Prepared a presentation on the topic of Baroque architecture. Presentation on the topic Baroque architecture (grade 10) Presentation on the Moscow Art and Culture on the topic Baroque architecture

Russian art critic M.V. Alpatov © A.I. Kolmakov "width="640"

MHC, 11th grade

Lesson #2

Fountain of Four Rivers

( Nile , Danube, Ganges,

Rio de la Plata)

on Navoma Square .

Baroque ARCHITECTURE

D.Z.: Chapter 2, ?? (p.21), TV. assignments (p.22-23)

splashes over the banks.

Russian art critic M. V. Alpatov

© A.I. Kolmakov

LESSON OBJECTIVES

• Give an idea of ​​the features of Baroque architecture;
• broaden your horizons and skills in analyzing works of art;
• to cultivate national self-awareness and self-identification, respect for the culture of other peoples of the planet, for international cultural heritage.

CONCEPTS, IDEAS

• F.B. Rastrelli;
• Winter Palace;
• Cathedral of the Smolny Monastery;
• classicism;
• baroque architecture;
• architectural ensembles;
• Lorenzo Bernini - "genius of the Baroque";
• St. Peter's Basilica in Rome;
• palace Petersburg;
• era of "Elizabethan" baroque

Universal learning activities

• systematize and summarize    describe and analyze   explore the reasons  evaluate value   tell   
• systematize and summarize acquired knowledge about the development paths and artistic principles of Baroque architecture;
•  carry out comparative analysis Baroque architectural structures with works of previous eras;
•  comment on scientific points of view and assessments of cultural figures;
•  describe and analyze architectural monuments in unity of form and content;
•  develop an individual creative project architectural structure in the Baroque tradition;
•  explore the reasons promotion of architecture to the role of the leading art form in the 17th century;
•  evaluate value the creativity of an individual architect in the history of world and domestic art;
•  identify characteristics individual author's style;
•  tell about outstanding foreign and domestic architects of the Baroque era;
•  make reasoned judgments about the artistic merits of specific works of Baroque architecture;
•  prepare and conduct a correspondence excursion on memorable places associated with the work of F. B. Rastrelli;
•  make an amateur video about architectural monuments of the Baroque

LEARNING NEW MATERIAL

Lesson assignment. What is the significance of the Baroque style in architecture for World civilization and culture?

sub-questions

• Characteristic features of Baroque architecture. Main features of Baroque architecture. The originality and national color of Western European Baroque architecture.
• Architectural ensembles of Rome. Lorenzo Bernini. Italy is the birthplace of Baroque architecture. Creation of complete ensembles. Features of Baroque in the architecture of Rome. “The Genius of the Baroque” by L. Bernini, the versatility of his creative talent. Decoration of the square in front of St. Peter's Basilica in Rome.
• Architecture of St. Petersburg and its environs. F. B. Rastrelli. Formation of the image of palace Petersburg and royal country residences of the “Elizabethan” Baroque era. Characteristic features of the style of F. B. Rastrelli and the architectural masterpieces he created

This is how the French poet of the 17th century described his impressions of Baroque architecture. J. de Sudery

Characteristics of Baroque architecture

. . . But before the beauty of both the building and the facade

The fountain, the marble, and the fence have faded.

. . . In the twisted ornament you will see here and there

Victorious helmet and vases of incense,

Columns, capitals, pilasters and arcades

You will see everywhere, wherever you look,

Cupids, monograms woven secretly,

And the heads of the lambs, entwined with cord,

And you will find the statue in a magnificent niche,

In patterns and carvings there is a cornice under the roof itself. . .

(Translation by E. Ya. Tarakhovskaya)

Characteristic features of Baroque architecture.

• Predominant and fashionable colors : muted pastel colors; red, pink, white, blue with a yellow accent.
• Lines: fancy convex - concave asymmetrical pattern; in shapes semicircle, rectangle, oval; vertical lines of columns; pronounced horizontal division.
• Form: vaulted, domed and rectangular; towers, balconies, bay windows.
• Characteristic interior elements: desire for grandeur and splendor; massive grand staircases; columns, pilasters, sculptures, stucco and painting, carved ornaments; interrelation of design elements.
• Designs: contrasting, intense, dynamic; pretentious on the facade and at the same time massive and stable.
• Window: semicircular and rectangular; with floral decoration around the perimeter.
• Doors: arched openings with columns; floral decor

Characteristic features of Baroque architecture.

The main features of Baroque architecture are:

• attraction to large urban and garden and park ensembles, where architecture, sculpture and painting merge together;
• increase in scale, massiveness, distortion of classical proportions, when order elements cease to be proportionate to a person;
• the appearance of a solid and unified facade, which becomes a kind of decoration of the building, designed for the effect of perspective reduction;
• creating a deliberately curved, almost illusory space due to the fluidity of curvilinear shapes and volumes (an oval in plans and details, an ellipse instead of a circle, a rectangle instead of a square);
• strengthening of the decorative principle, detailing, illusory disappearance of the wall in the mass of decorations, sculptures, mirrors, windows (); the use of rich colors and gilding, the creation of optical visual effects due to the refraction and reflection of solar glare, side lighting, contrasting alternation of illuminated and darkened areas.

Characteristic features of Baroque architecture.

Geography of the spread of the Baroque style in the architecture of European countries

Architectural ensembles of Rome. Lorenzo Bernini

palaces and churches constitute the constant and most typical

city ​​limits. We must look in Rome for ancient, Christian, medieval, Renaissance Rome. But there is nothing to look for in Baroque Rome - this is still the Rome that each of us recognizes first of all. Everything that determines the character of a city - its most noticeable buildings, main squares,

the busiest streets, all this is created here in baroque style,

and everything faithfully preserves his seal.

• P. P. Muratov (art historian). Images of Italy

Lorenzo Bernini (1598 - 1680), Italian architect

Architectural ensembles of Rome. Lorenzo Bernini

• Lorenzo Bernini (1598 - 1680), Italian architect, sculptor, painter, comedian, director of enchanting performances, actor, creator of complex theatrical scenery.
• At the age of 25, he became a celebrity, worked on shaping the architectural appearance of Rome, and carried out countless orders from the Vatican. Master, genius of the Baroque.

L. Bernini. Square in front of the cathedral

St. Peter.1657-1663. Rome

The main creation of L. Bernini is the design of the square in front of Cathedral ohm St. Peter's. The square became a colossal stage for ceremonies. The depth of the square is 280 m. 96 statues of saints, columns ( h =19m) in 4 rows united by bending tape balustrades .

• Francesco Bartolomeo Rastrelli (1700-1771) - son of a sculptor, Italian by birth, born in France.
• Having received his education abroad, he then worked only in Russia, which became his second homeland. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries.

Characteristic style techniques

F.B. Rastrelli were: contrasting

comparison of shapes and volumes,

rhythm of verticals, visual effect

vibrations of the wall plane,

use of plastic double

columns retreating and

retractable risalit ov (part

building protruding beyond the main

facade line), use

statues, flowerpots, huge gaps

windows, volutes, oval windows.

Great Palace in Peterhof (1745-1755). Architect F.B. Rastrelli

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

• Rastrelli's architectural masterpieces include the Winter Palace in St. Petersburg (1754-1762), country residences - the Grand Palace in Peterhof (1745-1755), the Catherine Palace in Tsarskoe Selo (1752-1757), private city palaces of M. I. Vorontsov (1749- 1757) and the Stroganovs (1752-1754), churches and monasteries - St. Andrew's Church in Kyiv (1748-1762), Smolny Monastery in St. Petersburg (1748-1754).

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

F.B.

Rastrelli.

View of Winter

palace with

sides

Dvortsovaya

Squares.

These days in

him

located

art

Hermitage Museum

The total length of the facades is 210 m. The palace was one

of the tallest buildings. At the roof level there is a balustrade with

stone sculptures and vases. 22 types (!) of frame frames

huge windows. The palace had more than 1050 separate rooms and

rooms, 1886 doors, 1945 windows and 177 staircases.

Architecture of St. Petersburg and its surroundings. F. B. Rastrelli

Cathedral of the Smolny Monastery

was ordered to the master

Empress Elizabeth

Petrovna. Traditional Russian

pentacephalus , embodied in

elaborate forms of Baroque, here

organically merged with the main

volume of the building. Middle chapter

the cathedral is a tall

double-height dome topped

bulbous head under the light

drum Four high

two-story towers, almost adjacent

pressed against the central dome,

Give the pentacephalus an amazing

solidity and power.

Decorative decoration

The cathedral amazes with its elegance.

Clear wall projections, decorated

bunches of columns, pediments

various shapes, soft

rounding volutes,

overhanging cornices.

The first convent of St. Petersburg -

Resurrection Novodevichy Convent was built

on the site of the former Smolyany Dvor. From here

Rastrelli .

Catherine Palace

In Tsarskoye Selo

Great Palace with

water cascade. Peterhof

• Famous Russian architect, Italian origin. The most prominent representative of Russian Baroque. F. B. Rastrelli combined elements of European Baroque with Russian architectural traditions, which he drew primarily from the Naryshkin style, such as bell towers, roofs, and color schemes.
• In 1763, with Catherine coming to power II , resigned and left St. Petersburg .

Bartolomeo Francesco de Rastrelli (Bartholomew Varfolomeevich) (1700-1771) - Russian architect, decorative artist and graphic artist.

Control questions

1. How can one explain that in the 17th century. architecture was

leading art form? What are the characteristic features

Western European Baroque architecture? What do you think

look, distinguished Baroque buildings from the creations of architects

Renaissance era? Why did Baroque architecture evoke

extremely contradictory opinions?

2. Why is Italy called the birthplace of architectural

Baroque, and Rome is its capital? Prove justice

these statements based on the example of works known to you

Lorenzo Bernini. What distinguishes artistic style

architect?

3. What style features could you note in your work?

F.B. Rastrelli? What distinguishes the structures he created from

works of architecture you know

Western European Baroque? To what extent does the architect

managed to embody the traditions of ancient Russian architecture?

Give reasons for your answer.

Creative workshop

1. Compare the buildings you know created in the Baroque style with the architectural creations of the Renaissance. Why do you think a baroque building should organize space around itself in the form of a whole ensemble?

2. What urban planning ideas did Baroque art put forward and what is the essence of their imagery? Try to illustrate your observations based on the main creation of L. Bernini - the square of St. Peter's Basilica in Rome.

3. What ensures the stylistic integrity of the ensembles of country residences created by F. B. Rastrelli (the Grand Palace in Peterhof or the Catherine Palace in Tsarskoe Selo)? Like in them

is the problem of art synthesis being solved (sculptural decoration, interiors, furniture, etc.)?

Topics of presentations, projects

• “Masterpieces of Western European Baroque Architecture”;
• "Achievements of the Italian Baroque";
• "Lorenzo Bernini - Baroque genius";
• "Rome - the capital of architectural baroque";
• “National originality of the development of the Baroque style in Russia”;
• "Petersburg F.B. Rastrelli";
• "Palace ensembles of F.B. Rastrelli in St. Petersburg and its suburbs."

• Today I found out...
• It was interesting…
• It was difficult…
• I learned…
• I was able...
• I was surprised...
• I wanted…

Literature:

• Programs for general education institutions. Danilova G. I. World Art. – M.: Bustard, 2011
• Danilova, G.I. Art / MHC. 11 classes. Basic level: textbook / G.I. Danilova. M.: Bustard, 2014.
• Baroque architecture. Author Selezneva

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Slide captions:

Baroque style Baroque means “strange” and “bizarre”. In the Baroque, the following were noted: - the complexity of volumes and space, the mutual intersection of various geometric shapes, - the predominance of complex curvilinear forms in determining the plans and facades of buildings, - the alternation of convex and concave lines and planes - the active use of sculptural and architectural and decorative motifs; - uneven distribution of architectural means; - creation of a rich play of chiaroscuro, color contrasts - dynamism of architectural masses.

Francesco Bartolomeo Rastrelli Francesco Bartolomeo Rastrelli was born in 1700 in Paris. His father, Bartolomeo Carlo Rastrelli, an architect and sculptor, moved with his family to Russia in 1715 at the invitation of Peter I.

In 1748, Empress Elizabeth issued a decree to begin construction of the Smolny Monastery and entrusted it to Rastrelli. Construction began in 1749; in 1751, due to the Seven Years' War, the project had to be stopped. Smolny Monastery

Smolny Monastery

Masterpieces of the Italian Baroque. Lorenzo Bernini The characteristic features of the Italian Baroque were most vividly embodied in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini. In creating curvilinear, bending surfaces and whimsical geometric combinations, Francesco Borromini had no equal. The Church of Sant'Agnese in Piazza Navona in Rome is one of the best creations of the architect. The smoothly curving facade of the church is decorated with a majestic dome placed on a high drum. The walls of the church seem to dissolve in the play of chiaroscuro, in the ledges and openings. Francesco Barromini. Church of Sant'Agnese. 1653 Rome.

Borromini, if possible, avoids straight lines - vertical or horizontal, as well as right angles. Preference is given to the complex curved plans of Francesco Borromini Church of San Carlo alle Cuatro Fontane, (1634-67, Sant'Ivo, 1642-60, in Rome).

The interior of the cathedral is no less effective, distinguished by the sophistication of stucco decorations, multi-colored decorative paintings, and colored marble columns. Francesco Borromini. Church of San Carlo alle Cuatro Fontane, (1634-1667, Sant'Ivo, 1642-1660, in Rome).

Francesco Borromini Church of San Carlo alle Cuatro Fontane, (1634-1667, Sant'Ivo, 1642-1660, in Rome). Fragment, facade.

Lorenzo Bernini. Rome. Fountain of Neptune in Piazza Navona.

Stroganov Palace In 1742, it was acquired by Baron Sergei Grigorievich Stroganov. He used his own money to build a two-story house. Construction of the palace was carried out at a rapid pace. Already on December 15, 1753, a housewarming ball was held here, which was attended by Empress Elizaveta Petrovna herself.

Winter Palace

Winter Palace

Catherine Palace

Grand Palace Peterhof

Lion Cascade Peterhof

Fountains-crackers Peterhof

In 1718, Domenico Trezzini won the first architectural competition in Russia for the construction of a building. This structure is the Building of the Twelve Colleges - the first stone government building in St. Petersburg. Domenico Andrea Trezzini Building of the Twelve Colleges

Domenico Andrea Trezzini Summer Palace of Peter I

“Wonderful pattern” of the Moscow Baroque The desire for pomp and richness in the external decoration of architectural structures was extremely characteristic of Russia. “Wonderful pattern” became the leitmotif of Russian architecture of the late 17th – early 18th centuries. The architecture of this time is characterized by a combination of national traditions, especially wooden architecture, with the best achievements of Western European Baroque. The most vivid and original features of the Russian Baroque appeared in the so-called Naryshkin, or Moscow, style. It received its name thanks to the construction customers, among whom were the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions.

Unique Moscow Baroque buildings include the Trinity Church in Nikitniki, built by order of the merchant Grigory Nikitnikov, a native of Yaroslavl. The temple, located on a high hill in the center of the city, dominated the surrounding buildings, standing out for its complexity of silhouette. The bright colors of the facades, the rich plasticity of the white stone and brick decor, multi-colored tiles, together with the picturesque asymmetry of the composition, attracted the attention of the townspeople. Trinity Church in Nikitniki. 1631-1634 Moscow.

Church of the Mother of God of the Sign in Dubrovitsy. 1690-1704. Moscow.

St. Nicholas Church in Khamovniki. XVII century Moscow.

Architectural creations of V.V. Rastrelli In the middle of the 18th century, Baroque art in Russia reached its peak. Developing the best national traditions, architects increasingly turned to the European artistic heritage. Lush Baroque architecture spread throughout Russia. The most striking creations of architecture were concentrated in the new capital of the Russian state - St. Petersburg. A significant contribution to the development of national architecture was made by Bartholomew Varfolomeevich (Bartolomeo Francesco) Rastrelli (1700-1771), the son of the sculptor B.K. Rastrelli, an Italian by birth, born in France. Having received his education abroad, he then worked only in Russia, which became his second homeland. Everything that he built in Russia aroused admiration and enthusiastic assessments of his contemporaries. The poet A.D. Kantemir (1708-1744) wrote about the works of the outstanding architect: “Count Rastrelli... a skillful architect. His innovations in decoration are magnificent, the appearance of his building is magnificent, in a word, the eye can rejoice in what he built.”

The best works of Rastrelli are St. Andrew's Church in Kyiv, palaces in the suburbs of St. Petersburg - Peterhof and Tsarskoye Selo, the palaces of Stroganov and Vorontsov, the Smolny Monastery Cathedral and the Winter Palace in St. Petersburg. V.V. Rastrelli. St. Andrew's Church. 1749-1759 Kyiv.

V.V. Rastrelli. Ambassadorial staircase in the Winter Palace. 1754 – 1762 Saint Petersburg. The main entrance was located in the northern building: the carriages of the Empress and her guests solemnly drove up to it. Through a huge gallery they climbed the dazzlingly beautiful Ambassadorial Staircase, from the top platform of which the entrance to the state rooms of the palace opened.

V.V. Rastrelli. Catherine Palace. (Main entrance).

V.V. Rastrelli. Catherine Palace. (Facade)

Conclusion The Baroque style expressed progressive ideas about the unity, boundlessness and diversity of the world, about its complexity, variability, constant movement; The Baroque reflected an interest in the natural elements, the environment, and the human environment, which began to be perceived as part of the world. Man in Baroque art appears as a complex, multifaceted personality with his own world of experiences, involved in dramatic conflicts. Baroque art is characterized by the pathetic elation of images, their tension, dynamism, passion, bold contrasts of scale, colors, light and shadow, the combination of reality and fantasy, the desire to merge various arts in a single ensemble that amazes the imagination.

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Slide captions:

Baroque architecture

Baroque architecture is a period in the development of architecture in Europe and America, spanning approximately 150-200 years. The period began at the end of the 16th century and ended at the end of the 18th century. Baroque (as a style) covered all types of art, but was most clearly reflected in painting, theater and architecture.

Characteristic features of the Baroque Baroque embodies new ideas about the eternal variability of the world. It is distinguished by grandeur, splendor and dynamics, a passion for spectacular spectacles, strong contrasts of scales and rhythms, materials and textures, light and shadow, a combination of the illusory and the real. Thanks to the bizarre plasticity of the facades, complex curvilinear plans and outlines, Baroque palaces and churches acquire picturesqueness and dynamism. They seem to blend into the surrounding space. Baroque interiors are decorated with multicolor sculpture, modeling, and carvings; mirrors and paintings illusorily expand the space, and the painting of lampshades creates the illusion of open vaults.

Types of Baroque buildings Baroque is characterized by complexity of plans, splendor of interiors with unexpected spatial and lighting effects, an abundance of curves, plastically bending lines and surfaces; The clarity of classical forms is contrasted with sophistication in shaping. Painting, sculpture, and painted wall surfaces are widely used in architecture.

The emergence of the Baroque The Baroque style was born in Italy and spread to most European countries, acquiring in each its own special national features. Baroque works are distinguished by non-compliance with the rules of Renaissance harmony for the sake of a more emotional interaction with the viewer.

Masterpieces of the Italian Baroque The characteristic features of the Italian Baroque were most vividly embodied in the work of two architects who created an entire era in the development of architecture - Francesco Borromini and Lorenzo Bernini.

Borromini, if possible, avoids straight lines - vertical or horizontal, as well as right angles. Preference is given to the complex curved plans of Francesco Barromini of San Carlo alle Quattro Fontane - an example of Borromini's radical interpretation of style

The main architectural creation of Lorenzo Bernini was the design of the square in front of St. Peter's Basilica. The architect had to solve several problems at once: to create a solemn approach to the main temple of the Catholic world, to achieve the impression of unity between the square and the cathedral. He turned the space in front of the temple into a single ensemble of two squares. The first is in the shape of a trapezoid, and the second is in the favorite Baroque shape - an oval. It faces the city and is framed by a majestic colonnade that easily and gracefully embraces the square.

Moscow Baroque The most vivid and original features of the Russian Baroque were manifested in the so-called Naryshkin, or Moscow, style. It received its name thanks to the construction customers, among whom were the Naryshkins, relatives of Peter I. On their initiative, many beautiful and elegant buildings were erected in Moscow - palaces, churches, gazebos and park pavilions.

Church of the Intercession in Fili. 1693-1694. Moscow. A brilliant example of Naryshkin baroque is the Church of the Intercession in Fili. She stands on a low hill, above the river bank, repeating herself as a bizarre reflection in the water.

The flatness of the wall almost disappeared behind the abundance of cornices, pilasters, semi-columns, platbands and portals. The temple was crowned with a decorative five-domed dome and three rows of kokoshniks, giving a special festive solemnity. Trinity Church in Nikitniki. 1631-1634 Moscow.

St. Nicholas Church in Khamovniki. XVII century Moscow.

Contents: The emergence of the Baroque style; The main features of Baroque; Baroque architecture in Italy; Baroque architecture in France; Baroque architecture in Belgium; Baroque architecture in Germany; Baroque in Russia.

The emergence of the Baroque style The Baroque style slowly matured in the architecture and sculpture of the High Renaissance. Thus, Michelangelo, with the power and expression of his individual style, instantly destroyed all the usual ideas about the “rules” of drawing and composition. The powerful figures he painted on the ceiling visually “destroyed” the pictorial space allocated for them; they did not correspond either to the script or to the space of the architecture itself. G. Vasari, the famous chronicler of the Renaissance, amazed, like others, called this style “bizarre, out of the ordinary and new.” Michelangelo, ceiling of the Sistine Chapel, 1508-1512

Rome is considered the birthplace of Baroque, and the most striking examples of architecture of this style were created in Italy, Spain, Portugal, Southern Germany, the Czech Republic, Poland, Lithuania, and the Spanish and Portuguese colonies in Latin America. In all these countries, the Catholic Church had a very large influence and thus Baroque became the style that it adopted. The beginning of the new style is usually considered to be the construction of a small church of the Jesuit order - Il Gesu in Rome, begun in 1568 according to the design of Giacomo Vignola.

One of the main artistic features of the Gesù Church is the unique fresco of the Triumph of the Holy Name of Jesus on the church ceiling. Figures painted in a special way create the illusion that they are floating under the ceiling and even cast a shadow on it, when in fact they are written in the same plane. The frescoes of Il Gesu were painted by Giovanni Battista Gaulli, a talented artist from Genoa, at the age of 22, with the support of the famous sculptor Bernini.

The process of the birth of a new style can be observed on the main facade overlooking a small square, designed in 1575 by Giacomo della Porta: columns and pilasters move towards each other, grouped in pairs, the entablature is torn, the surface of the facade is overloaded with strong rhythmic elements.

The main features of the Baroque Baroque art is characterized by grandiosity, pomp and dynamics, pathetic elation, intensity of feelings, a passion for spectacular spectacles, a combination of the illusory and the real, strong contrasts of scale and rhythm, materials and textures, light and shadow. The synthesis of arts in the Baroque, which is comprehensive in nature and affects almost all layers of society (from the state and aristocracy to the urban lower classes and partly the peasantry), is characterized by a solemn, monumental and decorative unity that amazes the imagination with its scope. Baroque palaces and churches, thanks to the luxurious, bizarre plasticity of the facades, the restless play of chiaroscuro, complex curvilinear plans and outlines, acquired picturesqueness and dynamism and seemed to blend into the surrounding space. Wurzburg Palace. Architect: Johann Dietzenhofer, since 1719 construction was headed by Balthasar Neumann.

The ceremonial interiors of Baroque buildings were decorated with multicolor sculpture, modeling, and carvings; mirrors and paintings illusorily expanded the space, and the painting of ceiling lamps created the illusion of open vaults. Interiors of the Würzburg Palace Baroque fine art is dominated by masterly decorative compositions of a religious, mythological or allegorical nature, ceremonial portraits that emphasize the privileged social status of a person.

Gvarino Gvarini. Church of San Lorenzo, Turin, 1666 -1687. In the Baroque, the following were noted: the complexity of volumes and space, the mutual intersection of various geometric shapes; the predominance of complex curvilinear forms in determining the plans and facades of buildings; alternation of convex and concave lines and planes; active use of sculptural and architectural and decorative motifs; uneven distribution of architectural means; creating a rich play of chiaroscuro, color contrasts and the dynamism of architectural masses.

The idealization of images is combined in them with violent dynamics, unexpected compositional and optical effects, reality - with fantasy, religious affectation - with emphasized sensuality, and often with acute naturalness and materiality of forms, bordering on illusoryness. Baroque works of art sometimes include real objects and materials (statues with real hair and teeth, chapels made of bones, etc.). Gvarino Gvarini. Church of San Lorenzo, interior.

Baroque architecture in Italy The first architect of the new generation, in whose work there was already a transition to major architectural tasks, was Carlo Maderna. In 1603, after the death of Della Porta, he was appointed chief architect of St. Peter's Basilica, in Rome (begun by order of the pope in 1607), the completion of which became his main work. At the insistence of Pope Paul V, the centric structure built by Michelangelo in the shape of a Greek cross was rebuilt into a traditional early Christian basilica in the shape of an elongated cross. In 1607 -1614. Carlo Maderna added three long naves to the domed part of the temple; the previously created building became the altar part of a new, even more grandiose temple.

Canopy over the burial of St. Peter The canopy, which now stands in the middle of the cross of St. Peter's Cathedral, above the altar and above the place where the Apostle Peter is buried, was built in 1624–1633. There are several of his designs, probably owned by Carlo Maderno and created at the end of the reign of Paul V. But in 1624, the work on its construction was entrusted to Bernini, and at first he was instructed to make only four bronze columns ten meters high. Bernini installed them in the cathedral in the summer of 1627. It was not until the following year that a contract was signed to complete the canopy. By this time, the completion project was already ready, and the carver Giovanni Battista Soria made his model for Bernini. But the Council of Cardinals, in charge of the affairs of the cathedral, rejected this project, listening to the opinions of people who believed that it was impracticable.

The columns were supposed to be connected by semicircular arches, arranged crosswise and intersecting in the center, where a large statue of the ascending Christ was supposed to stand. There was no intention of making an entablature; therefore, the columns naturally would not have withstood the thrust of the arches, weighted down by the colossal bronze statue. Bernini created a new project, with an entablature and without a statue of Christ, although he did not immediately abandon it: in 1628 he was still preparing to cast it. Instead, on the base, which is a complicated motif of the same intersecting arches, a colossal cross was installed.

The architect of St. Peter's Square was Gian Lorenzo Bernini. This masterpiece of architectural genius was founded in 1656 -1667. Lorenzo Bernini carried out work for St. Peter's Basilica from 1624 until the end of his life.

A square was needed that could accommodate the large number of believers flocking to the cathedral to receive papal blessings or take part in religious celebrations. This task was carried out by Giovanni Lorenzo Bernini, who created the square in front of the cathedral - one of the most outstanding works of world urban planning practice.

In the 1930s, Mussolini laid a wide street of Reconciliation (Italian: Via della Conciliazione) from the center of Rome to the square. View of St. Peter's Cathedral from Reconciliation Street

The square often became the site of papal services. It was here, in front of the main cathedral of the Catholic world, that a huge number of pilgrims speaking different languages ​​were supposed to feel their spiritual unity. And to implement these ideas, Bernini found a wonderful solution. The space in front of the temple turned into an ensemble of two squares: the first, in the shape of a trapezoid, is framed by galleries extending from the cathedral; the second has an oval shape, faces the city and is decorated with two colonnades.

The grand staircase, also designed by Bellini, is flanked by two colossal 19th-century statues. : left - St. Peter, right - St. Paul

The obelisk, which received the name “needle” in the Middle Ages, was brought to Rome from Heliopolis by Emperor Caligula in 37; Nero installed it in his circus, the site of which is now occupied by St. Peter's Basilica. This is the only obelisk in Italy that has never fallen. In addition, the square is designed in such a way that the obelisk acts as a gnomon - its shadow is the hand of a huge sundial.

With a total population of about 820 people in the Vatican, thousands of parishioners gather here on Sundays, and on Easter Day their number runs into hundreds of thousands. Thus, in 2009, Pope Benedict XVI, in the presence of St. Peter's Square in the Vatican, traditionally voiced Easter Mass and Easter greetings in 63 languages.

In October 2008, a marathon was held here. But not sports, but biblical. Then 1,248 readers of various nations and religions continuously read verses from the Bible for 140 hours. Among them were three former Italian presidents, a Master of the Order of Malta, famous journalists, directors and actors. Three blind people also took part in the marathon, and one of the fragments was demonstrated in the language of the deaf and dumb. View of St. Peter's Cathedral.

Church of Sant'Andrea in Quirinale, Rome. Lorenzo Bernini, 1653 In 1653, Lorenzo Bernini built the small church of Sant'Andrea in Rome on Via Quirinale, one of the outstanding buildings of the Baroque style. Perhaps this is the best creation of the architect. In it, all forms are built on curvilinear elements, and the architecture is perceived in movement, but surprisingly smooth and calm.

Bernini created the façade of the church of Sant'Andrea in Quirinale as double, giving it greater plastic strength and clarity of lines: the main part, formed by an order of two floors and topped with a triangular pediment, is adjacent to a portico with columns. The massiveness of the first contrasts brightly with the grace of the second. Semi-oval steps seem to flow down from a picturesque two-column portico supporting a semicircular entamblent in plan. Its curved lines intersect in perspective with the cornice of the large semicircular window on the western façade. The entire composition of the entrance is inscribed in a large portico with high Corinthian pilasters on both sides and a triangular pediment.

Church of San Carlo alle Cuatro Fontane, Rome. Francesco Borromini, 1638-1677 Borromini won recognition with the construction of the small Franciscan church of San Carlo alle Cuatro Fontane (St. Charles at the Four Fountains) in Rome. The small church attracted the attention of all of Rome, and its fame quickly spread throughout Europe. Perhaps the inconvenient location of the church - at the intersection of two streets - forced the architect to make an unusual decision - in one building he combined modules that no one had combined before - 3 modules that usually could only be used in three different buildings: - undulating lower zone; - average according to the traditional plan of the Greek cross; - the building is crowned with a previously rarely used oval dome.

This complex combination is held together by complex interwoven rhythms. The external appearance of the church was organized by Borromini with the expectation of creating an impression of increased picturesqueness. The facade is divided into two tiers, each of which is endowed with an order. The main part of the facade is like a decorative appliqué applied to the surface of the wall. The cornices have a complex curved, wavy shape. There are no smooth surfaces at all. In the intercolumns there are niches with sculpture, four sculptural groups with fountains and determined the name of the church.

The interior of the church is no larger in size than one column of St. Peter's Cathedral. The outline of the church nave resembles two bells, adjacent to each other with their bases. This shape made it possible to give all the internal walls a wavy appearance and crown the building with an oval dome. There is a large discrepancy between the external and internal dimensions of the church, which is only partially functionally used.

Bold illusionary effects are achieved thanks to carefully calculated lighting, thanks to which the interior space of the church is expanded. The dome, colored with all the colors of the rainbow, seems to be torn away from its base. The dim lighting is strangely consistent with the exquisite curves of the walls. It seems that the dense, heavy mass of stone is constantly changing right before our eyes - this is the motif of the transformation of matter beloved by Baroque masters.

Church of Santa Maria in Campitelli, Rome. Carlo Rainaldi, 1663 -1667 One of the most characteristic Baroque churches in Rome is Santa Maria in Campitelli (1663 -1667), built on the site of an older temple in memory of deliverance from the plague. It demonstrates a Northern Italian style rather than a Roman one.

The two-tiered façade of the church is reminiscent of the Church of Il Gesù. The tall, impressive façade wall, which “covers” the main volume of the structure, is tectonically built on the varied use of two columned porticoes, sometimes protruding forward, sometimes receding back, emphasizing the vertical plan. The completion is impressive and beautifully conceived, in the form of a combination of arched and triangular pediments arranged in each other.

The church houses the miraculous icon of the Mother of God (Madonna del Portico), made in a rare enamel technique for Rome. It is believed that this image, placed in a golden tabernacle, protects the Romans from a terrible disease.

Palazzo Carignano, built by the great architect Guarino Guarini in 1679, has earned recognition as the most beautiful city palace of the second half of the 17th century in Italy. With its soaring façade, imposing double curved staircase and double dome in the main hall, the palace makes a lasting impression. Palazzo Carignano, Turin. Guarino Guarini, 1679

The general structure of the building is related to the Renaissance palazzo (prismatic volume, closed courtyard), however, an element of “surprise” has been introduced into this traditional scheme: the central part of the main building is like an insert into the main volume. The main entrance hall and the main staircase are located here. The lobby acquired an oval shape in plan, the flights of the stairs were curvilinear with curved outlines.

The details of the facade are specific, in particular the window frames, the “texture” of the pilasters of the first floor and others. Despite their small scale, these forms are distinguished by their plastic richness. The originality of a number of motifs is determined by their connection with the decorative forms of Moorish architecture, monuments of which Guarini observed when he was in Sicily in the early period. Transformed motifs of Gothic origin are also found in his works. All of them together gave the work of this master great poignancy and even extravagance.

Palazzo Ca'Pesaro (nowadays the Correr Museum), Venice. Balthasar Longhena 1652/1659 -1710 Typical of Venetian Baroque architecture is the Palazzo Ca' Pesaro, rising on the right bank of the Grand Canal, opposite the Ca' d'Oro. The majestic facade of the Palazzo Pesaro is distinguished by the great richness of its external decoration. The structure of the building corresponds to the traditions established here - it is three-story, the first floor is more massive - the wall is tiled faceted rustication, the top two are opened with a system of large arched windows. Orders are used in them.

Each, even a small section of the wall, in particular the sinuses of the arches above the windows, was used to place a sculpture. All this gives the building a purely Venetian flavor. The building is especially striking with its combination of massive architectural forms (powerful rustication of the first floor, plastic columns and loose cornices, lush sculptural decoration) and the slenderness of the overall façade structure.

Baroque architecture in France Jacques Lemercier built the Palace for the patron architect Cardinal Richelieu. Cardinal (later renamed Palais Royal), in Paris. Its amphitheater was one of the first structures in France built exclusively for theatrical purposes. Palace Cardinal (later renamed Palais Royal), Paris. Jacques Lemercier, 1629

Palais Royal (French Palais Royal - “royal palace”) is a square, palace and park located in Paris opposite the northern wing of the Louvre…

Under Louis XIV and his successors, the palace served as the city residence of the Dukes of Orleans, and during the childhood of Louis XV, it was from here that the prince regent led the administration of all of France. In one of the wings the “Sun King” settled his favorite Duchess de La Vallière; there she gave birth to the king's two illegitimate sons. At the beginning of the 18th century. The palace apartments were renovated in the Rococo style that was just becoming fashionable at that time. These interiors were destroyed in 1784, when a theater building was erected on the site of part of the palace to house the Comédie Française. The pre-existing Palais Royal theater was as closely connected with the life and work of Moliere as the London Globe was with the work of Shakespeare.

Around the same pre-revolutionary years, the owner of the palace, the Duke of Orleans, later known as Philippe Egalite, opened the gardens to everyone and erected majestic colonnades with benches on the square. This manifestation of populism brought the Duke of Orleans the favor of the broadest sections of Parisian society. Soon the most fashionable clubs and coffee shops in the city began to shine here.

Nikolai Karamzin, who visited Paris in 1790, called the Palais Royal its capital: “Imagine a magnificent square castle and at the bottom of its arcades, under which all the treasures of the world, the riches of India and America, diamonds and diamonds, silver and gold, shine in countless shops; all works of nature and art; everything with which royal pomp was ever adorned; everything invented by luxury to delight life!. .

And all this, to attract the eyes, is laid out in the most beautiful way and illuminated with bright, multi-colored lights that blind the eyesight. - Imagine a lot of people crowding into these galleries and walking back and forth just to look at each other! - Here you see coffee houses, the first in Paris, where everything is also filled with people, where newspapers and magazines are read aloud, they make noise, argue, make speeches, and so on…. Everything seemed enchanting to me, Kalypsin Island, Armidin Castle” (“Letters of a Russian Traveler”, letter dated March 27, 1790).

Versailles, France. The leading architects were Louis Levo and Jules Hardouin-Mansart, the creator of the park was Andre Le Nôtre, from 1661. Versailles was built under the leadership of Louis XIV from 1661, and became a kind of monument to the era of the “Sun King”, an artistic and architectural expression of the idea of ​​absolutism. Leading architects are Louis Levo and Jules Hardouin-Mansart, the creator of the park is Andre Le Nôtre. The Versailles ensemble, the largest in Europe, is distinguished by its unique integrity of design and harmony of architectural forms and transformed landscape. Since the end of the 17th century, Versailles has served as a model for the ceremonial country residences of European monarchs and aristocracy, but there are no direct imitations. From 1666 to 1789, before the French Revolution, Versailles was the official royal residence. In 1801 it received the status of a museum and is open to the public.

The original building with its Marble Courtyard was enclosed, as if in a case, in a new U-shaped building. The facades of the rebuilt and expanded palace were designed based on the classicist system; the main role in them is played by the colonnade, located at the level of the second - main floor. The first acquired the meaning of a podium supporting an order. The third floor is designed in the form of an attic. The high roofs so typical for France are absent; the roof is hidden behind the parapet. The Baroque theme emerges only in the sculpture, which contrasts with the straight geometric outlines of the building with its rebellious agitation of forms. The appearance of the facades clearly expresses the classicist tendency, which begins to prevail in the external forms of French architecture in the mid and second half of the 17th century.

The history of the Palace of Versailles begins in 1623 with a very modest hunting castle, similar to a feudal one, built at the request of Louis XIII from brick, stone and slate roofing on land purchased from Jean de Soisy, whose family owned the lands since the 14th century. The hunting castle was located in the place where the marble courtyard is now located. Its dimensions were 24 by 6 meters. In 1632, the territory was expanded through the purchase of the Versailles estate from the Archbishop of Paris from the Gondi family, and a two-year reconstruction was undertaken.

A city gradually arose around the palace, in which artisans settled who supplied the royal court. Louis XVI also lived in the Palace of Versailles. During this time, the population of Versailles and the surrounding city reached 100 thousand people, however, it quickly decreased after the king was forced to move to Paris.

The interiors of monumental buildings in France at this time were distinguished by particularly elegant decoration; they had a ceremonial, baroque character. The decoration of the War and Peace halls of the Palace of Versailles, located in the corners of the park façade of the building, is characteristic. The stylistic contrast between almost classicist exteriors and baroque interiors is a specific feature of French architecture of this time.

The Gallery of Mirrors is the most famous interior of the Palace of Versailles. The huge hall is 73 meters long and 10 meters wide. Seventeen arched windows face the garden, between them there are openings with mirrors, creating a feeling of the limitlessness of the hall.

Baroque architecture in Belgium For the development of Baroque architecture in Belgium, the work of the famous artist P. -P. was of great importance. Rubens. His trips to Italy and Spain contributed to the development by Belgian architects of the forms of Renaissance and Baroque architecture in these countries...

Rubens was the author of a large number of architectural and decorative works (triumphal arches and other structures), which have come down to us in the form of oil sketches and engravings. Rubens designed his own house in Antwerp, modeled on Italian palazzos; its design is distinguished by its original composition. Now it is the artist's house-museum. House of Rubens. Facade.

The main thing that has been preserved almost unchanged since the time of Rubens is the elegant portico in the Italian Baroque style, connecting the residential building and the workshop. Like the facade of the workshop from the courtyard, the portico was designed by the artist himself. He was very proud of this structure and often depicted it in paintings. The portico was restored in accordance with the 1684 engraving, which shows Rubens' house 44 years after the death of its first owner. . .

It is topped by bronze figures of Mercury and Minerva, made for him in 1939, and decorated with oval cartouches with Latin texts, which reflect Rubens' interest in Stoic philosophy. These are two quotes from the “Satires” of the Roman poet Juvenal (2nd century AD): “Let the gods decide what is right for us and what is useful for us. A person is more precious to them than to himself” and “We must pray that there will be a healthy spirit in a healthy body, that the soul will be courageous and free from the fear of death, and may it not know anger and desire nothing.”

Baroque architecture in Germany Würzburg episcopal residence. The construction of the residence buildings continued from 1720 to 1744, and finishing until 1780. The architect was Balthasar Neumann. The palace of the bishop's residence stands in the very center of Würzburg, on the Residenzplatz square. The residence of the bishops is the last and most beautiful palace of a series of baroque buildings of this type, built in Bavaria in the 17th-18th centuries.

The new palace was supposed to become a symbol of church power and a visual expression of the ideas of absolutism. Before this, the bishops used the Marienberg fortress, located on a mountain on the opposite bank of the Main, as their residence. The palace includes more than 340 rooms.

The famous creation of Balthasar Neumann is a staircase with unsupported arches, decorated with the world's largest ceiling frescoes by Tiepolo.

For almost six decades, starting in 1720, eminent craftsmen from Paris, Vienna, Genoa, Venice and Amsterdam worked on the residence of the Würzburg prince-bishops. For example, the Italian Giovanni Battista Tiepolo painted the largest ceiling fresco in the world in Würzburg, Staircase by B. Neumann

Of all the artists, sculptors and sculptors, Giovanni Battista Tiepolo stands out here for his unique works. Works of art, damaged during the Second World War and later restored, are located in the central Imperial Hall, reached by a double staircase - the most beautiful and largest in Europe of that era. The paintings in the Imperial Hall show the marriage of Frederick Barbarossa to Beatrice of Burgundy and the Bishop of Würzburg receiving the Duchy of Franconia.

The residence was added to the UNESCO World Heritage List in 1981. The palace became the third German building to receive this prestigious international status - after the cathedral in Aachen (Aachener Dom) and simultaneously with the cathedral in Speyer (Speyerer Dom).

Zwinger, Dresden, 1719 Architect M. Pöppelmann This masterpiece of Baroque art was built in 1719 on the model of the palace and park ensemble of Versailles by the architect M. Pöppelmann for Augustus the Strong (Elector of Saxony and King of Poland). Its name comes from the German word “to conquer”, “to conquer”: the area where the Zwinger is located used to be part of the Dresden fortress, containing internal and external walls, in the space between which a possible enemy should be destroyed.

The Zwinger was built over about 20 years under Augustus II the Strong, King of Poland and Elector of Saxony (Frederick Augustus I, 1694–1733), and received its final appearance almost by accident. From the very beginning, no clear plans were created for its construction; in addition, the purpose of the Zwinger changed several times during the construction of the buildings: it was conceived as a greenhouse, and as a result became the Royal Complex of Natural Science Museums.

Residence of the Saxon Electors - Dresden, early 18th century. was a powerful star-shaped fortress. Such contours arose due to the fact that the bastions, made of sandstone slabs (the most beautiful and expensive material in the country), protruded sharply forward. Where the Zwinger is now located, there was the Luna Bastion, and inside it was the Zwinger Garden, the name of which was associated with the fortress. In the then fortification business - the science of building fortifications - the concept of “zwinger” meant the place between two ramparts converging at an acute angle.

The king and the architect M.D. Pöppelman seemed to compete in ingenuity and, in the end, instead of a greenhouse, a building for celebrations and ceremonies arose. True, for this, many had to be sacrificed: they demolished part of the existing buildings and part of the bastions that protected the city, deepened the fairway of the Elbe River, starting from the city of Königstein, in order to deliver powerful sandstone blocks from the quarries along it for supports, columns and monumental sculpture.

Back in 1709, the architect proposed to build two rounded galleries instead of terraces - permanent winter rooms for trees. Pöppelman placed the rounded galleries on a low terrace connected to the garden by a staircase, and on their roofs he created an upper terrace for the promenade. The windows of the galleries reached to the floor; in front of each window there was a console, onto which, in warm weather, it was convenient to carry citrus trees in heavy tubs.

Augustus the Strong sent Pöppelmann to Vienna and Rome to see how palaces should be built and gardens laid out. Returning to 1710, Pöppelmann proposed to the king to add two two-story pavilions to the Rounded Galleries, and to use the height difference between the Zwinger rampart and the garden to build cascades and fountains...

Water, both standing and flowing, acquired a special function in architecture during the Baroque period. This is how a “water theater” appeared in Zwinger, later called the Bath of the Nymphs. The architecture was enlivened by water and beautiful sculptures made by Balthasar Permoser together with his assistants.

In 1715 Pöppelmann was sent to Paris to study the palace buildings and their interiors. At the same time, the architect solved a problem that he had been struggling with for several years - the design of the joint between the western Rounded Galleries - Pöppelman planned an entire structure here - the Pavilion on the Rampart, which was supposed to crown the entire architectural group and perform several important functions: it houses the entrance doors to both rounded galleries, staircases, three fountains forming a grotto, and a small state hall.

By 1730, the Zwinger became the most significant complex of natural science museums in Europe; along with graphics, it presented exhibits from the Kunstkamera, collections of minerals, fossils, shells, corals, amber, materials on zoology, botany, anatomy, and you could also use a natural science library. Now the Zwinger is called not a greenhouse, but the Royal Palace of Sciences; holidays were no longer held there.

The Baroque facades of the Zwinger lack smooth surfaces. Columns, pilasters, niches, projections, recesses and other decorative forms form a picturesque relief. Extremely great importance was attached to the sculptural figures, made under the direction of the court sculptor B. Permoser, who was already over 60 during construction. Permoser, the son of a Bavarian peasant, was an unusually lively person, dressed and behaved at his own discretion, and in his works flouted the laws of anatomy . His cheerful child figures had folds of fat, round bellies and overly thick cheeks, the fauns had overly large goat hooves, and the young women had exorbitantly long curved necks.

Permoser had many assistants who were faithful to the method of stone processing he developed and to the form that is now called the Zwinger style. Among them were famous masters: Benjamin Thome, Paul Hermann, Johann Joachim Kretschmar, Christian Kirchner, Paul Egel.

The Zwinger often suffered from wars, the first serious damage being caused by the Prussian army during the Seven Years' War (1756–1763). In addition, the ensemble was built from sandstone, a rather soft stone that is susceptible to weathering. Therefore, restoration work began already in 1783, led by I. D. Sade. Since then, restoration work has been continuously carried out for more than 200 years.

In 1849, during the revolutionary battles in Dresden, a huge fire started - almost the entire eastern part of the Zwinger burned down. By 1857, some of the buildings were restored by K. M. Haenel, who, out of ignorance, caused great damage: until 1863, statues and walls under his leadership were covered with drying oil, which caused the destruction of the sandstone.

Since 1910, drying oil began to be removed with a solvent, and partial reconstruction of buildings and sculptures was carried out. By 1936, the restoration was completed, but on February 13, 1945, Anglo-American aircraft bombed the center of Dresden, and the Zwinger was also badly damaged. Until 1964 (19 years), restoration work continued there under the leadership of G. Ermisch and A. Brown, who were later replaced by architect. Frenzel and the sculptor Schlesinger. Restoration work in Zwinger cost 20 million marks.

In 1962, a porcelain museum was located in the rooms from the Rounded Gallery of the Bell Pavilion to the eastern Straight Gallery. In the western Rounded Gallery there is a Museum of Zoology, and on the 1st floor of the French Pavilion there is an exhibition about court hunting.

Baroque in Russia A significant landmark of religious architecture of the Baroque era is the Church of Pope Clement in Zamoskvorechye, which is also revered by the Orthodox. Built at the expense of Chancellor Bestuzhev according to the design of Pietro Trezzini (1742 -1747). It was first mentioned in written sources under this name in 1612, in connection with the events of the Moscow Battle between Russian militias and the Polish-Lithuanian army of Hetman Chodkiewicz. On August 24, 1612, near the “fortress (Klimentyevsky fort) that was at the hands of Clement the Pope” heavy battles broke out between the Cossacks defending the fort and the infantry of Hetman Khodkevich….

During these battles, when the hetman's troops captured the fort and the church of St. Clement, St. Abraham (Palitsyn) accomplished one of his feats, stopping the retreat of the Cossacks from the fort. As St. wrote. Abraham: “the Cossacks, who ran out of the prison from the prison of Saint Clement, and looked at the prison of Saint Clement, seeing the Lithuanian banners on the church... became green-hearted and sighed and shed tears to God - there were few of them in number - and so they returned and rushed unanimously to the prison Let’s get started and pick him up.”

In his book of memoirs, Apollo Grigoriev wrote the following: “But it is not the Church of Pyatnitsa-Praskoveya that strikes and stops your gaze from the Kremlin top when, gradually turning your eyes away from the southeast, you lead them towards the south, but the five-domed, magnificent church of Pope Clement Roman. You will stop in front of it and walk along Pyatnitskaya: it will amaze you with the severity and majesty of its style, even with its harmony of parts... But it especially stands out from the countless number of different patterned churches and bell towers, also original and unusually picturesque from a distance, with which the south-eastern region is especially distinguished part of "Zamoskvorechye" ...

The Winter Palace in St. Petersburg is a former imperial palace, currently part of the Main Museum Complex of the State Hermitage. The palace building was built in 1754-1762 by the Italian architect B.F. Rastrelli in the style of magnificent Elizabethan Baroque with elements of French Rococo in the interiors. The three-story building has the shape of a square of 4 wings with an internal courtyard and facades facing the Neva, the Admiralty and Palace Square. The magnificent decoration of the facades and premises gives the building a sense of splendor.

Differently composed facades, strong protrusions of risalits, accentuated stepped corners, and the changing rhythm of the columns create the impression of restlessness, unforgettable solemnity and splendor. The palace building has 1084 rooms, 1945 windows, 117 staircases (including secret ones). The length of the facade from the Neva side is 137 meters, from the Admiralty side - 106 meters, height 23.5 meters. In 1844, Nicholas I issued a decree prohibiting the construction of civil buildings in St. Petersburg higher than the height of the Winter Palace...

They had to be built at least one fathom less. Despite the restructuring and innovations, the basic planning scheme of the palace retained the ideas of F. -B. Rastrelli. The palace buildings are formed around the internal Great Courtyard. In the northwestern and southwestern wings, on the site of the Throne Hall and the Opera House, light courtyards were created, around which enfilades of residential chambers were formed.

The three-story building of the palace has a semi-basement floor and numerous mezzanine floors, some of the main halls on the second floor are double-story. Engineer M.E. Clark developed triangular trusses - “roofing trusses” - to support the roof of the Winter Palace, and “blown elliptical beams” to cover the palace halls. Sprengels and beams were manufactured at the Aleksandrovsky plant, using only two metal processing technologies: forging and casting. The designs used a wide variety of connections: bolts, rivets, wedges, clamps; Forging welding was also used.

After cases of structural deformation, spacers were installed between the trusses to prevent displacement. The temperature regime, and therefore the behavior of metal structures, depended on the quality of the attic’s thermal insulation. On August 9, 1841, an accident occurred - the ceiling collapsed in the St. George's Hall. The commission that investigated this case concluded that the I-beams rested on “unsafe places” in the load-bearing walls. During restoration, trusses were already used.

The facades and roof of the palace changed their color scheme several times. The original color had a very light warm ocher tint highlighting the order system and plastic decoration with white lime paint. The minutes of the Chancellery from the buildings speak of the release of lime, chalk, ocher and blackening for these works. In later documents, names such as “pale yellow with white”, “the color of wild stone” are found.

Before the fire of 1837, there were no fundamental changes in the color of the palace, with the exception of the roof, which in 1816 changed its color from white-gray to red. During the post-fire repairs, the color of the facade was composed of slaked Tosno lime, ocher, Italian mummy and part of Olonets earth, which was used as a pigment and had an ivory tint, while the roof was painted with red lead, giving it a brown-red color.

In the second half of the 1850s - 1860s, under Emperor Alexander II, the color of the palace facades changed. The ocher becomes more dense. The order system and plastic decor are not painted with an additional color, but acquire a very light tonal highlight. In the 1880s, under Emperor Alexander III, the facades were painted in two tones: a dense ocher expression with the addition of red pigment and a weaker terracotta tonality. With the accession of Nicholas II in 1897, the emperor approved the project of painting the facades of the Winter Palace in the coloring of the “new fence of the Own Garden” - red sandstone without any tonal highlighting of the columns and decor.

The terracotta-brick color of the palace remained until the end of the 1920s, after which experiments and the search for a new color scheme began. In 1927, an attempt was made to paint it gray; in 1928-1930. - in a brown-gray color scheme, and the copper sculpture on the roof - in black. In 1934, the first attempt was made to paint the palace with orange oil paint highlighting the order system with white paint, but oil paint had a negative impact on the stone, plaster and stucco decoration.

With the beginning of the Great Patriotic War, for camouflage purposes, the palace was painted with reversible adhesive gray paint. In 1945-1947, a commission consisting of the chief architect of Leningrad N.V. Baranov, the head of the State Inspectorate for the Protection of Monuments N.N. Belekhov, representatives of the Leningrad City Executive Committee, the State Construction Control, the State Hermitage and scientific consultants decided to paint the walls of the palace with chromium oxide with adding emerald pigment; columns, cornices, interfloor rods and window frames - white; stucco decoration, cartouches, capitals - ocher, while it was decided to leave the sculpture black.

“Tyumen Puppet and Mask Theater” - As of January 1, 2004, the theater had 17 actors on its staff. Tyumen - 2009. The main artist since 1991 is Sergey Mikhailovich Perepelkin. School No. 36. Completed by: 9th grade student Alena Vladimirovna Smolnikova. History of the Tyumen State Puppet and Mask Theater. About the theater.

"Baroque Architecture" - Baroque in architecture. Characteristic Baroque details - telamon (Atlas), caryatid, mascaron. Baroque in a modern interpretation. Baroque architecture (L. Bernini, F. Borromini in Italy, B. F. Rastrelli in Russia, Jan Christoph Glaubitz in the Polish-Lithuanian Commonwealth) is characterized by spatial scope, unity, and fluidity of complex, usually curvilinear forms. Baroque architecture in Russia (first half of the 18th century).

“Architecture XVII” - However, the similarity with European Baroque was purely external. Marvelous stone carvings, variety of decor, arches with hanging weights. The first portraits were called “parsuns” (from the Latin personality). Architecture of the 17th century also tended towards secularism, “worldliness”. Merchants and townsfolk communities increasingly became customers of churches. Repetition. The building is decorated with two belts of azure tiles.

"British Museum" - In the 19th century, the British Museum experienced a particularly rapid period of growth. Thus the British Library was born. The creation of the museum was approved by an act of the British Parliament. In 1814-1815, Parliament bought priceless masterpieces from the Athens Parthenon from Lord Elgin. Library. The museum was originally housed in Montague House, an aristocratic mansion located in London's Bloomsbury district. Story. I. Lenin.

"Puppet Theater" - The origin of puppets. Flat hand-drawn dolls lean against the screen and are illuminated. Types of theatrical puppets. Goals of work. Automatic dolls. In the theaters of Ancient Greece, puppets were used to perform tragedies. Completed by Yulia Smirnova, a student of grade 9 “A”. © Municipal Educational Institution Secondary School No. 19, Rybinsk, 2007. What is a stage? What is theater? The main thing is the silhouette.

“Architecture styles of the 20th century” - Postmodern. Architecture. Deconstructivism. Constructivism. Church in Ronchon, France Le Corbusier. Admiralteysky embankment, 15 Galernaya st., 40 modern. Deconstructivism as a movement in 20th century architecture appeared in the late 80s. Modern. F. L. Wright's house above the waterfall. Yatskov Yuri 9,b.” Organic. Post office building in Toronto. Hotel Marioto San Francisco. Library of the Academy of Sciences. Artistic culture of the twentieth century. Complex of concert halls. House.