Who installed the equestrian monument to Peter 1. Picture of Peter I in sculpture
The structural base of the busts served as the "Gypsum Head" of Peter, made in 1721. Only after Sherelli was able to rise to the creation of a brilliant sculptural portrait located in the Hermitage, and its option - in the Copenhagen Museum of Rosenborg.
In early July 1723, Rastrelli, through the architect of Miketi, received the oral order of Peter to fulfill the royal "belt portrait." For two months he fulfilled the models of busts in clay. Then, with these clay models, alebaster forms were removed from several parts.
Alebaster forms were filled with wax, i.e. There were wax models of the bust. They carefully cleared to complete similarity with the clay original. At the same time, a special alabaster casing was done in which a wax bust was placed covered with a layer of special composition. Through special holes in the casing, the molten bronze was poured, which occupied the place of the heated wax. It was the so-called wax casting method developed by the Italians in the Renaissance Epoch.
By June 1724, Rastrelli graduated from the casting of both busts and demanded the sewers to him. The first was cast by the "new Roman manner" (baroque), and the second - "old" (Caesarian).
Baroque ("New Aerman") bust
Rastrelli depicted Peter's figure to the belt. The emperor is closed in combat armor, covered with embossed images of allegorical and battle scenes, issued perceived as a complex decorative pattern. On the chest of Peter - the ribbon of the Order of Andrei First Called. The mountainous mantle with floral ornament, as if dropped from the shoulders with a gust of the wind, wriggling with one edge behind his back, drops in lush folds on his left hand. A lace scarf is tied on the neck, because of which the standing collar protrudes. The head of Peter is raised and is vigorous to the right. The face is framed by a wig that resembles a lion grower. It emits energy, causing attention to its internal beauty and significance. The eyes, non-migrating, formidable, seem to be speckled from orbits, thin lips under small hard wretches firmly compressed. In the warehouse of the whole person, immeasurable courage, the strength of thought, the greatness of the "comprehensive soul" is felt in a clear noble line of Big Larma.
Bust is largely close to the "gypsum head", but all the features are artistically reinforced deepened. True transmission of nature raised here to the height of psychological analysis. Peter is shown during the highest celebration of his business, "at the time of courage, in the whole strength of creative activity."
Petra bustI ("New Domestic")
Decorative elements carry a very greater semantic load: each bust detail is full of value that complements the main content of the portrait. An allegorical bas-relief was placed on the right chest booleret of the Rastrell korarille: Peter in the imperial crown and the mantle carves from the block of the stone figure of a young woman in the armor, with a scepter and a powder in his hands. The same symbolic group of sculptor completed in 1721 the model of the triumphal pillar. He explained her idea in one of his pets: the statue represents Russia, which "Your Majesty clears", i.e. Carries out of stone.
The sculptor showed the episode of Poltava battle, and on the shell - the battle scene on the shelter. In three bas-reliefs, the main points of Peter's activities are compressed: the defeat of the armies of Karl XII and the creation of powerful Russia. But this does not exhaust the bust allegorism. Andreevsky cross on the shield next to the Peter-Scale and Order of Andrei the First Called reminds of maritime "adestate Victoria". And finally, the fracturing bust of the mountain mantle served as a symbol of the imperial power of Peter.
Fragment of the bust ("Peter, carving a statue of Russia")
The composition is designed for a three-sided inspection. When inspection in the FAS, a huge height of Peter is well felt, he suppresses power. On the left perfectly read the clear volitional line of the profile, the concentration of thought. In view of the right on this energetic face, traces of fatigue and anxiety are noticeable. The silhouette of the bust is very effectively worked out, which combines compactness with baroque contour torn.
View of the left and right
The creation of a sculpture portrait of Peter Rastrelli decided the task of great difficulty: he managed to combine the deep truth of character and a certain shape of the general appearance, psychologism and allegority. The bust executed by him is perceived as a portrait of a certain person with his individual features, and as a typical image of the era of steep transformations, sharp social shifts and wars.
Caesarian ("Staromanery") bust
The gilded lead bust, executed in Copenhagen, performed "according to the old Manera Zessera Roman," is one of the "persons" of Peter Rastrelli who came to us.
Such busts, cast from lead or alabastra, were presented with noble foreigners. Rastrelli himself, as Burhgoltz reports, made a copy of Alebasra and wax, covered by a special bronze composition in February 1724, covered by special bronze composition, Duke Golucket. Bust, stored in Denmark, was subcamed by the Danish king Friedrich IV by Peter I.
The cherry bust on a round stand depicts Peter in the form of the Roman emperor. As it was accepted in the ancient busts, the king is shown with naked neck and breast, in the shell, because of which the tunic Oracker can be seen. The shell is decorated with relief head jellyfish Gorgon; Thin modeling of her distorted malice, with an open mouth, erecting on the head of the snakes, is the pearl of Rastrelie skill.
Soon after the death of Emperor Peter the first at Kunstkamera, the "Cabinet of Peter the Great" was organized, where his personal belongings were collected, documents, tools. In the future, the "Cabinet" was replenished with materials giving an idea of \u200b\u200bvarious sides of the life of Russian society in the Petrovsky period, about the large rise in the economy and culture of the country, on the development of science, technology and art. In particular, the "Cabinet" fell through things made by Peter I themselves or with his participation, the images of the king and his associates.
Subsequently, most of this collection was transferred to the Hermitage, to the department of Russian culture of the late XVII - early XVIII century, where a permanent exhibition was organized on the activities of Peter I and its achievements. The two sculptural portraits of the emperor became part of this exposition, which largely influenced Peter in their work subsequent generations of artists and scoolers.
"Waxer"
Among the picturesque and sculptural portraits of Peter the First, the so-called "wax person" occupies an important place. She was the creator of Carlo Bartolomeo Rastrelli (16771744) - a talented sculptor, invited to Russia by Peter for three years and worked here twenty-eight years old until his death. During the lifetime of Peter the Great Rastrelli, I took a wax mask from the face of the emperor and, using it, performed in 1719 the wax cast of the head of Peter I.
1725 year
So the figure looks in the exposure, and, apparently, this is just a copy.
1725 year
And so the "wax person" looks in old directories.
Later Rastrelli has once again portrayed the king, and after his death, seeking to perpetuate the image of Peter, created a "wax person." From the wax, a face, hand brushes, feet, the same was made of a tree herself (at the same time, the hands and legs can be bent on the hinges). The hair on the wax head was real, from the head of Peter himself! The clothes are genuine, as well as the Order of Andrey and the First Called with a wide blue ribbon on the chest.
Petra Bust I work Carlo Rastrelli
One of the best samples of the Russian sculptural portrait, created by K. B. Rastrelli in 1723, is the bronze bust of Peter I. According to the model made of clay, and then from wax, Rastrelli cast two busts: from bronze and cast iron. The bronze bust was over only in 1729, when Assistant Rastrelli, Engraver Semance, completed his chant finish. Especially finely read patterns of lace, as well as numerous parts of the front costume. On two breastplate shields of the shell, relief images glorify Peter as the creator of mighty Russia and an outstanding commander. On one Peter is represented by a sculptor with a chisel and a hammer in his hands, on the other - the rider participating in the Poltava battle.
1723 year. Bronze
Even without considering these images, the viewer represents the appearance of Peter I, the insightful, glance, an angry expression, inflexibility, mind, power, will, temperament - everything that was combined in the nature of Peter 1, is greatly transferred in this portrait. Emerging ermine mantle, sharp bends and sharp corners The silhouette of the sculpture, the glare of light on the nervous, movable face even more reveal energy and impulse inherent in Peter. The bronze sculpture of the bust is currently in the Hermitage, and the cast-iron option went to the Russian museum, so both the largest museum gained the masterpiece of Rastrelli.
Triumphal pillar
With the name Carlo Bartolomeo Rastrelli, the interesting idea of \u200b\u200bthe monument to Peter is also connected, which was not implemented, but which can be judged by the created model. "Triumphal pillar" is exhibited in a round room or the Rotunde of the Hermitage. This room was built in 1830 by Architect Monferran, and after the fire of 1837 he was restored with some changes to A. P. Bullylov. In 1880, a bomb exploded under the hall, but Emperor Alexander II escaped the attempt, eleven people from the personnel of the palace and guard died.
In addition to the pillar model, there is a large chandelier, manufactured in 1723 from ivory. In addition to the masters of the Tsarist "Tokarni", Peter I himself took part in its creation, a number of details had handed over for chandeliers.
Triumphal pillar Bezov is conceived by K. B. Rastrelli as a monumental monument to the emperor. N. Pino and A. K. Nartov also participated in the design of the project. In connection with different attacks, the project was not implemented. However, the preserved sketches and genuine parts created for the "triumphal pillar" model (in particular, bronze cylinders with relief images performed by A.K. Narovov) made it possible to reconstruct this interesting monument in honor of the victories overwhelmed by Russia in Peter I in the Northern War.
Relief paintings on the pedestal depict the capture of Noteburg and Narva, the foundation of St. Petersburg, the battle at Kalishe. On eight bronze cylinders constituting a column and made in the workshop of A. K. Nartov, the Battle of Forest and Under Poltava, the capture of Riga and Revel cities (now Tallinn), the Pruttess, the capture of Friedrich Stadt, the ganguta fight and the capture of Derbent.
Monument to Peter first in front of Mikhailovsky Castle - the most interesting monument in St. Petersburg: here and a rare coat of arms Russian Empire, and happy heel, and horse with human foot!
When I ask me "What is your favorite place in St. Petersburg?", I always, without thinking, answer: the maple alley. A little street between mysterious (a separate post is dedicated to him) and the street Belinsky (although not everyone knows that it is so called. Yes, and in general, it doesn't look like a street; Rather, she looks like a small square. And she is planted, by the way, she, by the way, Not at all rolls now, but chestnuts). Since the time of Paul I, this street has turned from the front plan, on which the emperor-neurotic Mushats his troops, in a quiet green corner. The place of Pavlovsky officers took grandmothers with strollers, and in the evenings - innocuous local alkashi.
I love to walk in these places. And I wanted to write a post dedicated to walk along the maple alley and around the Mikhailovsky Castle. But at some point I realized that about alone, a monument to Peter 1, mounted in Pavel in the center of the receipt, you can write a separate output. So many interesting details and small urban mysteries and legends are associated with this sculpture! Therefore, today we will have a long route, but extremely saturated: we will walk around the monument to Peter the Great, the founder of St. Petersburg and magnificent
This monument was created by Carlo Bartolomeo Rastrelli - the father of the famous Francesco Rastrelli, the architect, which built the Winter Palace. However, it was possible to establish a monument only after almost a hundred years after Peter's death, with the first Pavle, simultaneously with the construction of Mikhailovsky Castle.
Not only in children, but even in adults, when looking at this monument, several questions arise immediately.
Naked legs and insane eyes
Why is Peter dressed so strange? He is in Steel Kiras, he has a laurel wreath on his head, and on his feet - Roman sandals. Is it not cold to the Russian emperor in such a shoe?
There is nothing surprising in this. The thing is that at that time often European monarchs were depicted in the form of Roman Caessees. Kings, emperors of that time as if played in the emperors of antiquity. Therefore, sculptors and attached to them as a bit curly, at our present look, view. Examples of such sculptures "in the image" a lot. For example, compare Peter the first with Frederick V in Copenhagen. He has exactly the same Roman sandals.
And what kind of strange stick Petr holds in his hand? This is a marshal rod. It is with such rods that, for example, all Feldmarshals in the Field Marshal Hall of the Winter Palace. Such a rod was a symbol of the Supreme Military Pole of Field Marshal. By the way, in French, such a rod is called Bâton. Translated this word only "stick, wand". Guess what russian word comes from the same term?
And why is Peter's horse such insane wrinkled eyes? Is it hurt or scary?
It is difficult to say for sure, but most likely, the fact is that this monument was created in the baroque era. The Italian word Barocco means "strange, quaint, unusual." Artists and sculptors who worked at this time believed that the emotional work of art, the better. Therefore, in the pictures of that epoch, there is always a lot of raw and restless movement. And all the emotions of the heroes are exaggerated. If you needed to portray anger, the painters of that era wrote a downed mouth with a number of acute teeth. If you needed to portray a disgruntled face, the artist drew thick shiders and elegant folds and wrinkles of the forehead. Especially loved writing violent animals. Apparently, that is why the combat horse was made such insane, repeated, as if in the rust of the combat wrath, eyes. If you think, Peter's horse looks strange, you must look at dolphins that decorate Peterhof fountains. These extremely peaceful and intelligent inhabitants of the seas in Peterhof are becoming malicious, toothy and no less crazy than Petrovsky horse.
Where is the lion in the clouds?
And now let's go to ingenious mysteries. At the pedestal of the monument is the Russian coat of arms. There is nothing surprising in this, but something unusual is in the coat of arms itself. Look care carefully. What is depicted on the Russian coat of arms? Two-headed eagle, and on his chest, he has Georgy Victorious, striking Zmia. However, in this case, some strange rays appear from George of the Victorious - their eight. These rays are nothing more than the Maltese Cross.
You remember Paul I sheltered in Russia Knights of the Catholic Maltese Order, which was expelled from Malta Napoleon. Moreover, Paul took over the title of grandmaster, that is, the heads of the Order. It was such a cross with Paul for the first to be included in the Order of Russia as its component. Not everyone liked it, because Order of Malta He was Catholic. Therefore, after the death of Paul, his son Alexander did not accept the title of grandmaster, and the Cross of Maltese was from russian coat of arms Immediately excluded. Therefore, only on the coat of arms that made in the reign of Paul, you can see these unusual rays.
Signs and riddles
And now let's look at the bas-reliefs on the pedestal of the monument. They depict the two main battles of the Northern War with Sweden, in which Peter took personal participation. On the one hand, the battle of ganguche, on the other hand, when Poltava. The battle of Ganguhe, which occurred in 1714, became the first victory of the Russian Fleet over the Swedes Fleet. Peter made a cunning maneuver, dragging his galleys (that is, small rowing vessels) through the experiencing that connected the Gangeut peninsula with land. Thus, the Swedes fleet came to the environment, and large sailing multi-penette Swedish ships were broken down by a detachment of small Russian gallers. Petr I personally headed the board of one of the Swedish ships. Several enemy vessels were captured, among them and a head ship called "Elefant", that is, the "elephant". Regarding this victory in St. Petersburg was built Triumphal ArchThe top of which was depicted an eagle holding an elephant in the claws. The inscription on the gate said: "Russian eagle flies does not catch." Royal sense of humor)))
Take a look at the bas-relief: in the foreground is asked two people in the boat. One of them helps to get out of the water to a person who has a brilliance of the heel (and recently - also the priest).
Why does he work the heel? No one can give an accurate answer to this question. The only thing I can say is an old city legend. I remember when I was quite small, this heel was already sidet to shine. My grandmother told me that I needed to rub it for good luck before exam. By the way, I did it four times: three times, when I received a graduate school, and in the fourth - when I gave the rights to the traffic police. All four times everything took place very well. So the miraculous properties of this heel are checked and proven by me personally.
Maybe it was this heel that began to rub, because in this case a person is pulled out of the water. But on the exam, a kind professor can also "pull out" a sinking student. But the funny thing is that students trusting their academic future of this miraculous heel, do not always know that the saroshika is not really saved here at all. Here are taken captive by the Swedish counter-admiral. A man with a fighter heel is Ehrenshot, the commander of the Swedish fleet, which was wounded and tried to escape the flood, but was captured by Russian troops. Petr, by the way, he cost him Gentlmen, and soon Ehrenshot was released on his homeland. At the same time, Petr richly awarded him for courage and courage. So the fate of this admiral has developed very well.
Now let's take a look at the clouds who hung over the sea battle. On one of the clouds depicted a lion, looking from top to bottom to Russian ships. What is the lion? What does it mean?
Before answering this question, let's go around the monument and look at the bas-relief, which is on the opposite side. Here - the battle of Poltava (by the way, the hooves of the Petrovsky horse began to rub more recently, apparently, developing the theme of a happy heel. In my time, only the heel used the favor of students. And the hooves are the fiction of modern tourists, greedy to various kinds of miracle. We will find over the Poltava battle on the cloud of cancer.
I think you yourself can guess what the lion and cancer are denoted. Well, how did you think? Of course, these are signs of the zodiac! Lion is July (and after all, the ganguta battle occurred on July 27). Cancer, in turn - June. June 28 - the date of the battle when Poltava.
Since I brought you on this side of the monument, let's immediately remind you about the old urban legend associated with sculpture. Get away from the monument a little away. Climb on the border. Stand on the corner of the flower beds, which is directly opposite the sculpture. If you look at the monument from this point, it seems as if one leg of the Petrovsky horse (I mean not the horse, which on the bas-relief, and big) is not horse, but human. Noticed?
We are talking about a straight foot, which due to its subtlety and grace, indeed, rather, along the contours reminds the leg of the young girl. And the small bunch of hair behind the hoof the horse looks more like heels on the heel. Thus, the horse leg becomes like a lady's leg in the boot. Regarding this very human leg, there is a huge number of legends and unreliable speculation. In fact, there is a completely ordinary horse leg. And it can be clearly visible if you move ten more steps from the monument. However, at a certain angle, and indeed, the horse of Peter "RESECTS" the human leg. So my grandmother called this monument "horse in boogle" - by analogy with a cat in boots.
And the old urban legend is connected with the EIM monument. In Legend, Paul first and Peter first appear, but in the form of a ghost. Watch the video:
Today it's all. Come to Petersburg!
The development of secular painting dates back to the 18th century. Along with her, this kind of art as a sculpture was distributed. The sculpture was something new, previously unknown. It was believed that this demonic manifestation - the Orthodox Church promoted this statement in the mass.
Sculpture, as a kind of art, is characterized in that it is a three-dimensional image. Distribution received not only a portrait genre as a bust of Peter 1 Rastrelli, but also household, mythological and animalistic (image of animals). As well as an allegorical (embodiment of ideas and concepts by means of images), historical and other genres of painting. This article presents such a genre of sculpture, like a portrait, on the example of the work of Carlo - Petra Bust 1.
A little about sculptor
Rastrelli is an Italian sculptor of the 18th century. Initially, he lived at the court Louis Xiv.In 1716, I was invited by Peter I in Petersburg, where he was engaged in decorative work and cast guns.
The first creation of the sculptor was a bust that is now in the Hermitage. Also Rastrelli created sculptures on the bass of the famous ancient Greek poet Ezopa.
Other sculptures of Rastrelli have reached this day, such as: Anna John and Bronze Bust Peter I.
Bronze Bust Peter 1 (Rastrelli)
This sculpture is considered the original, since the figure is shown to the belt, while the bust is the sulfur image of a person. Rastrelli did not accidentally fulfill the sculpture exactly so - thereby he wanted to exalt the figure of Peter 1 - so that he was perceived solemnly and majestically.
If you carefully examine the apparel of the emperor, then you can see that it is depicted in lats. All in the best traditions of that time (commander, kings and government figures were depicted in lats). The plate shows a scene of carving from the stone of a female figure in the armor. Also depicts the scepter and the power, which symbolize the updated Russia. The second plate depicts the battle scene - the Poltava battle, in which all the power of the Russian army was demonstrated.
On the chest of the emperor you can see the tape of Andrei and the First-Called. The Order of St. Andrew First-Called until 1917 was considered higher reward Russian Empire. It was approved in 1698 by Peter himself.
On the shoulders of the emperor depicted the ermine mantle with floral ornament. It is made by large folds, as if dropping from the shoulder, which demonstrates the parade and the availability of movement.
Carefully inspecting the Bust Peter 1 (Rastrelli), you can see with what accuracy the sculptor depicted the texture of items. The ease of lace scarf is noticeable, emperor shine shine, mantle velvety on shoulders.
Petra 1 Bust (Rastrelli), whose photo is attached to the article, is intended for a three-dimensional inspection. If you look at it in the FAS, then the outstanding nose is visible, and on the left of Peter appears to the volitional personality. If you look at the sculpture on the right, then traces of fatigue and anxiety are noticeable.
The basis for the sculpture is considered to be the head of Peter the first of the gypsum, which was performed in 1721. There is another version of Petra Bust 1 (Rastrelli). In 1724, the casting of busts was completed, and the bronze bust was performed in a new Roman manner. The second was cast in a Caesarian manner. Permission to fulfill the Bust of Peter of the first Rastrelli with the help of the Italian architect Nikola Micketty.
Second bust
This sculpture is the scene of Emperor Peter the Great in the pleasure of the Roman emperor. According to the tradition of Peter, the first is depicted with the naked neck and in the armor, of which the tunic sticks out. At the armor depicted Gorgon, her face is distorted by a grimace of anger, and snakes wriggle on her head. Her mouth is open in the cry of anger and intimidation. Gorgon's depicted Medusa is considered the pearl of the skill of the Russian architect of Italian origin.
Bust made of lead and made by gilding is kept now in Copenhagen. Such busts were presented to foreigners noble origin. One of the Bust Rastrelli presented the Duke of Golzhta. Another bust was donated by Peter the first Friedrich IV himself - now he is also in Denmark.
Unreversible works of the Great Masters
Rastrelli was not only a sculptor, but also an architect. He owns the first project of the famous Konstantinovsky palace in the stele. Under the leadership of Bartolomeo Carlo Rastrelli, work began on the ruin of the canals and landing of trees, but the project was given to the architect of French origin of Jean-Batista Lebré.
Also, the bronze bust of the Russian officer Sergey Leontyevich Buvostov did not reach this day, which in 1683 was first signed up in the Preobrazhensky regiment of Peter 1. This bust was performed on the orders of the emperor himself.
In addition to this, in 1952, Fountain-cracker "Dubok" was restored, which is near Mon Trzehovar Alley. This fountain consists of five tulips and a metal tree. Of them sprinkle the jet of water.
Conclusion
Bartolomeo Carlo Rastrelli in Bust Peter 1 decided a very difficult task - he showed the emperor not only in terms of paradity, but also as a person with unshakable power Will and inflexible character.
This bust can be considered from two points of view. On the one hand, the sculptor depicted the Great Emperor as a typical figure of the era of transformations, various social changes. On the other hand, there is a person with a complex character, with his own alarms and experiences. Rastrelli depicted not only politician, but also personality.
Introduction
Probably there is no such person in Russia, who would not hear about the famous monument to Peter the first work by E.- M. Falcone, and acquaintance with St. Petersburg for many begins precisely from this monument. For Petersburgers, he was at all the symbol of the city. People stand for a long time at the monument and do not cease to be surprised at its extreme simplicity and rigor, its extraordinary expressiveness and dynamism. He deals with many poems, books, he repeatedly repeated in paintings, engravings. Even his name - " Bronze Horseman"- came from Russian poetry.
However, the "copper rider" is not the first monument dedicated to Peter. Before Engineering Castle There is a monument to Peter the first, installed in 1800. Monument This work of the sculptor K.-B. Rastrelli, cast in 1745-1747 on the model performed during the lifetime of the king.
The monument to Peter in front of the engineering castle is the first equestrian statue in Russia, while the "copper rider" was the first monument established in Russia. One of the goals of my work was to establish why the monument of Rastrelli took almost 100 years to overcome the long way from the idea of \u200b\u200bcreating before installation in the city.
Before writing the work in front of me there was a few tasks that I tried to decide, it is:
Familiarity with the history of two the greatest monuments Peter.
Description of the architectural decoration of monuments.
About the monuments Peter first written many books, articles. I worked with a large number of material. Basically, I used the books of M. and Dustyev "Old Petersburg", A. L. Kaganovich "Copper rider: the history of the monument", A. P. Kryukovsky "Sculpture of St. Petersburg" and many others.
1. Monument to Peter I work K.-B. Rastrelli
1 History of creation
On a wide alley, an equestrian monument to Peter I is in front of the front entrance to the engineering castle.
The fate of this monument is no less difficult and confused than the palace in front of which it was installed in 1800 by order of Paul I.
Italian by origin, the sculptor Rastrelli arrived in Russia in 1716 from Paris, where he worked for a while. In St. Petersburg, he quickly became famous, and at the end of the same year he had already received the royal order for the creation of an equestrian statue. Peter I ordered her Rastrelli to commemorate victories over the Swedes in a seven-year war.
On the equestrian monument, Peter Rastrelli worked for about 5 years, from 1719 to 1724. In an effort to convey a portrait similarity as soon as possible, Rastrelli took a plaster mask from Peter's face and enjoyed it in the process of working on the statue for equestrian monument.
In early 1719, Peter visited the sculptor's workshop: the lead model of the monument received its approval, but here is a big clay horse, apparently did not like the king something.
In the spring of next year, Rastrelli received an indication of changing the initial project of the monument and create a new, more magnificent and solemn model. The Northern War was already close to its conclusion, and the glory of Peter's commander more and more increased. On August 30, 1721, Nesteadt world was signed. The conclusion of the world and the proclamation of Peter by the Emperor, and Russia was accompanied by large celebrations.
In this atmosphere, Rastrelli, working on the model, introduced new and new changes to it. In 1724, the model of a monument to a height of 76 centimeters was completed and cast.
The emperor approved the model, but did not follow the continuation of the work and casting the monument. In January 1725, Peter did not become, and before the monument, no one was doing to anyone, and then they just forgot about him. Rastrelli did not even receive remuneration for their work.
There was a lot of years. In 1741, the daughter of Peter the Great Elizabeth joined the throne. With the memory of the Father and wanting to show himself with a worthy successor, she commanded to erect a monument to Peter.
And then, from the barn of the foundry yard, the forgotten Rastrelyev model was removed, approved by Peter first. But during this time art tastes changed, and the model was recognized as obsolete.
Since 1743, work began to boil. During the year, a wax model was installed, intended for casting a monument in bronze. It seemed that the long-standing dream of B. K. Rastrelli comes true, but still he never happened to see his best creation in the metal. The artist died on November 18, 1744.
The son of the sculptor Francesco Bartolomeo Rastrelli after the death of his father asked the permission to complete the started business - the casting of the equestrian monument to Peter first, to which the Empress consent received.
Finally, in 1747, the King's equestrian statue was cast in bronze and the monument was placed in the barn of the foundry, where he was destined to stand for many years.
In Catherine, the second Rastrelli was removed from the post of the court architect and in 1764 left Petersburg.
The new Empress, inspected by the Raströlie monument approved by Elizabeth, considered that he was not in such an art, which would be to present such a great monarch and serve to decorate the metropolitan city of St. Petersburg. " In addition, at this time, E. M. Falcone created his famous "copper rider" at this order.
Only in 1799, in the midst of work on the construction of Mikhailovsky Castle, unexpectedly remembered the equestrian statue of Peter the First. It was decided to put in the southern facade of the building on the square of the Connyabl. By order of Paul I began an urgent facility of the monument pedestal, the project of which was prepared by the architect F. I. Volkov. The supervision of the works carried out the architect V. Brenna.
In less than a year later, the pedestal was mainly ready.
In November 1800, the monument was consecrated and solemnly open. At his pedestal, a modest devastating inscription was visible: "Grada Limun. 1800. The opening of the monument was an integral part of the ceremony of the solemn entry of Paul I in Mikhailovsky Castle - a new imperial residence.
This monument is the first equestrian statue in Russia.
1.2 Majestic triumphant
Proud of the castle steps
Copper purebred horse.
Grozny monarch seats
Shrinking in the gaze ...
Peter I solemnly skews on horseback. It seems that the emperor just left the castle of his great-grandchildren and stopped, contemplating a beautiful city.
If you judge clothes, then you will not immediately guess who this rider is the Roman emperor or Russian king. Only the face does not cause any doubts - this is the King Peter: a high round forehead, wide breakdown of eyebrows, a little convex eyes, a small compressed mouth and a volitional chin. The Great Mind, the extraordinary energy and the power of the will are reflected in the features of a few continuous and rounded, but courageous face framed by lush hair.
The emperor, crowned with a laurel wreath, holds Marshal's rod in his right hand, and in the left - reins, in a calm and proud, full dignity pose sits on the mighty horse.
On the boys of the rider of the shelter; A luxurious ermine mantle with embossed images on her two-headed eagles is thrown onto broad shoulders; on the side, at the belt, a heavy sword with a handle in the form of a lion's head, the pipples of the lion's semi-mask - they symbolize power; On the legs open Roman sandals with crossed belts.
Belong to the rider and a powerful horse with a cool curved neck and a long, lush, wavy tail; Slowly and solemnly, as on the parade, he fuses, as if proud of the royal sedock. The decoration of the horse is no less rich: under the saddle - a beautiful carpet bedspread with large brushes along the bottom edge, on collecting a lot of suspensions, and whites and bridles are decorated with precious stones.
High, tetalized pedestal lined with Olonets marble pink, white, green shades; The base is composed of gray Serdobol granite.
On the side sides of the pedestal of bas-reliefs - the sculptural paintings of the two battles of the Russian troops under the leadership of Peter I: "Poltava Bataliya" and "Fight during Ganguhe"; They were executed under the leadership of M. I. Kozlovsky and young sculptors - V.I. Demuto-Malinovsky, I. I. Terebenev and I. Moiseyev. On the bas-relief "Poltava Batali" is a Russian military, Peter I, a sword pointing towards the running Swedish troops, next to the leader of the cavalry of Menshikov. Above it is the soaring figures of the geniuses of victory, which are truded fame and walked with laurels of the head of the winners. Over the head of the Russians in the clouds depicts cancer - the zodiac sign, symbolizing the month of June, when this significant battle occurred. In the battle of Poltava, on June 271709, the Nedola was broken by the invincible Swedish army. Karl XII, wounded in his leg, was taken from the battlefield, this episode was transferred in the left side of the bas-relief.
No less significant content of the second bas-relief "Gangut battle". In his left part on the flagship ship - Peter I, who commands "Avant-garde". To him from the clouds descends the Genius of Victory, carrying laurel wreaths and palm branches. On the right - the captive Swedish ship, which has already entered the Russian, raising the flag of their country. On the same bas-relief in the clouds, the image of the Lion is the sign of the zodiac, the corresponding month of July, when the gangut battle occurred.
Both bas-reliefs are characterized by the clarity of the composition, skillful placement of figures and confident elaboration of parts. Masterfully completed, they were cast from bronze by the Russian foundryman V. P. Ekimov.
The monument to Peter I, created by Rastrelli, opens the first page of the richest history of the Russian monumental sculpture.
2. Monument to Peter I work E. Falcon
2.1 History of creation
What a thought on the chel!
What power is hidden in it!
And in this horse what fire!
The outstanding work of a monumental sculpture is a monument to Peter I on the Senate Square.
Aside by the Russian throne, Ekaterina II decided to put a monument to Peter I in the capital, to which she experienced the deepest respect. The monument was supposed to submit the first Russian emperor as an outstanding statesman. Equestrian statue, cast from bronze on the model of Rastrelli, she did not like. The Empress did not immediately decide to charge this work.
Even before the sculptor was chosen, detailed offers were appeared - descriptions of the future monument. Offered at the foot of the lush pedestal to put four virtues: prudence, hard work, justice and victory. Allegoric virtues were supposed to pour out the flavors: ignorance and superstition, taciousness and misfortune, a lie and deception, envy and disagreement.
According to the customs of the time, the more significant was the identity of the hero, the more thoroughly selected allegorical sculptures should be crowded at the foot of the statue. Even such a thin and deep interpreter of art, Catherine II correspondent, friend and adviser Falcon Denis Didro offered to include in the monument of Peter I, an allegorical image of the "love of the people" and "barbarism, defeated by Peter".
Finally the choice was made. According to the council Didro, the Russian ambassador in France Prince Golitsyn offered Etienne-Mauris Falcone to take for the construction of the monument. In August 1766, a contract was signed, according to which the sculptor pledged to submit a draft monument in six months.
Falcone began with the fact that I rejected all the offers and tips. He refused the traditional image of the monarch-winner, squeezing on horseback in the appearance of the Roman Caesar, and from the allegorical image of virtues, vices, events, triumphs. This is how he wrote a Didro about his intent: "My monument will be simple. There will be no barbarism, nor love of peoples ... I will limit ourselves only the statue of this hero, whom I do not interrupt either the great commander, nor as a winner, although he was of course, and the other. Much higher than the personality of the creator, the legislator, the benefactors of their country, and here it is necessary to show people.
My king does not hold any rod: he extends his benefactor's appointment of the country. He rises to the top of the cliff who serves him a pedestal - this is the emblem of difficulty defeated by him. So, this is a decent hand, this is a jump on a steep rock - this is the plot given to me by Peter Great ... "
In October 1766, Falcon came to St. Petersburg and began the development of monument sketches. After two and a half years, he already graduated from the wax model of the monument in a natural value.
The creation of a monument made a significant contribution to the young scaly of Marie Ann Kollo, talented student Falcon. She perfectly climbed the model of Peter's head, sowing accurately convey the portrait features of the emperor, to show the authority and complexity of his nature. Already returned to Paris, and sending a silver medal received for a monument to Nantes to Nantes, Falcone writes: "You made a magnificent, the colossal head of Peter the first ..."
The great French philosopher and writer Denis Didro, who came to St. Petersburg at the invitation of Catherine II, saw a ready, waiting for the casting model of the equestrian statue of Peter I. He highly appreciated it. "This work," wrote Didro on December 5, 1773 in a letter from St. Petersburg, - as a truly wonderful work, it differs in that the first look seems excellent; When you look at it in the second, on the third, the fourth time, it seems even more beautiful. You leave him with regret and always come back to him. "
In accordance with the plan of Falcone, St. Petersburg scaulator F. G. Gordeyev climbed the model of the snake, wriggled under the hooves of the horse. Her body was supposed to serve as an extra, third point of the support for the horse's hull, raised on a raised rider at his scene.
For about three years, it took preparation for the casting statue in the metal. The casting began in 1774, and there were huge difficulties immediately: the dimensions of the sculpture were enormous, the configuration is complex; The thickness of the bronze walls in the front of the statue should have been significantly less than the walls in its rear. Thus, the front part became easier, and the rear on which the main load accounted for, is massive. Without this, a huge statue that had only three points of support would not have acquired the necessary stability.
To avoid the formation of seams between individual parts of the statue, Falcone decided to cast it in one reception. But it was not possible to do it. On August 24, 1775, cracks were formed in the casting in the casting form, through which liquid metal began to flow. The workshop began fire, and only the dedication and resourcefulness of the foundry master E. Khailova made it possible to repay the flame; But the entire upper part of the casting - from the knees of rider and the horse's chest to their goals was unaffected, and she had to cut down.
Preparation for a new casting took another three years, but the second casting passed without incident. Huge efforts demanded the decoration of the Figure Peter, engraving details of clothing. As before, the sculptor helped Hylov with his apprentices. Fully work ended only in 1778. In memory of the completion of the finish of the monument, Falcone engraved on one of the folds of Peter I, the inscription in the Latin language: "Lepil and cast Etienne Falcone Parisant of 1778." But it did not wait for the opening of the monument. In August 1778, he left Russia, not having the strength to endure unfair reproaches and petty interference in his work I. I. Bezzky. The management of the work on the construction of the monument has passed to Yu. M. Felten. Together with him the installation of the statue and F. G. Gordeyev.
Grand opening The monument to Peter I took place on August 7, 1782. A few days before the solemn consecration of the monument instead wooden fence The monument was observed by a linen fence, on which mountains and rocks were depicted. The shelves were lined up around the monument - 15 thousand people. On the Senate Square and on the roofs of houses - thousands of people. The Empress arrived on the boat from the Winter Palace. It appeared on the balcony of the Senate in the Paradinary Outlines - in the Crown and in Porfire. According to her sign, the panels with wild mountains fell, and the rider appeared before the troops and the people, hacking the steep cliff. On the two sides of the pedestal shone the inscription made in Russian and latin: "Peter the first Catherine second. Summer 1782. For the thunder of the orchestras and the floor of the guns in front of the monument, the Guards shelves passed the ceremonial march.
The poet of that time, V. Ruban, composed on this occasion the following eight-end:
Colossus Rhodes, humming your proud look!
And Nilski buildings of high pyramids
You are mortal branded hands.
Independent here Roskaya Mountain,
Renting the Glass of God from the mouth of Catherine,
Preded in Hradtrov through Nevsky Puchin
And fell under the foot of the Great Peter!
2.2 Stone-Thunder
In an effort to extremely strengthen the expressiveness of the image of Peter, Falcone decided to put a statue on the granite block, abandoning the idea of \u200b\u200ba traditional parade pedestal. It was assumed that she "should be five seats and one ARSHINA in the embroidery", the granite monoliths of this size did not occur before in construction practice. This requirement of the sculptor met the mass of objections. In one of the letters, he hardly writes: "I met one artist who told me loudly, on the whole Pale-grand piano that I hadn't had to choose for my monument as a pedestal of this emblematic rock that there is no rocks in St. Petersburg. Obviously, he believed that rectangular and profiled pedestals were treated there. " The enemy Falcone was the powerful I.I. Petskaya. Believing that such a stone mountain "Come hopelessly" and deliver to St. Petersburg "on great gravity" is impossible, he offered to prepare a pedestal from several large stones. But Falcone insisted on his.
The Academy of Arts was sent by the artworks of Master Andrei Pilyugin on the coast of the Baltic for finding a suitable granite block. The search was walking with a wide front of the sea from St. Petersburg to Narva and in the Vyborg province, in Serdobolsky, in the Gulf of Lake Ladoga, on Islands. The choice stopped on the largest stone, the granite monolith found on Lakhte, in twelve versts from St. Petersburg, the peasant Semyon Vishnyakov. Local residents They called him "Thunder", because there was a wide crack in it, as if formed from the impact of lightning. The stone was grandiose. It weighed 1600 tons, the length had 13.2 meters, in a width - 6.6 meters, 8 meters in height. From the installation site, the stone separated 9 kilometers of land and almost 13 kilometers of the waterway.
In ordinary practice, the logs were laid under huge loads and fiber goods on them, but this stone was so hard that he simply lagged logs like grain in millstones. We tried to make shafts with metal, but also this idea turned out to be unsuccessful. The shafts did not move in parallel, they knocked out, while the ropes were broken, winches were broken. Russian craftsmen decided this problem. The logs (cylinders) were replaced with copper balls. Transportation was carried out with the help of balls rolling along upholstered with copper grooves. In two parallel gutters, the balls were launched through certain intervals, which, in turn, were covered with the second, upper gutters, - they had a stone itself. As the released gutters were moved in front, and thus the stone continuously continued to move with the help of ropes, gates and 400 workers.
Delivery of monolith to Petersburg took over one and a half years - time for which in the XVIII century could be made trip around the world. And the stone was still necessary to process - cut down. Moreover, according to the sketch of Falcone, it was necessary to change the outlines of the stone, very radically. This required a considerable time, the scheduled time was clearly not kept. But then there was a solution. Stone treatment did not stop during its transportation. On the stone all the time there were several Kamenotesians who came to work in such unusual conditions - with continuous movement of the treated surface.
It seemed another difficulty was permitted, but the "non-Gathered Mountain" became a new stumbling block between Beetsky and Falcone. The sculptor wanted to free the "rock, a similar wave, from a huge stone," the rider took off, and Betchom wanted to preserve him in immunity as a kind of miracle of nature, whose extract from the Earth and delivery to such large distance It was "daring like". Therefore, the processing of thunder, "diminishing" to the desired dimensions began to be perceived how almost an alien encroachment for national pride.
Special vessel was built for the transport of stone by the sea. It was calculated so as to withstand the load from the stone, the features of the waterway. But also had to immerse such a huge stone on this vessel. Calculations have shown that if you start loading on the ship at the pillow, it will turn over. A paradoxical solution was proposed. In order not to give to sink the ship with a stone, you need to flood it in advance, and did it. The stone was immersed with all the same gutters. Then they pumped out water, and the ship surfaced.
So, in the fall of 1770, two vessels were accustomed to the pier in Isaac's bridge, between which a huge raft with a thunder was strengthened. Mounted on the Senate Square, he caused surprise and delight. It was coming to watch as a miracle, not less than the monument himself. To commemorate the completion of works on its transportation, a commemorative medal was knocked out with the inscription "Densulation like"
2.3 "Copper Horseman"
With a cloud gondo head,
Rectifying your mill,
Somewhere seem to the distance
With mighty giant horse;
And the horse attracted by the Horse
Rose up from the front legs
Even among the wondrous monuments of St. Petersburg, the "Copper Horseman" occupies a special place. He is a genius of St. Petersburg.
In this monument, everything is simple and meaningless, there is nothing superfluous.
The rider who took off at the rolling rider and stopped the horse at full race. The horse rose to the rates - even all in motion. But landing the rider, his posture, gesture, turning the head is performed by majesty, confidence and strength. The horse rising to the raised can be in such a pose of only an instant. Horse and rider, as it were, frozen in this movement, symbolizing the eternal life of the rider. The combination of moments with eternity, movement and peace, freedom and will do not seem to be deliberate at all, because the horse raised by man on the crumb of the abyss. This is the secret of the vast impression that he produces to the viewer. This impression is enhanced as you approach the monument and meet Peter's view.
Before us is a wonderful courageous face with wide eyes, illuminated by deep thought and unshakable will. Before us, the monarch-enlightener, a man of thought, mind, a carrier of high doom. The appearance of Peter, of course, was idealized, but without idealization, the symbolic significance of a monumental sculpture, probably impossible at all.
The rider is closed in a wide, light, not constraintful freedom of movements of clothing. Falcone rightly believed that the riders' clothes should not rush into the eyes, distract the viewer from the main thing. "Peter's costume," said the sculptor, - the clothes of all nations, all people, all times, - in a word, a heroic costume. " It resembles a long, spacious shirt of the Volga Burlaka, with an embroidery on the alert and on the sleeves. A short manta is thrown on top, on the legs - soft light fur boots, which we wore in the north of Russia. Instead of the saddle on the horse, the bearish of the skin was pushed, resembling the Dopeprovsk "Bear Rus." To the rider belt is attached by a sword resting in simple, unmarried sheaths. The laurel wreath of the winner and the short sword at the belt seems to indicate that the conventor tsar has repeatedly tried victory and on the battlefields.
The rock symbolizes those difficulties that have to overcome Russia, the fight against those obstacles that lay on the path of Petrovsky transformations. The approving gesture of the right hand emphasizes the will and the conviction of Peter - the State Avestigator - on the right and the ultimate success of his undertakings. "This is a father's hand," Falcone wrote, "this is a jump on a steep rock," this is a plot given to me by Peter Great. "
An countless poems and enthusiastic descriptions are devoted to the monument to Peter, it is repeatedly repeated in the paintings, engravings. He knows in Russia even those who did not seek at least once in St. Petersburg. For two hundred years, the monument to Peter on the Senate Square became not only part of the historically established architectural appearance of the city, but also his artistic symbol.
monument Peter Rastrelli Falcone Petersburg
Conclusion
Monuments Peter first work K.-B. Rastrelli and E. Falcone are the most famous and majestic monuments to Emperor Peter first.
Having considered the history of these monuments in his work, I came to the conclusion, despite the inseparable connection between myself, they were minted in various fate.
The history of the monument Rastrelli is no less difficult and confused than the palace, before which it was installed on the orders of Paul I in 1800. Becoming another milestone in the dispute of the emperor with his royal mother - Catherine II, the response to the famous statue of Falcone, who received the name "Copper Horseman" with the light hand of Alexander Pushkin. In 1716, Peter I ordered his Rastrelli to commemorate victories over the Swedes in a seven-year war. Eight years sculptor worked on the project of the monument, finally, he created a model that was approved by Peter I, but the death of the king, which followed in a year, prevented to complete the work.
For years, the rulers changed, finally, the throne took Elizabeth Petrovna, who proclaimed the slogan of his reign, the revival of his father - the first Russian emperor. Queen favorably reacted to the idea of \u200b\u200bcreating a monument, but the death of the sovereign prevented the implementation of this plan. The finished monument was forgotten in stock.
In 1763, Catherine II, the intention of creating a monument to the king - reformer resurrects to the Board. After examining the work of Rastrelli, the Empress rejected it and invited to create a french sculptor of Falcone. Whose statue was established in 1782 on the Senate Square.
Only in 1800 the misadventures of the Rastrelli monument are completed. He gained his place in the space of St. Petersburg at the walls of the residence of Paul I, who ordered to make the inscription "Praded Limun" in opposition to the dedication on the "copper rider": "Peter the first Catherine Two".
I paid a detailed attention to the pedestal of the "copper rider", since, now it is impossible to imagine another pedestal of this monument, and it was extremely difficult to find and deliver.
The monument to Peter the first Rastrelli is performed in the Baroque style. He is dressed in lush Roman clothes, right hand Squeezes the rod of the commander, the head is crowned with a laurel wreath. On the side sides of the pedestal of bas-reliefs - the sculptural paintings of the two battles of the Russian troops under the leadership of Peter the first: "Poltava Batalia" and "Fight during Ganguhe".
The decoration of the "copper rider" is very different from the monument of Rastrelli. Falcone abandoned the canonized image of the emperor-winner, Roman Caesar, surrounded by allegorical figures of virtue and glory. He sought to embody the image of the creator, the legislator, the converter. Going away from the canonov generally accepted at that time, the scoop portrayed his hero in motion, it did not have a parade uniform, but in a simple, loose clothes that did not attract attention, the rich saddle replaced the animal skiing. Only a wreath of a laurel, a crowning head, and a sword, hanging at the belt, indicate the role of Peter I as a commander - the winner. Monument is concise and at the same time expressive.
One of the symbols of the city of St. Petersburg, one of the brightest sights was the monument to Peter I - "Copper Horseman".
The statue of Rastrelli did not gain the fame and popularity of the Malcon's monument. It did not become a symbol of the city founded by Peter, there is no legend associated with him in the city folklore and literature. However, this monument is interesting not only as the only one who has come down to our time, but the reformer is a reformer, but also simply as an outstanding work of art.
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