabilities.
• Let's remember these seven “high-rise buildings”:
• – a complex of buildings of Moscow University on the Sparrow (then Lenin) Hills; Hotel "Ukraine" on Kutuzovsky Prospekt; the building of the Ministry of Foreign Affairs on Smolenskaya Square; administrative and residential building at the Red Gate; Hotel "Leningradskaya" near Three Stations Square; residential building on Kotelnicheskaya embankment; residential building on Vosstaniya Square.

• These are architectural milestones of the new, state space of the capital. The new scale is intended to make Moscow, along with the transformed nature: rivers turned back and deserts that have become blooming gardens, a new natural-geographical phenomenon, comparable in scale with the mountains and seas of the socialist homeland. Since that time, any new building, be it a library (Lenin Library, now the State Russian Library), a theater (Red Army Theater, now the Russian Army Theater), an educational institution (MSU, MSTU), publishing house (Pravda, since 1992 year "Press") strives to appear as the architectural embodiment of the state; any institution, through architecture, tries to look like an integral part of the state system, to declare its presence in the hierarchy of power.

• The name of Matvey Kazakov is firmly connected with all
• classical (pre-fire) Moscow, because
• it was his main, best buildings that gave
• then the face of the city. Almost all of them were
• built in the style of mature classicism.
• Kazakov is perhaps the only major
• artists of the Enlightenment in Russia created
• what is called school. With full
• basis we can talk about Russian
• classicism of the Cossack school. By the way,
• even the architect’s house in Zlatoustovsky Lane was not just a family home, but also a kind of home university of the arts. Here, under the leadership of Kazakov, an architectural school operated for many years. Among his students are the architects Rodion Kazakov, Egotov, Sokolov, Bove, Tyurin, Bakarev.
• Through the labors of many of them, Moscow, the Cossack Moscow, which was burned in 1812, was restored. The architect himself did not survive those disastrous events. Before the French entered Moscow, the family took the old master to Ryazan. There he met the news of the death of the city, to which the work of his whole life had been devoted.

• Kazakov Matvey Fedorovich.

• In Russia in the 18th century, architecture was perhaps the most prosperous form of art, which was especially vividly embodied in the work of Vasily Ivanovich Bazhenov, although he managed to realize a negligible part of his grandiose plans. Bazhenov was also one of the best practical builders of his time. The buildings he designed were distinguished by their convenient layout and elegance of form.

• Bazhenov Vasily Ivanovich.

LESSON DEVELOPMENT ON WORLD ARTISTIC CULTURE IN 11TH GRADE

Lesson topic: “Classicism in the architecture of Western Europe”

Lesson type : lesson introduction to new material

Lesson format: travel lesson using computer technology

Target : 1.Create conditions for students to become acquainted with the characteristic features of classicism architecture and form an idea of ​​the ceremonial official architecture of Versailles;
2. Contribute to the development of the ability to independently study the material and prepare it for presentation; continue to develop the ability to analyze a work of art;
3. Promote the cultivation of a culture of perception of works of art.

Equipment: “The Palace of Versailles” - a tour of the museum CD, audio recording of W.A. Mozart “Sonata No. 40”

During the classes

I Organizing time

Smile at each other and give your smiles to me and your friends. Thank you. Your smiles encourage pleasant communication and create a good mood.

II Setting a lesson goal

The ceremonial splendor and “empty tinsel” of the Baroque gave way to classicism - a new artistic style. Having studied ancient art and taking it as a model, the followers of classicism came to the conclusion that the true basis of human life is the mind.
... Let's leave it to the Italians
Empty tinsel with its false gloss.
The most important thing is the meaning, but in order to get to it,
We'll have to overcome obstacles and paths,
Follow the designated path strictly:
Sometimes the mind has only one path...
You need to think about the meaning and only then write!
N. Boileau
This is how one of the ideologists of classicism, poet N. Boileau, taught his contemporaries.
Today we have a travel lesson and we will take a virtual tour of the grandiose palace and park ensemble of Versailles, get acquainted with the ceremonial official architecture and the characteristic features of classicism in architecture.
And today you will all help me, as you prepared a short message for the lesson.
III Learning new material

Write down the topic of the lesson.
Classicism manifested itself most clearly in works of architecture.

Classicism (Latin Classicus - exemplary) is an artistic style and aesthetic direction in European art of the 17th-19th centuries.

What patterns do you think this style followed?

Classicism was guided by the best achievements of ancient culture - the Greek order system, standards of harmony, simplicity, rigor, logical clarity and monumentality. Based on the ideas of Renaissance architects about the “ideal city,” the architects created a new type of palace and park ensemble, strictly subordinated to a geometric plan.
Characteristic of classicism compositions, restraint of decorative decoration, regular planning system and clarity of volumetric form.
Classicism is based on the ideas of rationalism and strict canons.

Our walk through Versailles has ended.
1) Why can Versailles be considered an outstanding work of classicism?
What are the main features of classicism?
What, in your opinion, distinguishes the buildings of classicism from the Baroque and Renaissance styles?
2) Work in pairs
Let's look at the paintings of the Russian artist A.N. Benois from the Versailles cycle. The King's Walk.
- How did Benoit convey the atmosphere of the court life of King Louis XIV in his paintings?
- Why can they be considered as symbolic paintings?

VLesson summary
Summing up the lesson, assessments
Was it interesting for you and that you learned something new for yourself, were you surprised by something?

VI.House. Exercise : 7.1, message “The history of one masterpiece (using the example of architectural monuments of Moscow and St. Petersburg)
In conclusion, let's take another look at the beauty of Versailles.
VII Reflection.

Suitcase. Continue the sentence. When leaving this lesson I will take with me...

The lesson is over.