Baroque architectural buildings. Russian Baroque

01.06.2019

Introduction 2.

1. Baroque in world architecture. four

2. Russian baroque. eleven

3. The five-section of the temples in the architecture of the Russian Baroque (on the example of the Novodevichy Monastery) 19

Conclusion. 25.

List of references .. 27

The relevance of the topic of this work is due to the fact that the Baroque era is one of the most interesting eras in the history of world culture. It is interesting for its drama, intensity, dynamics, contrast and, at the same time, harmony, integrity, unity. For our time - a vague, uncertain, hypendynamic, looking for stability and orderliness, - Baroque era is unusually close in spirit. That is why I was interested to contact this topic to find some kind of guidelines in the past, able to help find themselves in complex life collisions.

In the XVII century No art theory was created. The term itself appeared later. There are several versions of the figure of the term:

1) from the Italian "BARUECCO" - the pearl of the wrong shape;

2) "Baroco" - one of the forms of scholastic (religious-dogmatic) syllogism (reasoning in which two parcels are combined by a common term);

3) from the Italian "Barocco" - rough, clumsy, fake.

The goal is to define the essence of the five-chapted temples in the architecture of the Russian Baroque.

The tasks of this work are as follows:

Consider the role of Baroque in world architecture.

Explore the specific features of the Russian baroque.

Disclose the essence of five-chapted temples in the architecture of the Russian Baroque.

Item - Baroque style in architecture.

The object is the temple architecture of the Baroque era.

In the XVIIIV The term acquires the value of a negative aesthetic estimate. Barochny was designated all unnatural, arbitrary, exaggerated.

In the 50s XIX. Baroque consideration begins as a historical style, a regular stage in the development of late revival art.

In the 80s XIX. The present "Opening" Baroque: the work of Gurlita, Velflin, Justice. Baroque recognized the right to exist as a special artistic phenomenon.

In the 20s, XXV. The crisis of capitalist worldview occurs. Associates interest in local, national baroque variants. Periodization is given, historical boundaries are established.

In Italy, the victory of the feudalists, suppressed the sprouts of early capitalism, led to the decline of production and trade, the ruin of cities and the impoverishment of the population. However, the church continued to build luxury palaces and temples.

In the history of almost every architectural style, its final stage marks the complication of forms, overload, with details, and increased decorativeness. In Renaissance, this tendency has acquired such a specific character, which led to the formation of a new style - Baroque (from the Italian "fancy, strange"). The former restraint of the architecture, characteristic of the Renaissance, has changed underlined expression.

The beginning of the formation of a new style laid the sculptor, architect and painter Michelangelo Buonotti (1475-1564). He worked first in Florence, and after the defeat of the Florentine Republic moved to Rome. Michelangelo was a great master of plastic art, his creative temperament of the sculptor manifested itself and then when he performed as a painter or architect; The artist's works and in these art types are distinguished by powerful plastic expressiveness.

In 1520-1534 Michelangelo built a Medici Chapel in Florence and then performed the project of the Lobe Library of the Laurentzian library, implemented somewhat later. These were the first works of Baroque.

Michelangelo belonged to the number of those for whom to change in the socio-cultural and spiritual atmosphere of the era (as well as events, witnessed and the participant of which he had to be) mean tragedy. The clearance of the spirit, gloomy despair sound in his verses:

... it is better to be a stone

In a godine grave shadow and the paddy;

Do not hear, do not look - one salvation ...

But the stone in those forms that the artist attached to him, expresses tragedy. Michelangelo's sculptures created are images of custodized strength, merry spirit, tension, anxiety. These features are inherent in its architecture.

It is interesting to analyze how the architect - the sculptor decides the composition of the Lobe Library of the Lureencyan library. If he simply decorated the walls with pilasters, frontones and other classic accessories, it would create an unremarkable, ordinary composition. But he put in front of him the task is not easy to "arrange" the lobby, but to express the mood of his time in this work architecture.

Paired coupled columns create a tense rhythm. They are not interpreted as carrier elements that are based on the overlying parts; They are squeezed into Niche, they are closely. The walls of the wall are advanced forward, as if discovered, and it is emphasized with a relief plastic parts. Fronton above the door is broken, the staircase sharply expands the book, filling itself almost the entire room. The steps are bizarrely bent and the waves fall down. The whole composition is built on contrasts, pointed. From the calm clarity of the Renaissance there is no trace.

Baroque began with the expression of the protest of the depressed strength, but soon it came to completely different motives. The plastic wealth of the forms Barochko turned out to be taste with rich customers. In the history of art, there are no cases when the forms in which certain ideas were originally invested, then used as purely composite techniques or expressed other content.

The architectural style of Baroque is associated with the situation of the feudal-serfdom in Italy and other countries of Central Europe, suppressed the first manifestations of freight and attempts to achieve self-government. The inconsistency of this style is that they are reflected and the smug celebration of the victorious reaction, and the protest of the depressed freedom, and fermentation in the minds, replaced the transparent balance of the spiritual life of the Renaissance of the Epoch.

The most prominent masters of the Baroque 17th century were L. Bernini (1598-1680) and F. Borrombini (1599-1667), the works of which are different in spirit. Bernini's structures express solemnity and greatness, borrings are the spiritual heir to Michelangelo; Its works are characterized by tensions, expression, contrasts, underlined the dynamics of mass and spaces. The means of adults used by both of these masters, like all architects of that era, had common characteristics:

deliberate complication;

flames and bends of forms;

saturated plastic, giving architecture external effect, pomp.

Baroque sculpture is distinguished by pathetic gestures, expression of angles, juicy plastic; Painting - colorful, decorativeness, lighting effects. The same in architecture: all aesthetics Baroque is based on exaggerated pathos, the desire to hit the imagination. Italian poet of that time D. Maryano wrote: "To initiate surprise - the task of the poet on earth; Who can't hit, let it be better to become a stable. "

For Baroque, the complexity is not only the architectural plastic, but also spatial buildings. If the renaissance plans of the premises have a clear geometric shape - a circle, a square, in the extreme case, a rectangle, then a favorite baroque figure, which gives some uncertainty of a general form of spatial volume. But this is a relatively simple and clear form; Often, the configuration of the plan is patternd by the whims of the lines, bulges and concave walls, complicated by additional adjunctions of neighboring coined volumes, adjacent interior divisions are not perceived separately, the boundaries between them are elusive. In the Renaissance, the space is static and limited, in Baroque - dynamically and infinitely, and its complexity and dynamics are complicated by the effects of lighting. In the Renaissance, the light is evenly scattered, in the baroque clots of the shaded areas contrast with the bright light; Baroque is a favorite reception - cutting the interior of the interior of light, breaking through the half-walled opening.

The era style is generated by a non-some individual, unequivocal factor. One-sided and incompleteness would be a judgment that, for example, architecture Ancient Greece Democated by life and democraticness, the architecture of Samarkand of the late 15th century. - Thirdarlana's thoughts about the greatness, the architecture of the Renaissance - humanistic intricacies. The era style is formed under the influence of complex, often contradictory interaction of various conditions that generally make up the peculiarity of this culture. As noted, in the style of Baroque, various public sentiment reflected; They affected him and features of the cheerful, temperamental folk culture of Italy. Found an expression in this style and features of the intellectual life of the era. It was a time when, as a result of great geographical discoveries and coup in astronomy, the limits of the known one were sharply spread; The ideas about the spatial limitations of the world were changed by the concept of his infinity. It was the time of great discoveries in mathematics (in particular, the method of integral and differential calculus); Newton opened the universal law of gravity. The atmosphere of the intellectual life of the era was characterized by the impression that made on contemporaries of the idea of \u200b\u200buniversality (generality) and integrality (integrity, interconnected) of the universe. The new globility was reflected in the architecture of Baroque, which is the dynamics of forms and, as if unintended spaces, it differs from staticness, clarity, emphasising the separation and limitations of the space in the architectural aesthetics of the Renaissance.

And yet the main thing that caused the breakdown of Baroque architecture, is the desire of feudal nobility and the Catholic Church to express their prestige; Baroque style is ultimately the apotheosis of wealth. In the era of the Middle Ages, force was considered to be worthwhile, in previous times - wealth, it caused a sense of respect, understood as greatness.

These funds used the Catholic Church with the same purpose. Lush and solemn services were arranged, which should have attracted people to religion. Theatrical solemnity of the temple highlighted it from ambient, Hiding him above her and attached to him. Rich facades of baroque temples corresponded to even more luxurious interiors.

In Baroque, which has become a favorite and as if the canonical style of Catholic temples is not only the 17th century, but also at the next time, the means of architecture were aimed at stunning the viewer, to impress him. The irrational world of baroque images caused mystical sensations, strengthened religious feelings, was consonant with the vague gusts of the soul, not satisfied with the reality, and inspired thoughts about the unknown, otherworldly.

In the era of Baroque, the cult construction was widely unfolded. At this time, the protracted construction of the main catholic church - Cathedral of St. Peter in Rome. The building was, as in his time identified another Bramte, the centric volume, completed by the Grand Domes - with a diameter of 42 m. The cathedral was erected mainly by Michelangelo. Subsequently (in 1614) the plan of the cathedral was lented by an extension and a new facade was built, made in pathetic baroque forms. In the middle of the 17th century Bernini built a majestic colonnade, framing the area in front of the cathedral.

Unlike churches, the facades of baroque palaces are somewhat more restrained. The solemn impressibility of their appearance is achieved by a luxurious framework of windows and especially the input portal, which reveals an extensive lobby with a majestic staircase leading to the second floor where there are luxurious front rooms.

Rich villas were built in the vicinity of Rome. Gardens with reservoirs and numerous fountains, artificial grots and wide stairs, sculptures and decorative vases were surrounded by these country palaces. The creation of garden-park assemblies is one of their essential achievements of Baroque, which included nature into the sphere of architecture. However, nature here is presented not in its natural form, but artificially created according to the tastes of the era. These are trimmed shrubs, regular planting of trees, symmetric alleys with decorative vases located on them.

In the Baroque era, ensemble construction techniques were developed.

Michelangelo owns the draft ensemble of the Capitol Hill in Rome. Unlike the Renaissance era, when a separate building was based regardless of the surrounding, it was a group of buildings, compositely interconnected and with the spatial space uniting them. One of the components of the Capitol ensemble is a wide front staircase - a favorite element of baroque compositions.

In the 17th century (Project 1662) The project of the famous Oval Square del Popolo was carried out at the entrance to Rome. From her, three streets, divergers of fan and leading in different areas of the city begins. Since then, this form of "Trident" has become one of the stamps when planning cities when the rectangular mesh of the streets tried to revive the bunch of three rays, not particularly thinking about how this plan will respond to the real life of the city.

Baroque architecture, which emerged in Catholic Italy, did not find soil in the countries of the Protestant religion, who had hostile to Catholicism with its aesthetics of theatrical-lush beauty, in England, Scotland, Scandinavian countries, Switzerland, the northern part of Germany. In the Protestant Holland, which, after the bourgeois revolution, 16V. Freed from Spanish dominion, architecture is distinguished by restraint and simplicity. But in neighboring Belgium, where there was a strong influence of Catholicism, Jesuit baroque churches were built.

In Germany, the political response that occurred after the first attempts to achieve bourgeois-democratic freedoms led to strengthening the power of the feudal and clerics. In the second half of the 17th century. M The first half of the 18th century It contains the construction of princely residences and baroque churches.

In the 17th century Baroque extends to the next to Italy of Austria, where the Italian architects were invited to build the palaces after the establishment of the imperial power.

In France, the war between the Catholics and Huguenots in the second half of the 16th century. Completed by the cohesion of the ruling classes of society around the royal power and stabilization of absolutism. The French nobility largely followed Italian fashion, so the Baroque style had a certain influence on the architecture in France. But, essentially, this style in France did not quote.

In the countries of the Pyrenean Peninsula, the richness and wealth of decorative plastics anticipate the pan-European Baroque style during the Renaissance period. In Spain and Portugal, there are gothic cathedrals, there are 18 V classicism style palaces. But such buildings are single here. In these countries for 13-15 centuries. It was formed its own architectural style - a peculiar expansive plastic. Representing a temperamental mixture of motifs into which the forms of various origin and violent ornamentation generated by the fantasy of architects are buncifully combined. This kind of style was influenced by the luxurious architecture of Arabs: the Spanish-Portuguese folk architecture such features were not peculiar. But, having arisen, this stone pattern was so habitant that he could not push classicism. Becoming national in Spain and Portugal style "Placement" spread in the architecture of Latin America, which was under the Spanish and Portuguese dominion.

In 18 V. In different countries of Europe, Baroque goes into the Rococo style (from the French Rocail, which means "sink"; in the ornamentation of this style, the motives of marine shells were favorite. And, despite the fact that rococo forms are crushed, in contrast to plastic baroque forms, it distinguishes the same unlimited, lush decorativeness.

In Russia, the education processes of the new after the Renaissance style most actively turned into Moscow and in the entire zone of its cultural influence. The decorativeness released from the restraining principles, which carried the tradition of the XVI century, in the Moscow architecture exhausted itself, preserved in the chronologically lagging provincial versions. But the processes of formation of a secular worldview developed and deepened. They were reflected in the established changes in all artistic culture, which could not be alleged and architecture. Within its limits, the search for new means allowing to unite, discipline the shape, search for style.

Gornostayev called him "Moscow Baroque". The term (as, however, and all almost the terms) conditional. The launched baroque definition system in architecture to this phenomenon is not applicable. Moscow architecture of the end of the XVII-early XVIII century. It was definitely a phenomenon primarily by Russians. It still saved much from medieval tradition, but more confidently approved new. In this new, two layers can be distinguished: what is characteristic only for the coming period, and what has been further developed is. In the second layer, where the program of mature Russian baroque of the mid-XVIII century is already laid., Analogies are obvious with Western European post-styles - manherism and baroque.

The main innovation that was crucial for further was to appeal to universal art language architecture. In the works of Russian medieval architecture, the form of any element depended on its place in the structure of the whole, always individual. Western Baroque, unlike this, was based on the rules of architectural orders that had an universal value. Universal rules were obeyed not only the elements of the building, but also its composition as a whole, rhythm, proportions. The laws of orders addressed such use of orders in Moscow Baroque. In accordance with them, build plans began to subjugate the abstract geometric laws, were looking for a "correctness of" rhythm in the placement of openings and decor. The carpet nature of the patrony of the middle of the century was rejected; The elements of the scenery were located against the background of the stroit of walls, which emphasized not only their rhythm, but also painting. There were in this new and so close to Baroque features, as the spatial interconnection of the main premises of the building, the complexity of the plans, the underlined attention to the center of the composition, the desire for contrasts, including the collision of gently curved and rigidly straight outlines. The architectural scenery began to introduce fine motifs.

At the same time, as the medieval Russian architecture, the Moscow Baroque remained the benefit of "outdoor". B. R. Vipper wrote: "The fantasy of the Russian architecture in this era is much more captive by the language of architectural masses than the specific sensation of the inner space." Hence the inconsistency of the works, the heterogeneity of their structure and the decorative shell, the various stylistic characteristics of the outer forms, which are in the old tradition, and the forms of the interior, where the style developed more dynamically.

Antonio Rinaldi (1710-1794) was a bright foreign representative in Russia (1710-1794). In his early buildings, he was still influenced by the "aging and leaving" baroque, but it can be fully said that Rinaldi is a representative of early classicism. His creations include: The Chinese Palace (1762-1768) built for the Great Princess Catherine Alekseevna in Oranienbaum (see Appendices), the Marble Palace in St. Petersburg (1768-1785), attributable to a unique phenomenon in the architecture of Russia, the Palace in Gatchina (1766-1781), which became a suburban residence of Count G.G. Orlova. A. Rinaldi also built several Orthodox churches that combined the elements of the baroque - five-key domes and a high multi-tiered bell tower.

At the end of the XVII century. In the Moscow architecture there were buildings connecting Russian and Western traditions, features two eras: Middle Ages and New Time. In 1692-1695. At the intersection of the ancient Moscow street of Sretenka and the Earthworm, surrounding the earthen city, the architect Mikhail Ivanovich Choglockov (about 1650-1710) built a gatehouse near the Streetskaya of Sloboda, where she stood the regiment L. P. Sukhareva. Soon in honor of the colonel, he was called a Sukhareva Tower (see applications).

An unusual appearance of the tower acquired after the restructuring of 1698-1701. Like the medieval Western European cathedrals and town halls, she was crowned with a clock turret. Inside, a school established by Peter I is a school of mathematical and naval sciences, as well as the first observatory in Russia. In 1934, Sukhareva Tower was dismantled, since "prevented the movement."

Almost at the same time, temples were built in Moscow and its surroundings in Moscow and its surroundings (in the estates of the Dubrovitsy and the seeds), at first glance, more resembling Western European. So, in 1704-1707 Architect Ivan Petrovich Zarudny (? - 1727) built by order A.D. Menshikova Church of the Archangel Gabriel at the meat gate, known as Menshikova Tower. The basis of its composition is the volumetric and high bell tower in the baroque style.

In the development of Moscow architecture, Dmitry Vasilyevich Ukhtomsky belongs to Dmitry Vasilyevich (1719-1774), the creator of the grand bell tower of the Trinity-Sergius Monastery (1741-1770) and the famous red gates in Moscow (1753-1757). The Chwetsky's bell tower already existed to suppose to be supplemented with two tiers, so the bell tower turned into a Pyhyraulic and reached eighty-eight meters in height. The upper tiers were not intended for bells, but thanks to them, the construction began to look more solemnly and was visible.

The red gates not survived to this day were one of the best samples of the architecture of the Russian Baroque. The history of their construction and multiple rearrangements is closely related to the life of Moscow XVIII century. And very indicative for that era. In 1709, on the occasion of the Poltava victory of Russian troops over the Swedish army, in the end of the meat of the street, wooden triumphal gates were erected. In honor of the coronation of Elizabeth Petrovna in 1742, another wooden gate was built on the means of Moscow merchants. They soon burned down, but at the request of Elizabeth were restored in stone. Special decree of the empress this work was charged to Ukhtomsky.

The gate, made in the form of an ancient Rie-Pretten triumphal arch, were considered the best, Muscovites loved them and called red ("beautiful"). Originally central, the highest part ends with an elegant tent, a crowned figure of the Tube Glory with a banner and palm branch. Over the span. Picturesque placed Portrait of Elizabeth, later replaced by a medallion with vensels and coat. Over the side, lower passages were the sculptural reliefs, glorifying the empress, and even above - statues, personified courage, abundance, savings, trade, loyalty, constancy, mercy and vigilance. The gate was decorated More than fifty picturesque images.

Unfortunately, in 1928 the wonderful structure was disassembled on the usual reason for those times - due to the reconstruction of the area. Now there is a pavilion subway on the site of the red gate, the monument is already a completely different era.

For the middle of the 17th century architecture. The main driving force was the culture of the Posa population. Moscow Baroque, like Baroque in general, was the culture primarily aristocratic. The types of buildings where the main processes of style formation were deployed, became the palace and the temple. A new type of boyar stone chambers, in which the features of the future palaces of the 18th century have already been designated in the last quarter of the 17th century.

Holland at the end of the XVII century. Widely mediated between the Russian and Western European artistic culture. The same circle of pre-conversations, which influenced the form of completion of the Sukhareva Tower, was reflected in the decorative superstructure of the clerk of the Troice-Sergiye Lavra and the bell tower of the Yaroslavl Church of John the Forerunner in the Toll. Undoubtedly, the Dutch origin of a stepped figure fondon, dissected by the blades, in the 1680s. O. Elders decorated the western facade of the skeleton simonov of the monastery in Moscow. Through the engraved images of the buildings of Western European cities ("Drawings Battle") at this time were already quite numerous in the largest book collections of Moscow.

An important place in the development of Russian architecture of the late XVII century. It is occupied by the buildings of monastic refectory, which formed a link between secular and church architecture. The spatial structure of these buildings was the same type. The main floor was tumped over a low economic dump. On one side of his shifted to the West, Seine was the official premises, otherwise - the prospect of an extended vaulted room was opened, connected through a triple arch with the church on the east side. The space, combined along the longitudinal axis, determined the length of the asymmetric facade associated with the measuring rhythm of the windows framed by columns carrying the torn frontoth. At the facade of the refectory Novodevichy Monastery (1685-1687), this rhythm is reinforced with long consoles descending from the eaves along the axes of commonens. The most ambitious among such buildings is the trapes of Trinity-Sergiye Lavra (1685-1692) - has Corinthian speakers in every simple antablemant; In places of adjoining transverse walls, the column is doubly. Their rhythm on the attic invas the kokoshnikov with sinks (the motive that is repeated at the end of the top of the church, rising above the main volume as the second tier). The plane, subordinate to the rhythm of the order, its discipline, became the main architectural motive of temples with a rectangular volume.

The further development of such a type of landing church, ascending to the Moscow Church in Nicnic, was especially brightly manifested in the construction of the end of the 18th - beginning of the XVIII century, usually referred to as "Stroganovsky" (they were erected by "their cat" the richest saltyman and the Mattter G.D. Stroganov, which worked a permanent artel associated with the capital traditions of architecture). The three-way dismemberment of the facades of the Stroganov school is not only traditionally, but also deliberately connected with a constructive system, in which a closed arch with crucifically located platforms transfers the load on the simpleness between wide light windows. The architectural order has become a means of expressing the structure of the building; At the same time, he, according to the researcher of the Stroganov school I. Brytsev, was closer to the canonical than any other Russian buildings of the time, indicating a serious acquaintance with the architectural theory of the Italian Renaissance.

The discipline of the architectural order, the universal system, began to subjugate the composition of the churches of the end of the XVII century, its rhythmic system. The liberation of the architectural form from the straight and tough conditionality of the semantic value characteristic of medieval architecture began. Together with the strengthening of secular trends of culture, the role of the aesthetic value of the form, its own organization increased. This trend was reflected and the search for new types of the volume-spatial composition of the temple, not related to generally accepted samples and their symbolism.

New long-term structures hit their symmetricality, completion that combined the complexity and pattern of construction. At the same time, traditional orientation for the temple was dissolved in these structures. It seems that the architects fascinated the geometric game, determining the internal logic of the composition, regardless of the philosophical-theological program (in accordance with which the Patriarch Nikon was firmly insisted).

In the new versions, there was a connection with the traditional type of the Temple-Tower, a landmark church, a centering, collecting space around him; Otherwise, the search for expressiveness was deployed freely and diverse. The start of searches is noted by the creation of compositions of the type "eight in the four", repeating the structure of the structure common in wooden architecture.

Summing up, I would like to say that the identity of the architecture of the Russian baroque manifested itself in a organic combination of a clear fundamentality and simplicity of planned solutions with the painting of silhouettes and facades, generosity and fantasy of decorative forms, their multi-flowering, traditionally developing majority and elegacity inherent in Russia. In the middle of the 18th century, the original Russian five-headwie is revived during the construction of temples, and it is enriched with new independent decisions, the type of church of the beginning of the century, topped with domes in the Florentine spirit, is universally replaced.

The desire of architectural means to express the domination of a person over the nature and elements, the inexhaustibility of his creative opportunities - finds a convincing expression in a contrasting combination of geometry surrounding the palaces of regular gardens and parks with a huge length of plastic facades and lush amphibes of the main premises. In the interiors - the abundance of openings, mirrors, ornaments, completely covering walls, picturesque plafoons. All this creates the illusion of infinity of space.

The flourishing of the Russian Baroque is associated with the names A.V. Kvass (Big Tsarskoye Palace before his restructuring of Rastrelli, not preserved Church of the Assumption of the Blessed Virgin Mary on Sennaya Square), P.A. Trezini (Fedorovskaya Church in Alexander Nevsky Laurev), A.F. Vista (Andreevsky Cathedral at the corner of 6 lines and big avenue, a bottle house in the Petropavlovsk fortress) and other masters, but first of all, - with the name of Bartholomew Varfolomeevich Rastrelli (1700-1771) - the creator of a luxurious Smolny monastery, winter (see applications), Vorontsovsky, Stroganovsky palaces, rebuilt by the palaces and pavilions in the royal village and Peterhof. Rastrelli set the tone, the scale of the further development of the Palace Square and the Palace Embankment.

In conclusion, I want to repeat that the Russian Baroque looks like a European one, in it brighter is expressed by secular, more terrestrial nature of Russian art of the XVIII century. Savva Ivanovich Chevakinsky (1713-1780) elevated a magnificent Nikolsky Marine Cathedral with the most beautiful bell tower of St. Petersburg on the shore of Kryukov Canal, Shuvalovsky Palace on Italian Street, Sheremetyevsky's courtyard on Fontanka and others. Unknown while the master (most likely P.A. Trezini), like Opponent with Rastrelli, built an amazing beauty in Vladimir Square to Vladimir Church (completed at the end of 1760). A lot of created by this architect was later rebuilt or just disappeared. In 1760-1770, in the "Golden Age of Catherine II", architectural and artistic tastes are changing, classicism comes to replace the magnificent "Elizabethan Baroque".

The five-headed temples in the architecture of the Russian Baroque was characterized by both the tradition of majesty and wealth and the originality of the ensemble, emphasizing the prestige of the Church, its role.

A vivid example of this can serve one of the most amazing and harmony of the architectural ensembles of Moscow - the Novodevichy Monastery.

From the point of view of architecture, the Novodevichy Monastery was built in the style of Moscow or Naryshkinsky Baroque, which was formed in Moscow by the end of the XVII century. For this style, a bright decorative combination of carved blonde parts with a red brick wall. Perhaps the Novodevichy Monastery is the most striking example of this style. In the XVII century, under the leadership of Sophia, the monastery was reconstructed. What we can see today belongs to the XVII century.

In the monastery, 6 churches were preserved: Smolensk Cathedral, the Assumption Church at the meadow, Ambrostevskaya Church in the Irininsky Chambers, 2 Gard Churches (the Transfiguration of the Lord, above the Northern Gate, the Temple of the Pokrov's Lady, above the southern goal) and the temple in the name of Pre. Varlaama and Iosaf in the Nizhny Yarusa Bell Tower. The cathedral of the Smolensk icon of the Mother of God is the oldest temple of the Novodevichy Monastery. It was built in 1524-1525 and architecture similar to the Assumption Cathedral of the Moscow Kremlin, although it differs from him for a number of features. The cathedral is put on a high white-mounted dump truck and complicated from a large-scale brick; The facades of it, separated by the blades on 4 sparning along the length and 3 - in width, are practically deprived of jewelry. Only a three-part apse is decorated with a subtle arcabot belt. Vaults are based on the cross pillars (the innovation brought to the Russian architecture of Italians). The temple is surrounded by gallery with arched openings (some of which is now laid) and small feathers from South and North Parties. The high-porch steps lead to the entrance to the Cathedral.

The painting, preserved in the cathedral, belong to 1526-1530. At the time of Boris Godunov, the frescoes were rendered, but not rewritten. They crushed them later, and only when restoration in Soviet times, when the cathedral gave the museum, the walls of the cathedral was returned to the initial species. Pictures are located in several tiers on the walls and pillars and are devoted mainly to the theme of holy warriors and Russian princes, the wonders of the Smolensk icon of Our Lady; In painting, the idea of \u200b\u200bMoscow as the Third Rome is traced. This is fully explained by the time of their creation - the period of the formation of the Russian state. The painting of the arches, judging by style, was still made in Boris Godunov. Pyhylain chief iconostasis of the cathedral was made by order of Sofia princes in 1683 - 1686 by the masters of the Armory Chamber. The iconostasis made by Master from Shilov Klim Mikhailov "with comrades", carved and covered with gilding, invariably attracts the views of the Museum's visitors.

After the closure of the monastery, the cathedral was occupied by the museum, in charge of which remains so far.

The Assumption Temple of the Novodevichy Monastery. St. Peter, transferring in 1325 the residence of Russian Metropolitans from Vladimir to Moscow, the strength and piety of Moscow put in close relationship with the construction of the temple in honor of the Major Mary; He recommended the great prince Ivan Danilovich Kalita to erect here the "Temple worthy of Our Lady." According to this will, in 1326, the first stone church was laid in Moscow in the name of the Assumption of Our Lady, and subsequently a significant part of the temples erected in Russia was named after this holiday, and in a number of them - an old center-sensitive church of Moscow in the Novodevichy Monastery. In terms of its original purpose, the temple of the Novodevichy Monastery belongs to the type of special, built only in the monasteries of the temples, - Temples-refectory. This building is a semi-sector, semi-forwarded nature: the temple itself occupies a small part here; Everything else is adversely proved for the needs that are not directly related to the divine service.

The temples of this type arose and built in the hostel monasteries. According to the will of St. Sergius of Radonezh, there was no own, clothes and shoes were "out of the treasury", food fell behind the total meal. A large number of statements that felt according to the Charter together and at the same time caused the need to build in monasteries of spacious halls - canteens.

Such intended to meet the needs of the night of the community, the premises were contacted according to the Plan with the Church. Along with the temple, services for the community dining room were built here. Connection of various parts into one and created characteristic type Buildings, carrying the name of the temple - the meadow.

The refectory Novodevichy Monastery with the Assumption Temple with it is one of the most majestic and interesting structures of this kind. The monastery (founded in 1524) was a long-time monastery court, privileged, and his refrapping chamber was based with the calculation not only for the daily scenery of the atrocities, but also for the reception of the kings often traveled here and other high-ranking persons, the devices of crowded holidays and memorial dinners. It is an extensive (over 2000 square meters. M) well lit, arranged on a high bonding building with a number of halls, three parade porchs and a rich outer and interior decoration. The actual refectory and the temple with it form a single structure, and the temple in relation to the refectory is highly elevated and is equal to two cubes put one on another.

The temple has 2 floors: "Warm" church is placed at the bottom of the state of the Mother of God, at the top - "cold" (unheated) church in honor of the Descent of the Holy Spirit. It leads a narrow staircase arranged in the southern wall.

Both churches and refectory were built in 1685 - 1686 by order of Sister Peter I Tsarevna Sophia. The construction of the building was associated with the overall restructuring of the monastery. Almost the entire monastery settlement was created then again, in a single style.

The nature of the architecture of the Assumption Church with the refectory is very typical for Moscow (Naryshkinsky) Baroque. High, colpidated temple has a lower altar adjacent to it from the east and the refectory from the West; The forms of windows and doors are rectangular, the dimensions of them are large; At the corners of the buildings of the column, windows are framed by platbands; All finishes are characterized; Colorist effect - red (background) with white (scenery). In 1976, the building suffered a lot from the fire, and was soon partially rebuilt. The changes affected as follows: the wide, open gallery on the arches surrounding the ward, kokoshniki destroyed, decorated the top of the church, the five-chapter is replaced by one chapter, the porch is redone. But at these alterations, the type of building is preserved quite close to the same; Capital parts did not change, and it remained one of the best monuments of Russian architecture of the late XVII century.

The main entrance to the temple is through the northwest porch. It is adjacent to an extensive hallway-pellery, the eastern wall of which is decorated with icons, the restless lamps hang in front of them. From the hallway to the dispenser - the door framed by an interesting carved white-named portal. The refectory is now the main place of standing praying during worship services; Through three large arches with artistically made from a carved white stone frame, it connects with a temple itself, which has a small area. Its internal design is new: currently currently installed in 1945; Previously, he was in the Moscow Church in honor of the Holy Trinity in Khokhlah. The iconostasis of the wooden, XVII century, consists of four ordinary Icon tiers; All icons, with the exception of several local, modern to him. The design of the iconostasis is made in the form of a curtain; According to the author, it should resemble the altar barriers of the first centuries of Christianity when the Altari was separated by simple curtains.

The refectory is an extensive (with an area of \u200b\u200b390 square meters. M) a well-lit room, covered with one, without intermediate supports, a vault in which the reductions above the window openings are beautifully cut.

On the right side of the refectory, the eastern wall adjacent to the Assumption Temple is located in the name of the apostle and the evangelist John the Bogoslov. The bed has a small one-story wooden iconostasis, arranged in 1956; All Icons of His - Late Origin. The altar came very small in size; It is committed mainly, early liturgy. The Church of St. Ambrose Bishop of Medialyan (Modern Milan) was erected on the territory of the monastery of white stone presumably at the end of the 1600s. Services in the Amvrosievsky temple are committed on the day of the memory of St. Ambrosia (December 7/20) and in the employment of the Assumption Temple. On the other days, the temple is used to fulfill the prayer monastic rule of sisters and to read the Psaltiri (the entire psalter is subtracted per day, several volumes of monastic synodic and memorial notes). The noteworthy temples - the Intercession of the Most Holy Virgin (built in 1683 - 1688) - above the southern entrance, three-headed, with an open terrace; The architectural style there is an influence of the South Russian Baroque and the Transfiguration of the Lord (Savior Transfiguration, 1687-1689) - above the northern gate, the five-page, in the style of Naryshkinsky Baroque; 3 tiers of elegant windows, in-eight-tier carved gold-coated iconostasis workshop workshop under the direction of K. Zolotarev (1688). The Lopukhin Corps (168301686) is adjacent to the Preobrazhensky temple (168301686) - the residential chambers of the Tsarevna Ekaterina Alekseevna, where the Queen of Evdokia Lopukhin lived in 1727-1731. Even further, also along the wall - the former Streletskaya Karaulnya during the plank tower, which in 1698 - 1704 served as a place of imprisonment of Sophia prison. Here is an exposure dedicated to Philaret: a variety of documents, a few icons, a bright tile furnace.

The bell tower of the Novodevichy Monastery refers to the best works of Russian architecture of the XVII century. Among the well-known bells of a similar type, it affects the special proportion to the proportions. On the 72-meter height, the openwork pillar is easily and loose. Exquisite slimming and ease are achieved by the skillful distribution of parts of the structure. Deaf tiers alternate with openwork, lightweight arches, and each has a peculiar decorative solution, not repeated in the drawing. Unusually placing the bell tower behind the altar apsides of the Cathedral, the architect, thus completed and united all the construction of the architectural ensemble and at the same time clearly defined the central position of the Smolensk Cathedral - the architectural dominant of the Novodevichy Monastery.

Thus, the Baroque culture occupies a huge historic space: the turn of the XVI-XVIIIVB - XVIIIV. His appearance was historically natural process prepared by all preceding development. Nonodynakovo found its implementation style in various countries, identifying their national characteristics. At the same time, there had common features typical of European art and for all European culture:

1. Church dogmatism, which led to strengthening religiosity;

2. Increase in the role of the state, secularity, the struggle of two began;

3. High emotionality, theatricality, exaggeration of everything;

4. Dynamics, impulsiveness;

At the same time, Baroque prepared new epoch - Epoch of Enlightenment. The art of this style lives, develops up to the present day (Rococo art, "neoclassicism", rering primarily baroque forms, Novovenskaya school in music, contacting the masters of a strict style ...)

The Baroque world is just as limitied as the world of the human soul. The life of life, overflowing the music of this time, according to the laws of the baroque antinomy, gets along with intense spiritual quest. Sensual beauty of the Baroque art is a guarantee of love for him. But it is drawn not only to the heart. Heart and mind, love and knowledge are a series of antinomies related to the field of perception of art.

Many people are connected with Russian monasteries in the life of the Russian man. After all, all the basic events of the Christian proceeded in the church - there he was baptized, then crowned and, finally, fled. Now much is done in order to revive the best Orthodox traditions and shrines, and, above all, it concerns the restoration of monasteries and churches. The fact is that they are not just institutions for the departure of the cult need and the needs of believers, but "spiritual - historical centers", they constituted stones on the basis of the building of the Russian state.

After reading the history of the emergence of a Novodevichy Monastery, having studied his architectural features, we can safely talk about the fact that the Novodevichy Monastery is an outstanding monument of the architecture of the XVI - XVII centuries, and historical - cultural significance is just huge, thanks to the huge collections of the most valuable rarities. The Novodevichy Monastery is included by UNESCO to the list of world cultural heritage, since it is considered one of the oldest and most beautiful monasteries of Russia.10 August 2009 to the Novodevichy Monastery will be 485 years old. The status of the UNESCO object can be assigned only when the construction can be preserved in pristine form, and there are not many such objects in Russia - only 21 (Moscow Kremlin, Red Square, Architectural Ensemble Trinity - Sergiye Lavra, Kurtgorodskaya Wall, etc.) and, Of course, the Novodevichy Monastery is rightly included in this list.

1. Allenov M.M., Evangulova O.S. Russian art x-early XXV. - M.: Art. - 1989.

2. Architectural - Construction terms / Sost. Yu.N. Belov - Svet.: Karo, 2006.

3. Balakina T.I. MHK: Russia IX-XIX centuries. - M.: Publishing Center AZ. - 1997.

4. Borisenko I.G. Novodevichy Monastery. - Ed.2-E - M., North Pilgrim, 2005.

5. Brazhnev I.A., Batashkova A.N. Russian interior of the XVIII-XIX centuries. - M.: Svalog IC. - 2000.

6. Goldstein A.F. Architecture. - M.: Art. - 1979.

7. Kashasova I.E. From antiquity to modern. - M.: Enlightenment. - 2000.

8. Maluga Yu.A. Culturalology. - M.: Enlightenment. - 1998.

9. Mironov O.V. Dictionary of religious terms. - Voronezh: Publishing house VSU, 2002.

10. Monasteries of the Russian Orthodox Church. Reference Guide. -M.: Publishing House of Moscow Patriarchate, 2001.

11. Palamarchuk P.G. Forty fortificestations: a brief illustrated history of all Moscow temples: in 4t. M.: "Publishing House of AST", 2003-2005.

12. Petrov, A.Yu. Old Believes of Moscow. Brief reference book - guidebook. M., 1998.

13. Pilyavsky V.I. The history of Russian architecture. - M.: Art. - 1984.

14. Russian Orthodox Church. Temples. Moscow. Encyclopedic directory. (Sost. And the author A.V. Nikolsky) M.: Publishing House of Moscow Patriarchate: Edited. House "Russian Writer", 2003.

15. Christianity: Encyclopedic Dictionary. In 3t.m., 1993-1995.

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Baroque in Russian architecture

Introduction

Italian Barocco - (Freaky) - art styleprevailing from the end of the XVI to the middle of the XVIII centuries. In the art of Europe. This style originated in Italy and spread in other countries after the Renaissance era. The main features of Baroque - parade, solemnity, pomp, dynamism, life-affirming character. The art of baroque is characteristic of bold contrasts of scale, light and shadow, colors, combining reality and fantasy. It is especially necessary to note in the style of the baroque fusion of various arts in a single ensemble, a greater degree of interpenetration of architecture, sculpture, painting and decorative art. This desire for the synthesis of arts is the fundamental baroque feature.

Baroque style was intended to glorify and promote power of power, nobility and church, but at the same time he expressed progressive ideas about the complexity of the universe, infinity and diversity of the world, his variability. A man in the art of Baroque is perceived as part of the world as a complex person who worries dramatic conflicts.

Baroque feature - non-compliance with renaissance harmony for more emotional contact with the audience. The architecture of Baroque is distinguished by spatial scope, fluidity of curvilinear forms, merging volumes into a dynamic mass rich in the sculptural decor, communication with the surrounding space. At the turn of the XVII and XVIII centuries. In Russia, the Middle Ages ended and a new time began. If in Western European countries, this historical transition stretched for whole centuries, then in Russia it happened rapidly - during the life of one generation.

Russian art XVIII century. In just a few decades, it was destined to turn out of religious in secular, master new genres (for example, a portrait, still life and landscape) and discover completely new themes for themselves (in particular, mythological and historical). Therefore, styles in art, which in Europe consistently replaced each other over the centuries, existed in Russia the XVIII century at the same time or with a gap in just a few years.

The reforms carried out by Peter I (1689--1725) were touched upon not only policies, economics, but also art. The goal of the young king was to put Russian art in one row with European, enlighten the domestic public and surround their courtyard architects, sculptors and painters. At that time, large Russian masters were almost no. Petr I invited foreign artists to Russia and at the same time sent the most talented young people to study "artists" abroad, mainly in Holland and Italy. In the second quarter of the XVIII century. Petrov retirees (students contained at the expense of public funds - Pension) began to return to Russia, bringing new artistic experience and acquired skill with them.

The XVIII century in the history of Russian art was a period of apprenticeship. But if in the first half of the XVIII century. Teachers of Russian artists were foreign masters, then in the second they could learn from their compatriots and work with foreigners on equal.

After just a hundred years, Russia appeared in an updated form - with the new capital,

in which the Academy of Arts was opened; With a lot of artistic assemblies that did not inferior to the oldest European collection and luxury collections. The originality of the architecture of the Russian Baroque manifested itself in a organic combination of clear fundamental and simplicity of planned solutions with the painting of silhouettes and facades, generosity and fantasy of decorative forms, their multi-flowering, traditionally developing majority of Russia and elegacity inherent in Russia. In the middle of the 18th century, the original Russian five-headwie is revived during the construction of temples, and it is enriched with new independent decisions, the type of church of the beginning of the century, topped with domes in the Florentine spirit, is universally replaced.

The desire of architectural means to express the human domination over the nature and elements, the inexhaustibleness of his creative possibilities - finds a convincing expression in a contrasting combination of geometrism surrounding the palaces of regular gardens and parks with a huge length of plastic facades and lush antfilas of the main premises. In the interiors - the abundance of openings, mirrors, ornaments, completely covering walls, picturesque plafoons.

All this creates the illusion of infinity of space.

Chapter I. Moscow Baroque

Russian Earth, perceiving the features of the European Baroque, creates its own, unique architectural style - the so-called "Moscow", or "Naryshkinskoye", Baroque. For the first time, temples in such a style appeared in the estates of the Naryshki, the nearest relatives of Peter I on the maternal line. Bright representatives of this style were: Anthropov Alexey Petrovich (1716 - 95), Zrudezhny Ivan Petrovich, Francesco Bartalleo Rastrelli.

The processes of education of a new style most actively turned into Moscow and in the entire zone of its cultural influence. The decorativeness released from the restraining principles, which carried the tradition of the XVI century, in the Moscow architecture exhausted itself, preserved in the chronologically lagging provincial versions. But the processes of formation of a secular worldview developed and deepened. They reflected the established changes in all artistic culture, which could not be alleged and architecture. Within its limits, the search for new means allowing to unite, discipline the shape, search for style.

The most talented embodiment of the ideas of Naryshkin Baroque with all the grounds should be considered Jacob Bukut, a serf peasant from the Moscow region, nugget-architectural. Extremely gifted and possessed by a rich imagination, he undoubtedly referred to the number of "dreamers", although facing the past, but not alien to modern trends. In his creations, the covers reflected not only divine revelations, but also the attachment to everything essentially, to the earthly fruitful nature. As a Baroque man, he probably tried to reconcile mystical gusts and hedonism (pleasure), putting forward the "double life" principle, as far as it was achievable in the transient era. But the spiritual joy of the nomator, as if having dwelling in the two worlds - the earthly and heaven, could not not find reflections in his work. And today it is difficult to tear away from the contemplation of the Church of the Intercession in the filients, perhaps the best creation of Bucket. Not far from the metro station "Fili" in Moscow, in front of you, suddenly appears slender "Terem", which caused by the despicable upward proportions and shining golden bizarre masters.

baroque architectural style

1.1 Church of the Intercession in Fil

Rich and Gord was Boyar Lion Kirillovich Naryshkin, Brother Natalia Kirillovna Naryshkina - Mother Peter. Uncle King was surrounded by Honor and respect. During the Streetsky Bunta, he miraculously saved. At the age of 26 became a boyarian. At the time of his first trip abroad, the king instructed the state affairs of the Duma from the nearest people, in which Lev Kirillovich held a prominent place: he was part of the Council, managing the state. And in 1698-1702, Naryshkin led the Embassy Order.

In 1689, Peter complained uncle with many estates and lands, among them - and Kuntsev's victim with palace village, Khvili (River Movilka, now Fili). In the 1690s, Naryshkin, bought to the filients of the neighboring Kuntsevo, stood up to the arrangement of his possessions. He built a boyars choir, crowned with a clock tower, broke the extensive park with ponds and the garden, created various services, a stable courtyard. In the place of the ancient wooden church, Lev Kirillovich builds the majestic temple of the Pokrov Virgin - a classic monument to the Naryshkinsky Baroque. There were no direct indications of the authorship of the Bucket here, but similar to the style of temples, built by the architect, are somewhat later, such instructions have. Money for the construction of the Phileu Church was given and the queen Natalia Kirillovna, and the young king Peter. According to legend, Peter has repeatedly been in filiela and even often sang on the closet of the Pokrovsk Church. It belongs to the ancient type of the church of the XVII century "izh under the bells", that is, the bell tower and the church are combined in it. Chetserik with semi-circular concaves adjacent to it, topped with gold-plated masters on slender drums, towers on a high bondage and is surrounded by Gulbert Gallery. The measuring rhythm of the arches of the gallery with wide and picturesquely sprawling stairs emphasizes the effect of movement of architectural masses up. Two-storey church.

Her wide stairs are withdrawn on the Gulbishche, where you get to the "cold" church, topped with domes. Over the main four, two eights and an eight-marginal drum chapter are sequentially located. The octaging of the fourthics has long been applied in Russian wooden architecture, and then in Stone.

In the blockage - winter (that is, heated) Church of the Intercession of the Virgin, and above it is the church of the Savior of the Unclean. The dedication of the church of Sasu Molva tied up with the fact that during the Streetsky rebellion of 1682, Lev Kirillovich, hiding in the rest of the queen, prayed in front of the rescue of the dear, whose mercy was attributed to his deliverance from death.

The red brick and white stone of the facades, a witty system of the structure of a long building, directed upwards, openwork crosses over shining chapters - all this gives the church fabulous ease and transshipment "Terema" with a tower-like stepped silhouette. In this masterpiece, in fact, all the features characteristic of the Naryshkin Baroque were embodied. And a symmetrical composition of buildings, and rich carved frontons, completing individual volumes, and large door and window openings, and open front stairs, finally, grace and painting of white-eyed scenery on a red background.

The location of buildings is deeply felt. Most often, the manor churches rise at the high steep banks of the rivers. Lieuner towers with dazzling brilliant pupils in those days were visible for tens of kilometers, immediately causing attention among the immended areas of forests and fields. Now many of them entered the line of Moscow.

1.2 Fantasy Yakov Buvostov

The flourishing of Naryshkinsky, or Moscow, Baroque falls in the 1690s and the very beginning of the XVIII century. The same years is the best time of Cucivost's creativity. The creator of a new style in Russian architecture possessed the extensive knowledge of the architectural practice, was a capable organizer and at the same time he had a bizarre imagination. Full innovative intentions, a serf master performs within the Moscow and Ryazan victuchin orders of noble nobles, companions of Peter. Archival documents suggest that the outstanding architect not only headed the construction artel, but also delve into all the details during the construction. Brilliant intuition allowed the master to build, most likely, "on the eye", the drawings could be replaced by simple sketches or sketches of ornamental motifs. Yes, and doubtful, whether he owned by a diploma: on all the preserved documents for Yakov "put the hand" someone else.

Life of Bucket is the continuous construction of monumental structures, which are located apart from each other. The difficult fate of creating a wonderful church of the rescue in the village has not affected its rare beauty born by inspiration. Once there were solid pine forests here (from here and the name of the village - "at Bora"), the river fell into Moscow a river, and on the old road from Moscow in Zvenigorod, Moscow kings went to the Bogomol in Savvin Monastery. In the XVII century, these lands owned the boyars of Sheremetev. On behalf of P. V. Sheremeteva, the covers took over the construction of a stone temple in his estate, but soon he switched to the construction of the Assumption Cathedral in Ryazan. The angry boyar behind the unfinished church in the Uborah entered into a master in the dungeon. The prickie of the order of stone affairs sentenced the architect "to beat the whip merciless", and then "a stone case to finish it." However, as if to the presentation of his conchine close and fearing for the fate of the construction, Sheremetev filed the tsar of the petition with a request to cancel the punishment.

The completed church in Uborakh (she was built in 1694-1697) became one of the masterpieces of the Old Russian architecture. As in the church in the films, she has a stepped pyramidal construction: three octagum rises on Cuba-Chetverka. On all sides, the cube deployed the semicircles of the altar and the River previous chapters. In the middle end, the bell jested. The building was surrounded by an open gallery-gulbing, decorated with white-stone vases and herbs with a juicy vegetable pattern.

The plan of the rarest monument is a four-fledged flower with gently bending edges and a square core. The fancy carved lip of the church of the resca is unusually plastic. Thin semi-column, separated from the walls, completely covered with large, slightly concave leaves with dew drops, others are wrapped with flower garlands and are completed by the Akante leaves of Corinthian capitals. Where did the books screaming a baroque motifs? They could be borrowed from engravings, from the book ornaments of the treatises of the architecture were already translated by Belarusian sharp. The temple is so apparent, which resembles an exquisite jewelry.

Since the construction, he struck everyone who comes to his wellness, festive, hesitated the unearthly sense of joy. Raised to the top of a gentle hill, surrounded by a dance of slim birches and pines, a monument reigned over the district. "I remember how once we approached the Uraz in 1889," C. D. Sheremethev, wrote in his memoirs. "There was Eve of Petrov's Day, the evening was warm and quiet. They came to us out to be long-hearted ... We entered this church. Thrown with praying. Slim peasant singing was heard under high temples. Deacon, an ancient old man, distinctly and expressively read the petition. The majestic iconostasis struck me with the rigor and finishes. Lampad was brightly burned from the local icon of the Savior. Old Rusy has reached us.

But one of the most striking works of Buvostov was the church in the village of Troitsk-Lykov, standing on the rippletish right bank of the Moscow River, opposite the silver boron (1698-1703). On the authorship of Yakov, indicates the entry in the Sanidike of the Church. In the three-part church, the architect the architect resorts to exquisite proportions and carefully developed outdoor and inner decoration. Thin ornamental carving reaches apogee. One of the modern scientists compared the temple with jewel, covered with beads, covered with golden threads, sparkling and overflowing in the rays of the Sun. Not three are built here, and two shows, topped with domes on octaphored bases.

How could a brilliant architect, dependent on the whims of noble customers ("Yakunk", "Yanka", barely avoided bodily punishment), create such monumental works for such a short time, as an Assumption Cathedral in Ryazan, Walls and Towers of the New-Jerusalem Monastery with a Scratchny Yarny The entrance of the Jerusalem Church, as well as the three temples that served as the basis of this article? Obviously, among his assistants there were bright artists who made an invaluable contribution to the creation of a particular building. But the talent of the Master Master, the priority of his main ideas remained decisive.

At the end of the XVII - early XVIII century, Naryshkinsky Baroque found many admirers. Centricular, or three-part, churches are built in Moscow, near Kolomna, in Nizhny Novgorod, under Serpukhov, near Ryazan. Their distinctive feature serves a white-stone decor, but has already been strongly Russified. Fronttones and platbands are framed by volitions - architectural details in the form of curls, spiral columns put on the brackets or console brackets extended from the wall. The decorative motifs are affected by a variety: "torn frontoths", sinks and cartoons (decorations in the form of a shield or a half-hearted scroll), mascurns and amen, balustrades with vases ... Baroque creates new and unexpected compositions from these ornamental stuff. Realistic sequences of grape vines, flowers and fruits are woven into luxurious garlands and bouquets, as if saturated with life juices. Another favorite ornament is the most complex interlacing bizardsfully torn cartridges with rollers-scallops along the edges of curls and convex pearl grains, located rows.

A bright foreign representative worked in Russia was Antonio Rinaldi (1710-1794). In his early buildings, he was still influenced by the "aging and leaving" baroque, but it can be fully said that Rinaldi is a representative of early classicism. His creations include: the Chinese Palace (1762-1768) built for the Great Princess Catherine Alekseevna in Oranienbaum, the Marble Palace in St. Petersburg (1768-1785), attributable to a unique phenomenon in the architecture of Russia, Palace in Gatchina (1766-1781 G.) who became a country residence of Count G.G. Orlova. A.yraldi also built several Orthodox churches that combined the elements of the baroque-five of domes and a high multi-tiered bell tower.

At the end of the XVII century. In the Moscow architecture there were buildings connecting Russian and Western traditions, features two eras: Middle Ages and New Time. In 1692-- 1695 At the intersection of the ancient Moscow street of Sretenki and the earthen shaft surrounding the earthen city, Architect Mikhail Ivanovich Choglockov (about 1650--1710) built a gatehouse near the Streetskaya of Sloboda, where the regiment L. P. Sukhareva stood. Soon in honor of the colonel, he was called a Sukhareva Tower.

The unusual appearance of the tower acquired after the restructuring of 1698-- 1701. Like the medieval Western European cathedrals and town halls, she was crowned with a clock turret. Inside, a school established by Peter I is a school of mathematical and naval sciences, as well as the first observatory in Russia. In 1934, Sukhareva Tower was dismantled, since "prevented the movement."

Almost at the same time, temples were built in Moscow and its surroundings in Moscow and its surroundings (in the estates of the Dubrovitsy and the seeds), at first glance, more resembling Western European. So, in 1704-1707. Architect Ivan Petrovich Zarudny (? - 1727) built on request A. D. Menshikov Church of Archangel Gabriel at the meat gate, known as Menshikov Tower. The basis of its composition is the volumetric and high bell tower in the baroque style.

In the development of the Moscow architecture, Dmitry Vasilyevich Ukhtomsky belongs to Dmitry Vasilyevich Ukhtomsky (1719--1774), the creator of the grand bell tower of the Trinity-Sergius Monastery (1741--1770) and the famous red gates in Moscow (1753--1757). The Chwetsky's bell tower already existed to suppose to be supplemented with two tiers, so the bell tower turned into a Pyhyraulic and reached eighty-eight meters in height. The upper tiers were not intended for bells, but thanks to them, the construction began to look more solemnly and was visible.

The gate, made in the form of ancient Roman three-platitive arches, were considered the best, Muscovites loved them and called red ("beautiful"). Initially, the central, the highest part ends with an elegant tent, a crowned figure of akin fame with a banner and palm branch. A picturesque portrait of Elizabeth, a later replaced by a medallion with vensels and a coat of arms, was placed above the span. Over the side, lower passages there were sculpture reliefs, glorifying the empress, and even above - statues, personified courage, abundance, savings, trade, loyalty, constancy, mercy and vigilance. The gate was decorated with more than fifty picturesque images.

For architecture of the middle of the XVII century. The main driving force was the culture of the Posa population. Moscow Baroque, like Baroque in general, was the culture primarily aristocratic. Naryshkinskoye Baroque - absolutely peculiar, unique national-Russian phenomenon. It is difficult in nature and has no analogies among the world architectural styles. "Naryshkinsky structures", perhaps, the most vivid phenomenon of Russian architecture of the end of the XVII - early XVIII century. In their festive, cheerful-enlightened appearance are visible and a solemn parade, and the "prudent" religious concept of Petrovsky time. Looking at such structures, feel some fragility, the transparent disembodies of these amazing monuments.

Chapter II. Baroque in St. Petersburg

Bright Baroque Style Representatives in St. Petersburg are:

· Winter Palace in St. Petersburg, monument to the architecture of the Russian Baroque. Built in 1754 - 62 V.V. Rastrelli. He was a residence of Russian emperors, from July to November 1917 - a temporary government. Powerful car with an inland yard; Facades are addressed to the Neva, Admiralty and Palace Square. The front door of the building emphasizes the magnificent finish of facades and rooms. In 1918, part, and in 1922 the entire building was transferred to the Hermitage;

· Smolny monastery (former Resurrection Smithon Monastery), architectural monument in St. Petersburg. The ensemble includes a monastery, built in Baroque style (1748 - 64, Architect V.V. Rastrelli; Interior of the Cathedral and Celai Corps - 1832 - 35, Architect V.P.Stas), and Smolny Institute of Noble Maidens, the first in Russia is female Secondary educational institution (1764 - 917).

Petersburg and Moscow. The opposition of the two largest centers of Russia - Moscow and St. Petersburg - Leningrad, more than two hundred years speaking as a "new capital," - emerging from a long time. The familiar opposition is emphasized in different facilities of urban culture and the traditions of art schools, in the psychology of residents and their behavior, but most of all - in the nature of the spatial organization of urban tissue. The comparison of Moscow and St. Petersburg is usually illustrated by the idea of \u200b\u200bthe opposite of the pictorial and regular, intuitive and rational principles of Russian urban planning. However, here the real picture is more complicated than the opposition of separately extended and incompatible qualities, which is particularly clearly shown by the history of the city formation on the Neva.

Some hybridity was inherent in the architecture of the cathedral. It was built by his Swiss from the Italy-speaking canton Teszin Domenico Tresini (about 1670-1734). It was the first foreign architect that came to work in St. Petersburg (he arrived here already in 1706 from Copenhagen; where he worked at the court of King Friedrich IV). A skilled professional who was not distinguished by a supper fantasy, but possessed by an errorless taste, subordinate sober proudness, he turned out to be a good executor of architectural ideas that Peter I broke out (in 1709 he wrote Tresini Peter about his work in the Petropavlovsk fortress: "... I am with every Rady to work against your drawing ... "). Tastes and ideal submissions of the Customer were connected in the composition of the Cathedral with what came from the professional experience of the architect, who performed the performer of his "artistic will".

1710 to 1712 in St. Petersburg, according to the project D. Tresini, the Summer Palace of Peter I, in the northeastern part of the summer garden, the oldest garden in St. Petersburg was built in the northeastern part of the Summer Garden.

The St. Petersburg building, however, was not a repetition of the Moscow Preise. Its common outlines are more dynamic, decisive and tough, which emphasizes the square cross section of the tower, replacing the octahedron. The decor is rather graphic than the volume. It is already clear to feel sober rationalism, approved in the architecture of St. Petersburg Petrovsky time. The Latinsky Interior of the Cathedral, subordinate to the Latin Axis, with three nefas, overlap the same height (we note, however, that its structure allowed the most simple and spectacular taking a horizontal volume and bell tower in a dynamic composition). The place of traditional rounded apse was taken by a rectangular extension, the facade of which addressed to the main goal of the fortress, as it were for its high baroque fronton, as it were to respond to their architectural theme of the Arc de Triomphe. The combination of the national tradition with foreign, perceived as innovation, so definitely scheduled in this most important monumental building of the young capital, became key to the nature of the architecture of Petrovsky Petersburg.

All this was quite ordinary for the Russian city. No innovation and duality of the urban organism - the obvious analogy can be seen, say, in Novgorod. Perhaps somewhat unusual for the Russian city stretching along the river, which the left-bank settlement received. However, it was found on the shores of large shipping rivers. At the first stage of the construction of St. Petersburg, the new, perhaps, is just the purposeful energy with which the resources of the whole country are aimed at creating a new city.

Even with Ivan Grozny and Boris Godunov, urban-planning activities did not have such a scope and organization. The burden of the burden was a change in values \u200b\u200breflected in urban structures. The central position in the left-bank part of the city did not occupy a temple or palace, but a utilitarian building, Admiralty shipyard. Such buildings together with housing became the "genre" of architecture leading in the stying process. N.F. Bulianitsky noted that the panorama of both parts of St. Petersburg in the first one and a half decades of its existence retained quite a traditional character. The admiralty spiers and Petropavlovsky Cathedral were milestones that have identified the centers of the main parts of the city, minor nodes were marked by smaller verticals, which complemented the orientation system. Coming to the plan-forming center was subordinate to myself a street network, picturesque, contrary to attempts to place their "lines" and subordinate to them to the development.

Everything changed when he gradually anticipated by Peter -i thought - to transfer the capital to St. Petersburg - turned into 1714. in a solid solution. For the capital, the spontaneous prevailing duality was unacceptable. The creation of an impressive center, to whom the entire city is subordinated, has become a question of the prestige of the Russian state, and the Peter treated with acute sensitivity. The search for uniting ideas began.

I got up, undoubtedly, the question of the image that the new one should bear. Peter's reflections on this reflected mythological canon, which was subordinate to the self-confidence of the era, - the myth of the full and perfect reincarnation of the country, that the connection of times was broken down, the old one began to confront the new and young, the past - the future. Forcibly shaved beards argued the orientation for youth. Newly became since the end of the XVII century himself countdown - December 20, 1699. A decree was released on the introduction of the new year and the celebration of the New Volmety on January 1. New in Russia, Icestari tied with an unusual, "other", foreign. Peter so shifted the highest class in Hungarian, then a German dress. But what should have identified the novelty and the energetic youth of the northern capital?

Peter I should not be based on the information obtained from third hands. The first among Russian sovereigns he went beyond his country, saw many cities in Europe. The most vivid memories remained a businesslike Amsterdam with its smooth rows. brick houses Over calm water channels and a symbol of absolute one-chisty - Versailles, with infinite direct prospects for its "garden", which has become a symbol of the Universe, the subordinate will of the absolute monarch.

Regularity, based on all-permissive regulation, has become a principle for Peter, which should unite the future "paradise", opposing it to the arbitrariness, which was seen in the coercive-painting development of old Russian cities. Expand without interference This principle is best where the "pre-majilar" construction has not yet been conducted. And Peter takes away from his pet, A. D. Menshikov, previously presented to him Vasilyevsky Island, which occupies a median situation in the Neva Delta.

Here, as if in a purest place, Peter and decided to create a regular city failure, built up in a strict order. "To do this, he commanded to make various drawings (projects) of the new city, beling to the terrain of the island, until one of them, corresponding to his plan, he did not like." "Tested" and approved by the signature of Peter the drawing was performed by D. Tresini at the end of 1715. This plan, based on a rectangular channel grid, as if superimposed on the territory, followed the scheme of the unfulfilled planning of the city on the island of Kotlin, which he developed in 1712. English Commander E. Beliene. However, the problem of the integrity of the capital, the creation of the unifying representative center was not solved.

Peter, who sent to his second long overseas journey, this problem, apparently, was extremely disturbed. In 1716 Peter, being on the waters in Permont, met with the French architect Jean-Batista-Alexander Leblon (1679-1719), follower A. Maneneur, a great-tale artist, a skillful practitioner and an influential theorist. The scope of the construction of St. Petersburg, Leblon, and Peter invited him to Russian service, appointing a "architect general" and having enjoyed great powers: "All things that will start to start again, so that without his signature in the drawings, they are also not built, also old that you can still Fix.

The Leblon project was not officially rejected, but was not approved for execution. The author, who died in 1719, as if did not affect significantly on further work. But two ideas that first have acquired a visual form in Leblon Drawing, are fundamentally important for St. Petersburg: first, the synthesis of urban traditional traditions - Russian, owned by the XVII century, but ascending to the Middle Ages, and the European international, coming from the culture of Italian Renaissance and Baroque; Secondly, the formation of the central kernel of St. Petersburg on the basis of three-part unity (Admiralty part - Vasilyevsky Island is the Petropavlovsk fortress and the eastern part of the city island) associated with water spaces of the Neva. These ideas have arisen at Leblon, the architect of an outstanding, standing in professional attitude to the head above other foreigners who were then working in St. Petersburg, or by Peter himself, who was looking for only a person who could embody them (as it was with the first plans of the Vasilyevsky Island or, on. An example, with the General Plan of the Lower Park in Peterhof, for which Peter painted sketches), - no need to guess. It is important that the strategy for the development of the city and the specific tonality of its image was determined. Next, they were carried out steadily.

The similarity of the Plan of St. Petersburg with the Moscow system is if it was realized - I made an even more frank rivalry for Peter with a not your favorite old capital. New was encouraged by limiting the old. The rapid deployment of stone construction in St. Petersburg provided a decree from 1714g., Which is prohibited by the construction of stone houses everywhere, except for the new capital - "while they can enjoy the structure." Thus, it was created "not only the image of Russia of the future, but also the image of Russia of the past - Russia of Russia," which the stone regular regular Petersburg was opposed.

In 1720-1730-TG. The Moscow side of the city, conveniently connected with external land roads, lived and has grown especially actively. Rectangular layout with small quarters was carried out here in parts, the general outlines of which were traditionally determined by the radial streets directed by the admiralty and the vertical milestone of his spire. The most clearly designated among these radii became aimed at the South of the Ascension Avenue.

However, only in the afternoon, when the devastating fires (1736-1737) almost completely destroyed the Slobods of the Admiralty Islands, the "St. Petersburg Structural Commission" (1137) was established, which moved from the solution of local and "momentary" questions to understanding and formal completion. The overall concept of the spatial structure of the city. The main architect of the Commission was P.M. Yeropkin (1698-1740). Canva served as the first accurate plan for the existing construction of St. Petersburg, compiled by Major Engineer F. Zhymeim (1737). On the Moscow side of the city, the two of its main beams were distinguished - the Nevsky and Ascension Avenues converged to the Admiralty Tower. Among the intermediate, barely planned rays, Yeropkin allocated and introduced into the system the average dividing the angle between the avenues - a pea street in half. Thus, the basis of the "trident" of the main areas subordinated to itself the extensive part of the city was laid.

This form, known by that time according to the famous plans of the Baroque Rome and Classic Versail, made it possible to lead to organic unity of two planning traditions, before the city only speaking around in the development of the city, - the medieval Russian, with it. Straight to radial structures, orientation on volumetric " milestones ", painting, and Renaissance-baroque, with its rectangular structures, orientation on rigidly framed development directions, regularity and rationalism. Dominant. The role of admiralty in part of the city South Neva was fixed. Completed the system of this urban arrays arc streets connected the rays of the trident. The project finally approved the importance of the city in the capital.

After Yeropkin clarified the strategy for the formation of the city in a specific system, development, enrichment and clarification of this system continued. Spatial frame made architectural flesh. The essential components of this development were a gradual clarification of the outlines of the area of \u200b\u200bthe area that covered the Admiralty from three sides, and the development of the eastern tip of the Vasilyevsky Island.

It is curious to compare the system of the area of \u200b\u200bthe center of St. Petersburg in its completed form with the squares of Western European cities. It is obvious that neither its construction is a chain of interrelated spaces that flow into the "islands" - neither its spaciousness underlined by wide disclosures towards the Neva, neither finally its asymmetry does not have analogies in the compositions of international classicism and baroque. Only in the Louvre ensemble - Tuileries - the area of \u200b\u200bconsent in Paris you can find some remote parallels with the openness of the prospects and the spatial scope of the northern capital.

On the other hand, an analogy in the topological nature of the construction of Antfiladers of the Square of St. Petersburg with the Red Square of Moscow is the same length of the main space, a predetermined formation from the "hollow places" (Persian) before the front of the fortifications, the same combination of perimeter understanding and the "island" of the main volumes , the same asymmetry of the whole with the symmetry of individual parts.

Arrow ensemble Vasilyevsky Island, in early XIX. in. Created by J. Toma de Homon, completed the implementation of the ideas of the Triune Center of St. Petersburg, tied the panoramas of Nevsky Beast. In the Pestum Doric, the Exchange Buildings are apparent to the echoes of neogreic hobbies spreading in Europe and architectural fantasies of the French bourgeois revolution. However, it is possible to see another - the ensemble, boldly addressed towards the huge space of the Neva, reminds "Percy" of the Old Russian cities, as strongly protruding forward on the merger of the rivers, as those who accept the river Dali (remember the Kremlin Pskov). Attempts to build an arrow, neglecting this analogy, ended in complete failure. Tomon found a solution, the only true in this situation, carrying an analogy, which continued two of the artistic tradition of St. Petersburg.

The creation of the city ensemble of St. Petersburg has become the culmination of the age of change in the architecture of Russia, its vertex. Its a unique feature was the openness of the system laid by Peter I, to development and improvement. The city of more than thirty years has not had a rigidly fixed master plan. However, from the very pa-chala, its development was sent to an artistic idea, the young capital of the renewed state, boldly exhibited on its territory, open to all winds, open to all the vastness of the world.

This image that matured at first in the imagination of Peter I, entered the mass consciousness of his time, became the reality of culture, having received his own life. He directed not only the growth of urban structures, but also the stylish formation of those specific forms in which the architecture of the city was embodied. On its basis in the 1710-1750s. Key phenomena of the development of Russian baroque deployed, and subsequently - the transition from it to classicism and the development of Russian classicism.

Therefore, it is difficult to talk about the growth of St. Petersburg, dismembering its process in accordance with the chronological boundaries of the periods of the history of architecture, if the main theme are the traditions of Russian architecture. The potential of the "genetic code", laid in the dynamics of the city formation of the Northern Capital Peter I, retained its significance until the 40s of the XIX century. At the same time, a number of phenomena appeared, key for the "century change" in Russian architecture. An important lesson for the future entered into itself the very development of St. Petersburg, its continuity.

In the gradual development of the city, wealth and complexity of his appearance were accumulated due to the fact that the new one complemented and developed, and did not cancel the old, and due to the fact that the way it was not overlapped to the people who had not yet defined goals and Dala. The national tradition lying in the primancy of the formation of the city was not erased, but was assimilated by a new tradition associated with the pan-European culture of his time. Their synthesis has become the foundation of the peculiarity of the city, its special place in urban culture in general. Unusual versions of Baroque arose, and then classicism, emerging far beyond the total common stereotypes of these international styles.

Petersburg fully reflected the importance of Petrovsky reforms for Russian culture. It far exceeds the most bold concrete goals that put forward as the transformations develop. Physically wrote about this F. M. Dostoevsky: "In fact, what is the Petrovsky reform for us, and not in the future only, but in the fact that already appeared to the crowd? What did this reform meant for us? After all, it was not only For us, the assimilation of European costumes, customs, inventions and European science ... Yes, it can very well be that Peter initially only in this sense and began to produce it, that is, in the sense of the utilitarian, but subsequently, in the future development of their idea , Peter undoubtedly obscured some kind of tamental alone, which attracted him, in his case, to the goals of the future, incomparably a huge thing than only the closest utilitarianism. So accurately and the Russian people are not only the utilization of reform ... After all, we rushed at once to We are not hostile to the very life reunion, we are not hostile (as it seemed to have happened), and friendly, with complete love they took into the soul of our genius of other people's nations ... And those already expressed readiness and tilt Oh our ... to universal universal reunion ... Yes, the appointment of a Russian person is undoubtedly all-in-law and worldwide. Become a real Russian ... maybe only ... Become a brother of all people, everyone, if you want. "

2.1 "Petrovskoe Baroque"

Russian urban planning already in the XVI century. Used regular planning for large elements of the urban structure, during the construction of St. Petersburg, the principle of regularity was first addressed to the formation of the city's fabric. Inside the system that retained the painting of the overall construction associated with the landscape, the building was built into solid, rigidly aligned fronts. In itself, it seemed as required by the right outlines of volumes and clear planes, a simple, clear rhythm of the repetition or alternation of buildings in a number and as clear rhythmic organization from the facades (when setting up houses "in line" is not volume, and the plane of the facade carried the main artist Fornded information). The regularity prescribed on top reflected the spirit of strict regulation, which gave the Russian absolutism Peter I. However, it was embodied in it the spirit of the naive-straight-line rationalism of a new secular culture.

There was a practical question: how to introduce new principles in the mass construction, which was conducted "according to custom, according to the sample" (and was the eternal sample served as an elected log house)? The decision was found in replacing the traditional sample design-sample, engraved and multiplied. The method of this Peter experienced in Moscow ("exemplary" houses for the captivated village of Pokrovsky, 1701). So facilitated the real introduction of a new city in the ordinary fabric, and at the same time the unification of the size of the houses and their formal characteristics was provided.

For the rationalistic aesthetics of twelve colleges, the influence of the baroque idea of \u200b\u200bspatiality appears. Together with the straight streets and prospectuses of St. Petersburg, the figurative thinking of architects included prospects where the measurement of members emphasized the depthness, the perception was given. This was particularly acutely felt inside the endless arcade of the board of colleges, as in the arcades of the living room. In the interiors, the familiar spatial difference of premises replaced their union into an abstract, which became characteristic of houses-palaces. Thus, the architecture of Petrovsky St. Petersburg spikes with the concept of Western European baroque. However, its sober rationalism put the rigid limits to experiments with the organization of space. The sophisticated complexity of the outlines, blurred parts, the uncertainty of the border itself between the space and the mass characteristic of Baroque Italy and South Germany, remained alien to her.

The city and country palaces of the royal family and the house-palaces of "famous" people intended for open life and crowded parade techniques became among the types of buildings that determine the development of the architecture of St. Petersburg of the first half of the XVIII century. Their functions, reflecting the rules of the new etiquette and the requirements of the representative office, resolutely differed from a closed life that took place in the Palace Buildings of the XVII B, K. The search for the appropriate form was attracted by the most skilled architects, first of all - foreigners invited to Russia. Palaces stirred in key points of the urban structure or suburban landscape; Problems of their composition so closely connected with urban planning.

In the 1710th. The type associated with the French prototypes of the second half of the XVII century spread. (As the castle of the architect L. Levo or Chateau de Meson F.Mensara), - a symmetrical building in two or three floors "in the cellars" with an underlined center and strongly protruding rizalits on the flanks. The system of his interior begins a parade lobby with columns "Usually through, derived from the main entrance to the regular garden at home. The lobby-related staircase leads to the parade hall, usually two-pilot, which occupies the center of the second floor carrying the basic functions of the representative office. Parade and residential rooms are located on Parties of the hall and the lobby. The three-part core, as a rule, complemented the side gallery and flaggels with the enfilads of the rooms.

Principal: For the development of the type of palace building, the step is made in Peterhof, the first of the suburban residence of Peter (where the wooden house has a high natural terrace appeared in 1704). There was a continuation and development of the composition of the building in the external space, gradually launched to the scope of the most grand ensembles of Western European baroque. The initial idea is the palace over the cliff with the grotto and fountains under it, connected to the sea by a straight channel - belongs to Peter I, which confirm his own sketch. Later, the Palace in Strelna was the same with the same latitude of the plan (laid in 1720. N. Miketi), where a symmetrical water garden with a channel along the axis of the building, even before it was laid, melted Leblon. The Triple Arcade is especially effective, which permed the length of the palace penetrated in the middle, - the space of the lower and upper parks is connected through this open Avavvestibül. The dramatic expressiveness of the Strelny ensemble, based on the mutual penetration of the interior and the external space, as if flowing through the extended plate of the building, forms, perhaps, the point of the closest contact of the early St. Petersburg Baroque with Late Western Europe. The decor of the central part of the palace received plasticity and spatial development that have no analogy in the architecture of Petrovsky time. Sober rationalism has retreated here.

Architectural topics arising in the composition of the buildings of a palace type, passed on the buildings quite utilitarian - as an admiralty, rebuilt in 1727-1738. architect I. K. Korobov, particular shipyard (1717-1722, I. Mattarnovi), a stormy courtyard (1720-1723, N. Herman), etc. They also arose on the buildings of churches that received a very secular character that quite answered content The process of mergering the church with the state power that happened in Petrovsky. The dry rationality of building the volume and order decoration and the character of the silhouette brought closer to the Peter and Paul Cathedral and the Trinity Church in St. Petersburg not only with secular palace buildings, but also with such business buildings as Admiralty.

It was all together formed in a very definite, easily identifiable style, which combined somewhere borrowed and its traditional, but also more - recycled in accordance with the tasks that taped time. Sober rationalism determined the overall tonality of the Petersburg version of Petrovsky time. But - asked I. Grabar's question: "As it could happen that participation in the construction of Italian, German, French, Dutch and Russian masters did not lead in the architecture of St. Petersburg to the stylistic anarchy, to the mechanical picking up all national styles that ruled at the beginning of the XVIII century. In Europe? ... why did St. Petersburg ... got and still retains his own face, does the person not alien to him, and the national Russian? " I. Grabar tied it primarily with a huge, decisive role of Peter's personality in creating the appearance of St. Petersburg and with gradually the annoying participation of Russian masters, who studied in Inomers. There is no doubt about the meaning of both. However, the main thing was, of course, the viability of the Russian architectural tradition, open to development, flexible, but at the same time having a solid general structure. Much of what determined the novelty of Petrovsky Baroque was ripe in the processes of its internal changes, the perception of other was also prepared by its self-development. The tradition turned out to be an updated, but not destroyed, not replaced, in the enriched alien experience, which she assimilated.

The Russian tradition broke through to the "world and all-in-law", entered the system of pan-European culture, remaining it clearly distinguished, the original link. Not only the sober rationalism of target plants and its reflection in the style formation (simplicity and clear outrequency of volumes, storing decor, etc.), but also a durable traditional basis, as before the nature of spatial and rhythmic structures, determined the originality of Russian within common characteristics European architecture XVIII century. It is also important that new values \u200b\u200bperceived by Russian architecture were selected on the basis of criteria related to the specific national perception of space and mass, natural and man-made. The changes were not perfect and artificially imposed; Their necessity determined the logic of the development of historical and cultural processes.

The significance of the role of Peter I was determined by the fact that it was rightly guessed not only the need for change, but also their fruitful direction. Sumy to climb over the closure of Russian culture, he could see the fact that, being cracked out from the outside, promised to take care of her and enrich her, communicating with all-life. Pragmatic and realist, in the field of synthesis of cultures Peter skilled, followed by figurative views that gave birth to his intuition. In this he followed the logic and methop of artistic creativity. The amateur and master of paradoxes Salvador Dali described the first Russian emperor, noting: "In my opinion, Peter I was the greatest artist of Russia, who painted a wonderful city in his imagination and created it on a huge canvas of nature."

Peter, not being an architect, was, perhaps the first who could claim the personal affiliation of ideas carried out in construction, that is, the author of the author in a modern understanding. In his time, there was already a historically urgent change of working methods - the design was isolated from construction, its cycle was completed by creating a drawing. The drawing, however, was perceived as a "sample", which allowed a sufficiently free interpretation (as well as a sample in an old sense, a sample building, or an image in the book, from the second half of the XVII century. The expansion of the sphere of samples). Such an attitude traditionally assumed the flexible dynamism of the initial design and its anonymity, alienation from a specific personality - the participants of the building process still considered themselves to retreat from him or supplement it, making "as best."

It is not by chance that the authorship of the buildings of the first half of the XVIII century is so conditionally determined, the responsibility for which was often transmitted from one hands to others. Started by one continued, changing in his understanding, the other (so, the construction of the "Upper Chambers" - the Big Palace in Peterhof - I.-F. Bronstein was replaced, J.-B. B. Blond, N. Miketi, M.G. Garden, FB Rastrelli; The attribution of other major buildings of that time is usually no less difficult). In addition, the ideas of Peter I are often viewed for the arranged architects (it is hardly possible, for example, in the work of D. Tresini, it is confidently separating the personally belonging to his individuality from the conceived and pre at the Kazan Peter). Under these conditions, and foreign architects who came to Russia who had established creative personalities, the individuality was blurred, turned out to be subordinate to the "common-lineurburg" styling processes. The preserved anonymity of creativity was one of the properties of the architecture of Petrovsky time, separating it from subsequent periods of development of architecture.

In the forms of mature European baroque houses of apraksyn - Trubetsky, the Church of the Pope Pope, "Grotto" in Kuskov (1755--75, Architect F.S. Argunov), some churches for projects K.I. Blanca and others.

2.2 Baroque in the time of Elizabeth

In the time of Elizabeth Petrovna in the Russian architecture, the Baroque style was bloomed. His chief representative was the Italian on the origin of Francesco Bartolomeo Rastrelli, who received the name of the Bartholomew Varfolomeevich for the Russian ear in Russia. Together with the father, the sculptor Bartolomeo Carlo Rastrelli, he arrived in St. Petersburg in 1716 and consisted of serving Russian monarchs from 1736 to 1763. The most important projects were implemented in the reign of Elizabeth. For her in 1741-1744. Rastrelli built in St. Petersburg, the merger of the rivers washing and fountains, the Summer Palace (not preserved).

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Russian architecture of the Baroque era

Architecture baroque - The period in the development of the architecture of Europe and America (especially in the Central and South), which covered approximately 150-200 years. The period began at the end of the XVI century and ended at the end of XVIII. Baroque (as a style) covered all kinds of art, but most brightly reflected in painting, the theater (and related literature, music) and architecture.

Baroque roots go to the Architecture of the Renaissance. The first is really a big and majestic ensemble created in Vaticanbramte (1444-1514) This is the yard of Belvedher with a study of 300 meters, which was built in a single style while maintaining different functions Buildings (Belvedere with antique sculptures, regular garden, Vatican library and an open-air theater. But all the forms of architecture are quite calm, balanced. This is not a baroque.

Bramte's idea for creating an ensemble from several buildings picked up Vigola (1507-1573). He did not have such opportunities as Bramte in the use of many building materials and squares. Therefore, his ensemble Villa Julia for Pope of Rome Julia III (Pontiff in 1550-1555) of small sizes. But the villa has already inherent all the features of the baroque - a single ensemble with pavilions, a garden, a fountain, steps of various types, binding terraces of different levels. The villa is still very separated from the environment, closed on itself as most of the Renaissance buildings, and its architecture is also balanced, like most of the Renaissance Epoch.

Stroy, giant sizes and emotional saturation of architecture will lead Michelangelo. It is in the works of Vigola and Late Michelangelo researchers see the origin of the Baroque architecture.

Manherism and baroque

San Carlo-Alla Cuattro Fountain - an example of a radical interpretation of the style of boroline

Mañaryism also made his contribution to the architecture of Barochko. Despite all the disadvantages and whims, Mañaryism masters picked up the intellectual search relay, high erudito, virtuoso skill, scientific relations and transferred it to the architects of the early Baroque (Dzhacomo della Port, Domenico Fountain, Carlo Maderna).

It is at this time (according to the needs of society) the types of the majestic urban palace, a baroque monastery, a country villa with a palace and a baroque garden. Facade of the Church Ile Jesu in Rome (Architect Jacomo Della Port) became a sample for the construction of many churches in Italy, and far beyond its borders (Paris, Grodno, Lviv, etc.)

From manherism, Barochko also inherited an attraction to an unusual, amazing, striking. This was especially reflected in the landscape architecture, gardens and parks Baroque (giant sculpture or giant grotesque mask, an open-air theater, an unusual building with exotic details, etc.) An even greater depiction of the unusual designated collections - engravings, minerals, foreign plants (And the greenhouses for them), the creation of cabinets with the first museum collections.

Baroque in Russia

In Russia, the development of the art of Baroque, which reflected the growth and strengthening of the noble absolute monarchy, falls on the first half of the XVIII century. Baroque style in Russia possessed a number of national features. Russian ripe baroque was distinguished from Western, in particular, the most pronounced - Italian, structural clarity and simplicity of planned constructions, a close connection of the structural basis and decorating it elements. Another distinguishing feature of the Russian baroque was its major character, the active use of bright colors in coloring, bold colorful contrasts, including gilding.

The researcher of the Old Russian architecture Nikolai Sultanov introduced the term "Russian Baroque", denoting to them the Doperer architecture of Russia XVII century. In fact, under this term was understood by the "Moscow Pattern", which established in the 1640s. Modern art historians see in patternation rather an analogue of mannerism, and the counts of the history of the Russian baroque leads with distribution in the Moscow construction practice of eights in the fourthics (Church of Tsarevich Joasafa, 1678). In the evolution of the Russian Baroque, the Stages of the "Moscow Baroque" of the late XVII century are distinguished (distinguished by Naryshkinsky, Stroganovsky, Golitsyn Styles), Petrovskoe Baroque of the first quarter of the XVIII century, "Mature Russian Baroque" of Elizavtian time.

The Russian architecture of Barochko, reached the majestic scope in the urban and manor ensembles of St. Petersburg, Peterhof, Tsarskoye village and others, is characterized by the solemn clarity and integrity of the composition of buildings and architectural complexes (Arch. M. G. Zemtsov, V. V. Rastrelli, D. V. Ukhtomsky). A relatively little-known page in the history of Baroque is the temple architecture of the Ural Plants and Siberia; In relation to it, such terms such as the "Ural Baroque" and "Siberian Baroque" are.

Information about Russian Baroque

The term "baroque" in Russia could not be established for a long time. For example, in the middle of the XIX century. Russian Criticism, the noticeing style of classicism in architecture, nevertheless, "I have not seen alternative to columns and dome." Discussed the advantages of the styles of neootics and the "neorenissance", but the word "baroque" was avoided to use.

Architect A. BULLOV During the retirement trip of 1822 in Italy, the "depraved taste" was indignant and the absurdity of the buildings of F. Borrombini. Only in the 1880s. The researcher of the Old Russian architecture N. Sultanov introduced the term "Russian Baroque", referring to them the Dopardrov architecture of Russia XVII century. Since then, there is a steady concept, according to which the first phase of the "Russian Baroque style" was developed in the 1640s. And this style developed "in a continuous sequence, up to the completed works of V. I. Bazhenova."

By definition D. Likhachev, "Russian Baroque has assumed many of the Renaissance functions, because ... This Renaissance has not previously managed to manifest itself quite fully in Russia." This conclusion follows from the "special complicity" of the development of artistic styles in Russia, in the root of their spiritual content from Western European prototypes. "The Russian Baroque as a whole, fulfilling its revive function, historically opposed the Middle Ages, and not Renaissance. Hence his cheerfulness and his moderation, alien to the pathetics of Western Baroque. " The term "Russian Baroque" is not taken by all, in any case he is conditional and should be taken in quotes. According to formal qualities, this style is closer to manherism; It allocate the "Golitsyn" and "Naryshkinsky Baroque" stages - the architecture of the "Russian Pattern" of the end of the XVII century, Petrovskoe Baroque "of the first quarter of the XVIII century," Mature Russian Baroque "of Elizavtian time. The last style was the most vivid embodiment in the work of an outstanding architect F. B. Rastrelli younger in St. Petersburg. In these years, Russia rapidly catch up with Europe and in the original architecture created by Rastrelli, composite techniques of European classicism, baroque and French rococo (see Elizabethan Rococo) were connected. Therefore, researchers rightly note that the preservation of the elements of classicism, rationalism and pragmatism of the architecture of Petrovsky time ensured the ease and naturalness of the transition to the classicism of the second half of the XVIII century, "almost bypassing the stage of the True-European Baroque."

Also, the Baroque style exported from Spain to Latin America was peculiar. In the architecture of Mexico, Argentina, Uruguay was a phantasmagoric style, referred to as "ultrabarakko". He absorbed elements of mystical Spanish baroque, trained with the decorativeness of the Spanish-Mauritanian architecture, and local folklore traditions. In this style, everything was brought to the burlesque. "The architecture has developed even more baroque, barbaric and fanatical, crazy in building decoration, before the excessiveness of which even the most courageous works of European Baroque are pale." It is also noted that "Thanks to the features of the formation, it is a baroque style that it easily managed to introduce a classical order architecture into another cultural environment" and the important "civilizing role" of the style of Baroque manifested itself. Even if we consider only this, there is every reason to consider the baroque great style.

But in the middle of the XVIII century. With the beginning of the era of neoclassicism and French enlightenment, Baroque began to inspire horror. French enlightener J.- Zh. Rousseau considered this style by the manifestation of the bad taste and the "distortion of the beautiful", and not he is one ... so a baroque forms from classic and few people also distinguished their inner unity. Nevertheless, the domination of the Baroque style, although not complete in all countries, covers a huge historical period, often called the "Baroque Epoch" - about two centuries (1550-1750). In this case, the Baroque name is "the feature of the integrity in the culture of an era, which allows us to consider it as an art phenomenon, since this is a period of hegemonism style, conquering by one of the main functions in culture." German architect and historian Culture K. Gurlitt on the example of the identity of the Saxon Kurfürst of August II (see Saxon art) proposed at the beginning of the 20th century. The term "Baroque man". By definition of Gurlitta, this concept is derived "by virtue of a special way of existence of a person," when an "attempt to reconstruct medieval Christian unity ... Connections of immitality and subjectivism and ... nomination of the personality at a super suffigatory role." The culture of the Baroque era turns out to be "specializing in the generation of geniuses ... the emergence of a new type of man." In this context, August II is a strong - "man of unbalanced artistic fantasy", a decent representative of his era, when "the cult of impersonalism, wealth, luxury, the welfare and explosive joy of life" is opposed to the harmonious and balanced personality of the Renaissance. At the same time, the "main path of development is asked Renaissance - the liberation of an internal person." And through the "strengthening of external", in the unity of the worldview, the people of the Baroque era "found freedom of spirit."

The architecture of the Zwinger ensemble in Dresden is also given as an example of a baroque worldview (you can add Rastrelli's creations in Russia), and the music of I. S. Bach with its "compound is a sharp of subjective spiritual experience, sometimes to the softest, sentimental, with the consolidation of sensual filing, lush visibility" . Such an approach to the "Baroque Epoch" with all its spectacular latitude is capable, however, to lead to the shadow of other, developing in parallel with Baroque artistic flows and styles.

Even in Italy, the XVII century, despite all-consuming power, the baroque was not the only style of art and life. About this in 1966 in New York Book R. Venturi "Complexity and contradiction in architecture" has been published. Philosopher X. Ortega-I- Gassette, writer A. Karpenteer proclaimed the Baroquality of the Human Constant, especially with respect to the Latin American world. The authors encouraged to end with delusion representing Baroque as a style generated by the era of the XVII-XVIII centuries. A. Karpenteer wrote: "The Baroque spirit can be revived at any time ... for this is the spirit, not historical style... Barochiness is more than a baroque style ... This is a kind of creative impulse, cyclically repeated throughout the history of art in any manifestations, be it literature, sculpture, architecture or music ...

There is a Baroque spirit, as well as the imperial spirit existed. This latter can be applied, jumping through the centuries, to the epochs of Alexander Macedon, Karl, Great or Napoleon. In history there is a constant return to the Imperial Spirit, we also see a permanent return to the baroque in the phenomena of art for a long time. " This baroque, according to A. Karpenteer, marks the "culmination point, the flourishing of a certain civilization." Even if you disagree with this, it is impossible to deny that the baroqueness as a tendency of violation of the norms, the boundaries established by one or another historical type, art, method, the artistic direction, was indeed manifested in all the epochs.

A peculiar "baroque phase" took place ancient art in the III- II centuries. BC e. Therefore, antique, or "Hellenistic Baroque" of the Pergamian school of the time. A characteristic feature of this style is to erase the boundaries between the classic Allenian, Roman and Eastern, Asian cultures. It is not by chance that X. Zedlimyr called the shape of the art of Baroque "aggressive-bodily". The compositions imbued with the "Spirit of Barochiness" easily "draw in themselves" and the classic order, and ancient statues, and Egyptian obeliski, and gothic facades with towers and spiers, Moorish ornament, oriental carpets, Venetian lace and Bohemian glass ...

Baroque is the era, the greatness of their grandiose destruction and as ambitious creatures, it remained in the history of the turning point of the development of world art. At the same time, the Baroque art style forever entered the lives of people such as Italy, Spain or Austria. Baroque has become the style of the life of entire peoples and cultures to such an extent that, for example, Rome, despite its universal importance of the Eternal City, will now always be perceived barbar. Spanish literature or German philosophy and music in our presentation, first of all, Barochny. Therefore, we will never be able to establish where the Baroque style begins and where it ends. It is possible only to determine the basic principles and patterns of formation, the trend of historical development. In order to avoid ambiguity and contradictions, the interpretation of the term "baroque" is better to use not brief, but more detailed wording.

For example: "Artistic style of the Italian baroque XVII century" or "Historical and regional style of German baroque", "Baroque trends in the Russian architecture of the late XVII century", "The features of a baroque thinking in the work of Rembrandt", "Baroque ideas in the works of F. Borrombini" Barbonic and manherist sculpture style in Poland XVII - XVIII centuries. " etc.

It remains only to be surprised at which strikingly powerful, the grandiose phenomenon turned into the history of art. The desire of artists of different eras and peoples to freedom of thinking, the release of the spirit from the shackles of matter is a phenomenon, originally called the funny and stupid jargon's word "Baroque". A kind of Baroque emblem can be considered a fantastic composition I. B. Fishera von Erlach "Monument to Alexander Great", the reflection of the youthful dream of the Great Michelalangelo - to make a huge sculpture, turning the mountain peak in Carrara into it.

Russian architecture of the era of classicism

Classicism (Fr. classicisme., from lat. classicus. - Exemplary) - artistic style and aesthetic direction in the European art of the XVII - XIX centuries.

Classicism is based on the ideas of rationalism, which were formed simultaneously with those in the philosophy of Descartes. Artistic work, from the point of view of classicism, should be built on the basis of strict canons, thereby finding the slightness and logicality of the universe itself. Interest for classicism represents only the eternal, unchanged - in each phenomenon, he seeks to recognize only significant, typological features, discarding random individual signs. Aesthetics of classicism gives the enormous importance of the public-educational function of art. Many rules and canons classicism takes from ancient art (Aristotle, Horace).

Classicism establishes a strict hierarchy of genres that are divided into high (soda, tragedy, epic) and low (comedy, satire, fable). Each genre has strictly defined signs whose mixing is not allowed.

Architecture of Russian classicism (second half of the XVIII century)

The pomp, stripping and productivity of the forms of the architecture of Baroque and especially its last stage - Rococo - very soon cease to respond to tastes and ideals of the young, strong, just published a wide international arena of Russian society.

In matters of art, the aspirations and ideals of the progressive advanced front part of the Russian nobility of that time were consonant with the aesthetic ideas of the French bourgeoisie, which put forward a new art school of classicism at that time. The desire for the strict simplicity of forms, to the rational construction of plans, to the ancient classical techniques of the composition characterizes this new school, which came in Western Europe to replace the purely decorative style Rococo.

The turn to the classicism was marked in Russia by creating such significant works as the building of the St. Petersburg Academy of Arts (1765-1772), with its magnificent round yard and interiors built by Kokorinov and Decamov, and the Marble Palace (1768-1772), erected Rinaldi. Early works of classicism include Naberezhnye Neva and the famous lattice of the summer garden of the architect Felten.

Architecture of Russian classicism of the XVIII century. Architecture Petersburg

The first mature and brilliant work of the Classicism era was the Tauridic Palace in St. Petersburg (1782-1788), created by I. E. Starov.

Majestic construction with a huge Kurdoner, with a powerful colonnade of the portication outside, inside deployed to Grand Anfilad Hall: Roman Roman Amusement Hall, then a magnificent and huge Catherine Hall with excellent Ionian colonnade and, finally, a garden-garden with a round gazebo in the center supporting The overlap arch. The design of the architect was distorted later perestroika, but also in the rejoiced form a monument produces a grand impression.

The second work of Starov is preserved - the Trinity Cathedral of the Alexander Nevsky Lavra (1776-1790), as well as individual pavilions of the palace and park ensemble in Pelle.

Brilliant parking palace ensembles, laid during the baroque period in Pavlovsk, Tsarskoye Sale and Gatchina, receive their further development in the works of the best masters of classicism.

The wonderful Pavlovsky ensemble was almost re-created with the participation of the architect of Cameron. The center of the park serves as a faree of the Palace - manor, from which the alley in the park and the staircase towards the river. In the corners of the park, on the banks of the river and the pond, were built by Cameron Temple of Friendship (1780) - the beautiful Rotunda of the Doric Order, drowning in the greenery of Apollo Temple (1782), the Pavilion of three graces (1800) in the form of an elegant xramick with Ionian colonnada, "Woller" ( 1782) In Toskan style, with painting of plafones and dome, a number of entertainment ornamental pavilions, bridges, etc. After Cameron, architect Brenna, Voronikhin and Rossi worked here. The latter attached a library to the palace and the gallery, painted by the frescoes of Gonzago.

In another park ensemble - Tsarskoe village - Cameron created an architectural corner, adjacent to the Palace on the side of the pond, as part: terrace-hanging garden, the buildings of a cold bath, known as the "Agate Pavilion", monumental ramp (descent) in the park (1780- 1786) and the Cameron Gallery, famous for its Ionical colonnade and the stairs to the pond.

Cameron created a number of inimitable interiors in Pavlovsky and the Tsarskoye palaces. His art and ingenuity in choosing forms, materials, paints (marble, glass, faience) and in their combination are truly striking.

Each room decoration has its own face, its architectural language that meets the appointment of this room. Bedroom, Green Dining Room, "Dome Dining Room", "Blue Cabinet" or the so-called "tobackerka", in the Tsarskoil Palace, "Greek Hall" and a round "Italian Hall" in the Pavlovsk Palace with later alterations, etc. - all These are wonderful works, the charm of which neither photography, nor drawings can pass, too pale reproducing the impression of these structures in nature.

Many of the listed monuments, as a result of the colossal destruction made by the Nazis in 1941 in Palace and Parks, Pavlovsk, Pushkin, Gatchina and Petrodvorez, are no longer restored and will never appear before us in their unique beauty.

Cameron - Scot by origin - lived and worked in Russia and gave all his strength to the new homeland. Architectural works created by them are distinguished by grace, deep nobility and at the same time warm and intimacy.

Simultaneously with Cameron, another largest architect - kvrenops also worked. In contrast to Cameron, the Creator of the semi-prone palace-park structures, the architectural work of the Kurengy was the incarnation of power, courage, cold splendor and laconism, more meeting the requirements of the metropolitan architecture of St. Petersburg.

In St. Petersburg and his surroundings, the Kvrengy created outstanding buildings: the English Palace (1781 -1789) with its majestic Corinthian portico in the old Peterhof; Alexander Palace in Tsarskoye Sel (1792-1798) with its powerful colonnade; Hermitage Theater (1782-1785); The building of the former appointence bank (1782-1788) and the building of the Academy of Sciences (1783-1787) in St. Petersburg.

The huge ensemble of the Smolny Institute (1806-1808) created by the master (1806-1808) with his white-column failed in the history of the October Revolution. To this list you need to add a monumental colonnade Anichkova Palace (1804), Connogvardeysky Manege (1800-1804), Maltese Chapel (1798-1800). Such are only the main works of the quarters who entered the fund of the best monuments of Russian classicism.

Russian architecture of the era of historicism

XIX century did not create his era style, but no one preceding the epoch knew such a variety of styles, directions, all species and genres of art as an ampir, omankism, realism, critical realism, impressionism, postpressionism, symbolism, preraphalism, non-Russian, neootic, neoclassical and etc.

The lack of style unity for a long time caused critical assessments of the art of the middle - the 2nd half of the XIX century as "eclectic".

Indeed, from the 2nd third of the XIX century in Russia (and in some countries, it was much earlier) in the architecture, which was only recently rehabilitated, now called historicism.

The main achievement of historicism was the refusal of the obligation of order architecture, from the "boring classics of the Greeks and Romans" and the huge creative freedom of both architects and customers that appeared in this way.

In the 30s of the 19th century, classicism with its mandatory order and monotonous appearance of buildings is gradually displaced in Russia with a more flexible and democratic style - historicism or eclectics.

The term "historicism" to determine architectural style was adopted with us recently.

It does not carry the shade of the estimated, condemning, as it was with the term "eclecticism", much more accepted to determine the style of architecture and decorative art in 1830-1880. Historism "says" only that the art of this period appealed to the topics and images to history. Any historic period or style could from now to become a prototype for the future building, including the classic, but on a par with everyone. This consisted of the historical significance of this style and his "revolutionary" force. The order ceases to be the only and obligatory architect tool. Various artistic (and sometimes anti-death) Tastes of the customer are beginning to play a decisive role in the addition of the architectural image of the building.

The most recognized and productive architect of this direction was K. Ton. It was on his project that a temple was built, who had so scandalous and tragic fate - the Church of Christ the Savior in Moscow (1839-1883). It was built near the Kremlin as a monument to the heroic victory of the Russian people over Napoleon, which is now evaluated as the victory of Orthodoxy. For the expression of the general idea, forms were chosen, reminding the Byzantine architecture.

Architecture is endowed with new qualities - illustrative and narration that manifest themselves at the level of parts.

From an artistic point of view, it is impossible to say that the Church of Christ the Savior was a masterpiece of architecture. Too many styles in it are embarrassing, it is clearly perceived and a state order is fulfilled, blindly following the official program. However, the fact that the temple was spiritualized by a truly common idea of \u200b\u200bvictory in Patriotic War, was built by folk remedies And the general interest and participation of leading masters of their time in his sculptural and picturesque decoration, affected his architectural quality.

This property, unfortunately, sin and most of the pseudo-historical buildings of the United States are sinful, although the ideas they have been caused to life are quite clear: in the absence of historical roots on the new continent, it remained only to create artificially or, simply, to create an illusion of the presence of history with the help of architectural structures in forms borrowed from antiquity, classics, gothic, revival, etc.

In Russia, as well as in other countries, tired of the annoying monotonous "Romans and Greeks", a new democratic style that offered freedom of choice turned out to be very popular.

With the creation of huge European colonial powers oriental motives (Moorish, Chinese, Indian, Egyptian) became especially fashionable.

The most curious construction in this style is the royal pavilion in Brighton, in which the architect John Nash masterly plays the eastern motifs. Built for rest on the seafront in the resort town in the south of England, Pavilion does not claim seriousness.

Indeed, no specific styles of D. Nash reproduces. There are arches and dome, resembling Moorish, Indian or Muslim uniforms, turrets are similar to minarets, and windows on the lower floor are typical "French", opening in the garden level. This is a fairy tale pavilion, a fantasy palace, light and cheerful, designed to delve pleasure.

But what about the classic, really managed to get rid of so familiar architectural forms for a long time? It did not need it. Classic forms began to be used on a par with others, architects appealed to them as historical architectural forms Classic era. An example of such an appeal to the architectural images of the Renaissance and French classicism was the Isaac Cathedral in St. Petersburg (1817), built on the project of Auguste Monferran, originally created quite in an imperious spirit. However, in the process of 40 years of construction (the cathedral was completed in 1857) and its style, and individual architectural details, and the interior decoration has undergone certain changes in accordance with the changed tastes and the style of the era.

The architecture of the historicism played a huge role in architecture history. She freed the architects from heavy orders who were fantasy and restricted their capabilities. She demonstrated an extraordinary wealth of liberated fantasy and the fact that historical forms can be completely large and with modern planning solutions.

The formal language of almost all architectural styles and epochs was introduced into construction practice. All countries have rehabilitated by the previously developed national heritage and conducted the search for the national language of architecture as a protest against the universal and supranational language of classical architectural forms.

Baroque came to Russia in the 18th century and has reached a heyday in the middle of the century, that is, when the transition to. Like other styles, Baroque in Russia acquired some identity, so that such concepts appeared as, Russian Baroque.

Russian Baroque, in contrast to Western European, is characterized by a large simplicity and structural structure. Unlike the stone facades of Europe, in Russia, as materials of the finish, it was preferred to use gypsum and plaster, which made it possible to use painting. That is why objects belonging to the Russian baroque are distinguished by a bright contrasting kel. Most often in architectural compositions That era there are combinations of red, blue or yellow with white, as well as blue, the use of white tin and gold-plated materials as roofing coatings. As decorative elements adorning the facades of the Baroque style buildings, an ornamental modeling model is most common, in which the traditional Russian flavor is traced. In the architectural monuments of Russian baroque reached to our times, unlike Western samples, there is no such characteristic characteristic of this style as mysticism.

- The beginning of the 18th century in Moscow appeared and spread to other cities such a direction as Naryshkin Baroque. Later, a baroque Golitsinskoe was replaced, the influence of which was traced almost. These styles received their name on the names of childbirth under whose patronage and built the most significant objects of that era with their characteristic features. The famous architectural monuments of this period include the Novodevichy Monastery, the Church of the Intercession in Philes, the Church of the Virgin Mary in Dubovitsa not far from Podolsk, Church of Ivan Warrior in Moscow on Yakimanka, numerous temples in other cities of Russia.

The most bright and majestic Baroque showed itself in the facilities of the Palace Architecture of St. Petersburg, as well as Peterhof and the Tsarist village. With the help of the features of this style, the power and prosperity of Russia of that period emphasized. The impression was intensified by the internal decorative design in the same style of interiors, which did not have equal in Europe.

One of the most prominent architects of that period is F. Rastrelli. Under his leadership, urban and surrounding imperial residences were erected, in particular, Winter, Stroganovsky and Vorontsovsky Palaces, as well as a Smithing Monastery, an Ekaterininsky Palace in the Tsarskoye Selo. Universal admiration caused and cause the greatness of the scale of its buildings, luxury and pomp decorative decoration, festivity and solemnity of palaces.

Other outstanding architects of that epoch are M. Zemtsov, D. Ukhtomsky, Kvasov, Trezini, S. Chevakinsky. Thus, according to the projects of Trezini, the first five-chapters of Petersburg temples were created, in particular, the Fedorov Church, only a fragmentary surviving ensemble of the Trinity-Sergius Desert near Strelling. For the projects of Chevakinsky, the Shuvalovsky Palace, Nikolsky Marine Cathedral, as well as the famous Sheremetev Palace was built. The typical baroque buildings of that period also include the Church of the Archangel Gabriel in Moscow, also known as the Menshikov Tower and Petropavlovsky Cathedral in Kazan.

The baroque period in Russia was relatively underworld. Already in the middle of the 18th century in the metropolitan, and then in the provincial buildings, baroque adjacent to Rococo, and by 1770 it also begins to be actively displaced by Clacialism.

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