A story about the architecture of the city of Moscow would be incomplete without mentioning the name of such an outstanding Russian architect as Vasily Ivanovich Bazhenov.
Gentle gothic - such is the style of most of Bazhenov's surviving creations. The Tsaritsyno complex was built in this manner. Most of the buildings and structures suffered greatly from time to time, however, the restoration work carried out during the years of Soviet power and in the post-Soviet era helped to restore most of them.
Childhood and youth
The exact place and date of birth of Vasily Bazhenov is not known. He was born March 1, 1737 or 1738, died August 2, 1799. The great Russian architect was from the family of a petty church official. According to some sources, he was born in Moscow, according to others - in Maloyaroslavets, and moved to Moscow at the age of three months. In 1753, Vasily became an apprentice to Dmitry Ukhtomsky. He received his first lessons in architecture and construction from him. Full course the future architect Bazhenov did not pass the training, as the difficult financial situation of the family forced him to quit his studies and go to work. In 1755 he began to study at Moscow University. Bazhenov's first biographer, Metropolitan of Kyiv Yevgeny Bolkhovitinov, wrote that Vasily also studied at the Slavic-Greek-Latin Academy. This fact was refuted by subsequent researchers. Probably, in this way the clergyman tried to raise the prestige of the educational institutions subordinate to him.
Manifestation of talent
In 1758, Vasily Bazhenov was among the 16 the best students on the recommendation of Ivan Shuvalov, he was sent to St. Petersburg to the newly created Academy of Arts. The talented student Vasily Bazhenov passed his first exam brilliantly and took first place in the academic rating. The chief architect of the Russian Admiralty, Chevakinsky, became the personal mentor of a promising, very capable and intelligent young man.
Three years later, Vasily Bazhenov and Anton Losenko became the first students of the Academy of Arts to receive scholarships.
Further training in the craft took place in Paris in the workshop of Charles de Vailly. Subsequently, the architect Bazhenov became the main propagandist of French neoclassicism in Russia and, following the ideas of De Vailly, established the stylistic canon of neoclassical Moscow.
He returned to Russia in May 1765 with glowing reviews of his impeccable professional and moral qualities. Nevertheless, the new leadership of the Academy subjected his work to a strict examination and demanded a new work. The young Russian architect was noticed by Catherine II and her son Pavel. The heir to the throne ordered Bazhenov to design and build a mansion on Kamenny Island, and in 1766 Grigory Orlov entrusted him with the construction of the Arsenal. On this, the activities of Vasily Ivanovich in St. Petersburg ended. The architect Bazhenov moved to Moscow, where he lived and worked until the end of his life.
Kremlin Palace
Catherine proposed the idea of renovating the dilapidated palaces of the Moscow Kremlin. Bazhenov enthusiastically set to work. Already in 1767, he submitted to the Highest consideration the fantastic project of the Bolshoi Orlov, doubted the feasibility of building such a huge building, but the architect remained adamant in his vision of the Imperial residence and by the end of the summer of 1768 completed the creation of the project. According to his plan, the largest palace complex in Europe, executed in the neoclassical style, was supposed to turn out. He was supposed to replace the old Kremlin completely. It was planned to keep unchanged only the cathedrals, which became invisible from the side of the river, because they were obscured by the walls of the future palace. According to the plan, the entire southern side, that is, the six-hundred-meter wall from the Konstantinovskaya Tower in the east to Borovitskaya in the west and further along the western wall of the Arsenal to the north, was to be occupied by a new four-story palace. Bazhenov planned to place it right on a steep slope between the plateau and which was supposed to be demolished. The architect provided for the laying of stone buttresses to prevent the building from sliding into the river. It was planned to strengthen the coast with an embankment and tarred logs.
According to the project, the historical cathedral square was preserved, and a new one was to be built in the eastern part of the Kremlin. It was supposed to lay the foundation for new radial streets, going from the center to the north, northwest and northeast. From the palace there was an exit to Tverskaya Street. The implementation of the project was supposed to be the beginning of the modernization of the whole of Moscow. In 1775, through joint efforts under the leadership of Peter Kozhin and Nikolai Legrand, the plan was officially approved.
Tsaritsyno
In the summer of 1775, Bazhenov developed the first draft of Tsaritsyno, which has not survived to this day. Bazhenov's buildings were a coordinated complex of detached buildings in the Russian neoclassical style. After completion and coordination with the Empress, this plan was approved. The dominant object was to be a palace, consisting of two buildings connected by a greenhouse. One wing was intended for Catherine, and the second - for her son and heir Pavel. Traditional Russian colored tiles with ornaments were planned as decoration. Catherine objected and insisted on a simpler option - red brick walls with white decorations and yellow glazed tiles on the roof.
Bazhenov began the construction of the complex from the front row of small buildings, gates and bridges, decorated with fine fine decoration, which was subsequently lost. In 1776, the decorative Figured Bridge across the ravine was finally completed. The work was difficult due to the lack of highly qualified craftsmen and interruptions in funding.
In 1777, Bazhenov demolished the old wooden house of the former owners of the estate and began the construction of the main palace. It was erected within eight years. Another one was added to the two main buildings - the central one, for the children of Pavel. Governor Jacob Bruce, who inspected Tsaritsyno in 1784, was puzzled by the lack of a main, official building. But he nevertheless sent Catherine an enthusiastic report.
Termination of work on the Tsaritsyn project
In June 1785, Catherine unexpectedly visited Tsaritsyno and was dissatisfied with the slow pace of work. The Empress assessed the palace as unsuitable for living: very dark rooms, low ceilings, narrow stairs. This year, relations between Catherine and Paul deteriorated irreversibly. The Empress dealt with the issues of succession to the throne. And the twin palaces have become a politically incorrect phenomenon. Catherine ordered the demolition of the buildings and the construction of a new main palace. Bazhenov and Kazakov were ordered to develop new projects. The architect Bazhenov presented his project by the end of 1785, but it was rejected, and Vasily Ivanovich was fired. Ekaterina chose Kazakov's project. The Bazhenov Palace was demolished in the summer of 1786. There is an opinion that Catherine did not accept Bazhenov's project because of the Masonic symbols and Gothic style. This cannot be true, since Kazakov preserved and repeated Gothic and Masonic symbols in his projects.
Kitchen building
In Tsaritsyno, another Bazhenov building has been preserved - the kitchen building, or the Bread House. This square building with rounded corners was originally intended for kitchens, storerooms and servants' quarters. The entrances to it are made from the inside - so that the servants and various household movements do not catch the eye of the guests and owners of the estate. In the basement of white stone, glaciers are laid out that perfectly hold the temperature. The entire facade is decorated with various symbols: loaves of bread with salt shakers, garlands of glasses, Masonic rulers, etc. Currently, the Bread House is used for concerts and other cultural events. Sometimes banquets are held there.
middle palace
The Opera House, or the Middle Palace of Catherine, with double-headed eagles on the parapets of the facades, was originally supposed to be used for small official receptions, as well as for concerts and performances in the summer. For a very long time the palace was not used in any way. All that was left of it was the walls. Eight years began in 1988. The excellent acoustics of the building make it possible to hold concerts in it. Art exhibitions are also held there.
Pashkov House
Vasily Bazhenov is an architect who created one of the world famous symbols of Moscow. This is the Pashkov House built in 1785-1786. The recognizable structure can often be found in paintings, prints, postcards, postage stamps, boxes of chocolates, etc. After being removed from the Tsaritsyno project, Vasily Ivanovich Bazhenov began to take private orders from wealthy Muscovites. So, on Vagankovsky Hill, he built a magnificent palace of white stone for the captain-lieutenant and his wife. The facade of the building looks in the direction of Starovagankovsky Lane, and its back side faces the Kremlin. It is assumed that in this way the architect demonstrated to the Empress his resentment for Tsaritsyno.
After the death of the childless owners of Pashkov, the house was inherited by a distant relative, who, having happily married a rich bride, the daughter of a gold miner, was able to keep the building in order. Subsequently, the Pashkovs sold the house to the treasury.
Revival of the Russian style in architecture
An adherent of neoclassical Russian architectural school, graphic artist, architectural theorist and teacher Vasily Ivanovich Bazhenov and his colleagues and students Matvey Kazakov and Ivan Starov created the Russian national architectural language, interrupted by Peter I. At that time, foreign architects set the tone in Russian urban planning - Quarenghi, Rinaldi, Cameron and others .
The sad fate of a talented architect
The early manifestation of the talent of the architect led Bazhenov into the circle of rich, powerful magnates and courtier politicians. Inexperience in commerce and diplomacy caused tragedies in the personal and professional spheres of Vasily Ivanovich's life. Two of his main building projects were abandoned for political or financial reasons. He failed to carry out his project for the reconstruction of the Bolshoi Kremlin Palace. The Imperial Palace in Tsaritsyno, which was to become the core of the entire Tsaritsyno complex, was destroyed by Catherine II. Another project, the building of Moscow State University, served as a pretext for a sharp conflict with the former benefactor of the architect, Prokofy Demidov, and led Bazhenov to complete bankruptcy. Before his death, Vasily Ivanovich was most worried about the fate of his children, because he was afraid that they would not be drawn into the construction business, which he considered dishonorable and treacherous.
Bazhenov's legacy
Bazhenov's legacy is still not fully understood. There are doubts about the authorship of some objects attributed to him. In particular, as to whether the architect Bazhenov built the Pashkov House? There is an opinion that this is the work of his students, whom he trained a lot over the years of teaching at the Academy of Arts. After the death of Catherine, Paul I appointed Vasily Ivanovich vice-president of the Academy. Many researchers were engaged in the study of his heritage, in particular, Igor Grabar, Shvidkovsky D.O. Thanks to them, much, although not all, has become clearer. In Notes on the Sights of Moscow, Karamzin compares Bazhenov's projects with Plato's Republic and Thomas More's utopia. Maybe that's why they weren't implemented.
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On March 12 (March 1, according to the old style), 1738, Vasily Ivanovich Bazhenov, the famous Russian architect of the XVIII[…]
On March 12 (March 1, according to the old style), 1738, Vasily Ivanovich Bazhenov, a famous Russian architect of the 18th century, was born in Moscow, to whom many buildings built at that time are attributed, but, as it turns out these days, not all of these buildings can reasonably be considered the works of Bazhenov .
The future architect was born into the family of a deacon in one of the Kremlin court families and from childhood he discovered a talent for drawing houses, churches and the Kremlin walls from nature. He studied under the architect Dmitry Ukhtomsky, then at the Academy of Arts, where he showed talent and became an assistant to his teacher Savva Chevakinsky in the design and construction of St. Nicholas Naval Cathedral in St. Petersburg. He was sent to study in Paris with Professor Charles Devailly, where Bazhenov became a Freemason, but rather for aesthetic reasons, since he admired the proportions of Masonic symbolism and architecture.
Returning to Russia, he participated in the publication of Russian translations of the works of Vitruvius and became a conductor of French taste in architecture, a vivid manifestation of which was the Pashkov House built by Bazhenov (or attributed to him for two centuries), known for the fact that the Rumyantsev Museum first moved here from St. Petersburg , and then the building went to the State Library. However, no documents confirming that this house was built by Bazhenov have been preserved, and the indication of authorship is based on oral tradition.
Pashkov's house. Engraving by Dürfeld after a drawing by Anting 
But it is known that Bazhenov became a friend of His Serene Highness Prince Grigory Orlov, a favorite of Catherine II. Distancing Orlov from the St. Petersburg court, but not wanting to let him go far, the Empress appointed her favorite Feldzeugmeister General for the Artillery Corps, Director General for the Engineering Corps and first present in the Office of Artillery and Fortification. In fact, under the control of Orlov were all the fortifications and their garrisons, and he was supposed to lodge in the main fortress - the Moscow Kremlin.
Active Orlov and Bazhenov, dreaming of a grandiose urban development project, found mutual language. And as a result, the enigmatic architect became most famous for his project for the reconstruction of the Borovitsky shaft, that is, the project for a new development of the territory of the Moscow Kremlin. Bazhenov proposed to dismantle the Kremlin walls and instead build a continuous row of buildings that would form a ring around the Cathedral Square of the Kremlin, and Borovitsky Hill was to turn into a huge people's forum, to which all the streets of the center of Moscow would flock. The buildings had already been laid down and illuminated, and the Kremlin wall began to be dismantled, destroying the section overlooking the Moskva River, including starting the dismantling of six (according to other sources - four) towers. But Empress Catherine received such strong complaints that the Empress considered it good to stop the implementation of the project, and later the dismantled sections of the Kremlin wall were restored by the architect Matvey Kazakov.
But what was forgiven to Orlov was not forgiven to Bazhenov. The architect was entrusted with the construction of an ensemble of palaces in Tsaritsyno village, and construction began here too. But in 1885, the Empress came to Moscow for 3 days, visited the construction work, was indignant that her palace and the Grand Duke's palace were planned to be the same size and ordered the construction to be stopped, the palaces to be dismantled, and the architect removed from the craft.
A new chance fell to Bazhenov after the death of Catherine, when Paul I undertook to elevate in principle all those who fell into disfavor with the deceased Empress. The new ruler called on Bazhenov and, to begin with, appointed him vice-president of the Academy of Arts, instructing him to prepare a collection of drawings of Russian buildings for a systematic historical study of Russian architecture. Bazhenov took up this work with joy and zeal, but died unexpectedly in August 1799, not having time to experience the disappointment that soon fell on the lot of others called by Pavel to the court after Pavel was killed on the night of the coup d'état at the turn of the century .
Disputes about whether Bazhenov or not Bazhenov is the author of the projects of several buildings do not subside to this day. In the 18th century, when performing private orders, Russian architects often did not indicate their authorship, unlike visiting Italians. As a result, almost all pseudo-Gothic buildings in Moscow and the Moscow region, related to the latter quarter XVIII century and do not have established authorship, are attributed according to a two-century tradition to Vasily Bazhenov or Matvey Kazakov.
Bridge over the ravine. Architect Vasily Bazhenov. Tsaritsyno. About 1776-1785. What is known about the great architect Vasily Bazhenov, that he was born in 1737, and a small village. He spent the early years of his life in Moscow. It is known that the father worked in the church as a church employee.
Since childhood, there was a desire for architecture. Therefore, he mastered the first basics in the architectural team of Ukhtomsky. After he enters to study at the gymnasium at Moscow University.
And already in 1758 he successfully passed the entrance exams and entered the Academy of Arts in St. Petersburg. After completing his studies with honors, he was sent to Italy for further education.
In 1765 he received the title of academician. And in 1767 he began to create the Kremlin Palace in Moscow.
Construction was carried out until 1775, but was never completed. Catherine 2 forbade further construction. This project required many costs, which the government did not agree to. During these years, there was a war between the Russians and the Turkish troops.
Vasily Bazhenov was not stopped by the disappointment he received and he continued to carry out his plans.
According to his drawings, more than one house was built. The architect also developed a grandiose project of the Mikhailovsky Castle in St. Petersburg, it was built in 1797 to 1800.
In addition to an architectural career, he also achieved an artistic career, he could work as a teacher and teach architecture theoretically.
In 1799 he accepted the position of vice-president of the Academy of Arts. But, unfortunately, he does not have time to carry out all his plans and dies in St. Petersburg on August 13, 1799.
Historical facts about the personal life of Vasily Ivanovich Bazhenov remain unknown.
Vasily Bazhenov lived a rather eventful and interesting life. He managed to achieve many goals in his life and prove to everyone how talented he is. After all, not every person will be able not to give up after the failed failures, but the outstanding architect succeeded. He, despite many disappointments in his work, did not stop, did not lose heart and continued his creative activity. Therefore, you can be proud of him, and set him as an example of imitation.
Biography 2
No one knows exactly when (in 1737 or 1738) and where (Moscow or Kaluga region) the architect was born. He came from the family of a poor clergyman - a junior clerk of one of the many Kremlin churches. As a child, he served in the Strastnoy Monastery in Moscow and, according to tradition, was destined to follow the path of his father. But he liked to draw better. "I mentally put the saints on the walls and made them part of my composition, and I was often beaten for this," he later wrote in his autobiography. In addition to drawing, he also enjoyed modeling various Kremlin buildings from wooden fragments.
At the age of 15, he managed to find a drawing teacher, a peer artist, who took the boy "for God's sake" (i.e., free of charge) and taught him some elementary tricks. Soon they both found themselves involved in a huge and urgent building project. The wooden imperial palace in the suburbs of Lefortovo suddenly burned down, and Empress Elizabeth ordered that it be rebuilt immediately. It was installed like in a fairy tale - in just one month. It was probably around this time that the young Vasily, whose job it was to paint stoves in imitation of marble, began to think about becoming an architect.
His abilities were noticed at the construction site, and the chief Moscow architect, Prince Dmitry Ukhtomsky, began to ask him some creative tasks. In 1755, Vasily was admitted to the newly established Moscow University. The following year, he was transferred to the gymnasium of the Academy of Arts in St. Petersburg, and in 1758-1606, to the architectural classes of the Academy of Arts.
He met Empress Elizabeth and was trained in the workshop of the architect Savva Chevakinsky. Here Bazhenov studied French and mathematics and diligently copied drawings of antique columns and floor coverings (at that time the ABC of architectural education). In the summer he worked on construction projects in St. Petersburg, which were supervised by his energetic and hard-working mentor, including St. Nicholas Naval Cathedral
In 1760 - 1764 Vasily Bazhenov continued his studies in France and Italy. He became one of the first two recipients of a travel scholarship from the Academy of Arts (the other was awarded by Ivan Starov, who also later became a prominent architect).
Bazhenov returned to St. Petersburg precisely for a big celebration in honor of the new charter of the Academy of Arts. But the Academy offended Bazhenov. A clever uniform was fitted for him in 1765 - one of the academics - but he was not given the long-promised professor. In addition, Bazhenov had to pass a test to confirm his academic title - to create a small architectural design. He performed it beautifully, far exceeding the modest test requirements, but nevertheless had to look for work on his own.
Bazhenov worked for Count Grigory Orlov, a minion of Catherine II and commander of artillery and fortifications, as well as for Pavel Petrovich, the successor to the young throne (the future Emperor Paul I), whose support he enjoyed until the end of his life. Finally, Orlov presented Bazhenov to the court of the empress, unusual for an architect with the rank of artillery captain.
In 1792 Bazhenov moved to St. Petersburg to fill a relatively modest position as chief architect in the Admiralty. In 1796, Catherine II died, and Pavel, Bazhenov's old patron, became emperor. Having ascended the throne, Paul I instructed Bazhenov to design the Mikhailovsky Palace with its golden smell and separate pavilions.
On the eve of the 19th century, Bazhenov was full of great plans, but, as it turned out, he did not have time to realize them. The architect was destined to die at the age of 62. In the summer of 1799 he was stricken with paralysis and died on 2 August.
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March 12 marks the 280th anniversary of the birth of the outstanding Russian architect Vasily Ivanovich Bazhenov. The geography of his architectural works covers at least Moscow and St. Petersburg, and, according to unconfirmed reports, also some Russian provinces. Unfortunately, it is now difficult to say with complete certainty which buildings exactly Bazhenov was the author of - a number of his projects did not spare time, some of them were never realized, and those to which history turned out to be favorable can be counted on the fingers.
For the architect's birthday, we compiled a map of memorable Moscow buildings with which the name of Vasily Ivanovich is somehow connected.
Manor Tsaritsyno
– Dolskaya street, 1
Muscovites' favorite walking place, the Tsaritsyno estate, was to become a favorite place for Empress Catherine II, who commissioned Vasily Bazhenov to build his residence near Moscow on this site. However, time and history decreed that we could also become witnesses to the completion of the construction of the royal estate.
Construction work began fairly quickly. And just as quickly, the empress lost interest in a new project. The construction was already coming to an end when Catherine ordered Bazhenov to dismantle all the buildings. Suddenly, the queen was dissatisfied with them, despite the fact that all the drawings were agreed with her and approved by her. By order of Empress Vasily Ivanovich was removed from the construction site. The affairs of the estate were further handled by the master's student, Matvey Kazakov, who tried to preserve the Bazhenov style. However, the palace was never completed.
After the death of Catherine and the coming to power of Paul I, the newly-made emperor ordered to stop work on the project. The unfinished estate quickly fell into disrepair. For a long time the ruins of the palace ensemble did not attract attention. And only in Soviet years research and restoration work began on the site of the unfinished royal residence, which, for a number of reasons, were carried out with long interruptions.
As a result, the restoration of the Tsaritsyno estate was finally completed only 10 years ago. So the royal project, which could not be realized immediately, sparkled with new colors in the new time.
Pashkov House
– Vozdvizhenka street, 3/5С1
Photo by Vladimir Eshtokin
The extraordinary beauty of the mansion is located in the very center of Moscow - on Vagankovsky Hill. Muscovites of the older generation also know this building as the former building of the Lenin Library. And lovers of Bulgakov's work remember that it was from the roof of Pashkov's house that Woland and Azazello said goodbye to the capital.
The house got its name in honor of Pyotr Egorovich Pashkov, a retired officer and the first owner. By his order, in the second half of the 18th century, a mansion was built. At that time, it was the first non-church building with windows overlooking the Kremlin.
Most historians believe that the Pashkov House was built according to the project of Bazhenov. This is evidenced by the characteristic style of the architect. But, unfortunately, no documents that would confirm the authorship of Vasily Ivanovich have been preserved.
Manor Rumyantsev-Zadunaisky on Maroseyka
– Maroseyka street, 17
The majestic temple in the style of classicism was erected at the end of the 17th century on the site of a wooden church that had previously stood here. After the miraculous healing of the sister of Patriarch Joachim from the icon of the Mother of God "Joy of All Who Sorrow", the name of this image was firmly attached to the temple.
At the end of the 18th century, Vasily Bazhenov was also noted for his architectural work here. According to his project, a refectory and a bell tower were added to the ensemble of the temple. It is interesting that the type of refectory, which Vasily Ivanovich proposed and first used, subsequently became widespread in the architecture of the capital.
Manor of Count Gendrikov
– Sadovo-Spasskaya street, 1
Photo by Vladimir Eshtokin
The seemingly unremarkable building, which today is used as offices for various companies and enterprises, as it turned out, has a noble “origin” and is closely connected with the military history of the capital.
In the middle of the 18th century, by order of Count Gendrikov, who was related to Empress Catherine II, a three-story mansion was built on a vast plot of land. Vasily Bazhenov became the author of the project.
Later, the printing house of the famous educator N. Novikov was located in this house, but after his arrest, Paul I, who had just ascended the throne, ordered that the estate be rebuilt into artillery barracks, better known as Spassky.
In Soviet guidebooks, the building of the barracks was mentioned, first of all, as the place of detention of the poet Alexander Polezhaev, who was sent here on the personal order of Emperor Nicholas I.
House of L. I. Dolgov
– Prospekt Mira, 16 from 1
The Dolgov House on Prospekt Mira is a classic example of residential architecture of the 18th-19th centuries. The owner of the estate, the titled adviser Luka Dolgov, was Vasily Bazhenov's son-in-law. After the death of Luka Ivanovich, the ownership of the house passed to his wife, Susanna Filippovna.
During the fire of 1812, the mansion was badly damaged and was restored by the new owner, the merchant Shestov. As a result, the building has changed greatly, having lost the top floor and a number of architectural elements.
After the revolution, Dolgov's house was used as a dwelling for a long time. And since 1973, one of the Moscow registry offices has been located here.
On the screensaver: a fragment of a photo of Vladimir Eshtokin.
Vasily Ivanovich Bazhenov was born in February 1737 in the family of Ivan Bazhenov, who served in the village of Dolsky, Maloyaroslavsky district, Kaluga province. When the boy was only three months old, his parents moved to Moscow.
“I venture to mention here that I was already born as an artist. I learned to draw on the sand, on paper, on the walls, - Bazhenov himself told about himself. “By the way, in winter I made chambers and statues from snow, which I would like to see now.” But the boy was sent to the choristers in the Passion Monastery: according to the
oh tradition, he should have followed in his father's footsteps. But Bazhenov uncontrollably wanted to draw: “I transferred the saints from the church with my thoughts under the transitions to the walls and made my composition, for which I was often put up and flogged.”
And the boy, nevertheless, achieved his goal - in 1753 Vasily was accepted into the architectural team,
led by Ukhtomsky. Accepted but not credited. He does not appear anywhere in the lists of Ukhtomsky's students. Vasily, apparently, was assigned there as a free listener. Dmitry Vasilyevich highly appreciated Bazhenov's abilities, but, knowing about his plight, he preferred to release his
pupil from compulsory classes and often gave him the opportunity to earn extra money. At the request of state institutions and individuals, he sent Vasily as a gazelle (apprentice) to construction sites to draw up estimates, to inspect buildings in need of restructuring or repair.
A year later in the fate of Vasya
Lia took a new turn: he was admitted to Moscow University. And when “the Academy of Arts was founded in St. Petersburg, and the chief chamberlain Ivan Ivanovich Shuvalov, who was in charge of it, demanded from Moscow University several pupils capable of fine arts, then Bazhenov was called
started first among those and sent to St. Petersburg, ”says the first biographer of Bazhenov E. Bolkhovitinov.
Academic students were on full government support. In addition to the sciences of art, students of the academy were taught history, anatomy, mythology, mathematics, foreign languages. P
On Tuesdays, Wednesdays and Thursdays, lessons were held in the “Drawing Chamber”. They were led by the sculptor Gillet, the painter Lelorin, the draftsman Moreau, and the engraver Schmidt. They were skilled craftsmen. They helped found the Russian academic school of painting and brought up a galaxy of talented artists. Bazhenov was lucky with the teacher
ateliers and architectural sciences. He studied under the guidance of talented architects S.I. Chevakinsky and A.F. Kokorinov.
“Then I was the first to start the Academy of Arts,” Bazhenov proudly asserted. In the Academy founded in the autumn of 1757, he was the eldest of the pupils, who had already mastered a lot,
and for the younger ones he probably became not so much a comrade as the first teacher.
Three years later, Bazhenov travels abroad with the young painter Anton Losenko. The St. Petersburg Academy of Arts assigned its pensioners 350 rubles a year for maintenance. For 50-60 francs a month in Paris is not very
you're going for a walk. For the same reason, Bazhenov and Losenko were forced to rent a rather modest room in the outskirts of Paris, in a cheap quarter.
In France, for the first time, Bazhenov saw, not only in engravings and drawings, that new architecture, which, of course, his academic mentors had already talked about.
The rules of the new style are taught to Bazhenov by the brilliant architect Charles de Vailly. “My comrades, the young French, stole my projectors from me and copied them greedily,” Bazhenov later said. Apparently, even then he stood out among his fellow students with his ingenuity and vivid imagination.
About one and a half
years flew by unnoticed. During this time, the unattractive dwelling of the envoys of the St. Petersburg Academy was somewhat transformed, it was decorated with numerous drawings, miniature models made by Bazhenov, his sketches, drawings, projects.
Exams at the Paris Academy were more than successful.
Bazhenov, well prepared, dared to go first. He presented to the examiners a model of the Louvre Colonnade, made with jeweler's precision. He also presented drawings, drawings, etchings. And he also conquered Parisian celebrities with his erudition, violent imagination.
Rumor about the creative successes of Bazhenov and L
Osenko, about their success in studies came to St. Petersburg. There, too, an exam was arranged, only in absentia, on the basis of the works sent by pensioners. The ratings were the highest.
A notice was sent to Paris saying that "Losenko should be in Moscow, and Bazhenov should be in Rome for the winter." Bazhenov received a two-year
th foreign passport, packed his things, said goodbye to teachers and Losenko, and at the end of October 1762 went on a trip to Italy to further get acquainted with European culture, study architectural styles and architectural monuments of various eras.
But a year and a half in Italy is not easy to get
to the nervous, impressionable Bazhenov. There was not enough money, sparingly and out of time sent from St. Petersburg, he was alone, he was deceived, he was even attacked by robbers ... Bazhenov made it to Paris with difficulty and remained here until the academy deigned to pay his debts and the road home.
Zhenov returned to his homeland on May 2, 1765. He came to St. Petersburg right to the big celebration in honor of the new charter of the Academy of Arts. But the Academy offended Bazhenov. They sewed a dress uniform for him, for which they later demanded money, promoted him to academician, but a long-promised professorial position, which means
And the salary was not assigned. The leadership that had changed here did not need him. In addition, Bazhenov was given a test, from which other academicians were spared - they offered to create a small project to confirm the high rank ... He completed it with brilliance and scope, far surpassing the given schedule
my program.
Later, Catherine instructed Bazhenov to develop a project for the Institute for Noble Maidens at the Smolny Monastery. The architect fulfilled this order in the shortest possible time. The majestic and graceful composition amazed many with architectural ingenuity, an organic combination of diverse traditions
traditional forms of Russian architecture. But, unfortunately, the matter was limited to praises. The project remained unfulfilled. After lengthy delays, preference was given to the project of the architect Quarenghi.
The visit to the Small Yard did not go unnoticed. Fascinated by the stories of Bazhenov, Tsarevich Pavel caught fire
I wish to build my palace on Stone Island. Bazhenov quickly fulfilled this order. The palace was built in the style of classicism. It was later rebuilt. But there is evidence of a French traveler who saw the building in its original version: “It is very beautiful, especially since
giving its location (on the banks of the Neva). The lower floor is raised by several steps. Here we see, firstly, a large hall decorated with arabesques, then an oval-shaped hall, which, with its great length, seems a little narrow; the decorative part in it is very simple. To the right is the room from which
The horn door leads to a small theatre, rather beautiful... The facade to the garden is decorated with columns. At the end of the garden is a small chapel built of brick: the Gothic style, which was tried to be imitated in its construction, produces a beautiful effect.
Finally, Grigory Orlov, commander of artillery and
fortification, invited Bazhenov to his service, asking him from the empress for an unexpected rank of captain of artillery for an architect. Together with the patron and the entire royal court, Bazhenov left St. Petersburg and at the beginning of 1767 returned to his native Moscow.
Bazhenov got married shortly after his arrival in Moscow.
His wife was Agrafena Lukinichna Krasukhina, the daughter of a Kashira nobleman who died early. Meanwhile, Catherine II "fell ill" with architecture. Orlov decided to take advantage of this. He made attempts to restore his lost positions at court, to oust the active Potemkin. Therefore, Orlov advised
Bazhenov to develop an unusual, daring project, so that through him, Orlov, he would propose to the Empress to begin construction of a building that would arouse general interest.
Bazhenov did not promise anything, but he did not refuse the offer. At that time, the Kremlin was in extreme desolation and dilapidation, and most importantly, its
ancient architecture seemed to the enlightened people of the 18th century to be disorderly and shapeless. Bazhenov dared to offer his version of the palace. But only on a different scale: from a simple perestroika, he created a gigantic architectural idea, which boiled down to building the entire Kremlin with one continuous palace, inside
three of which were supposed to be all the Kremlin cathedrals with Ivan the Great. Bazhenov's idea shocked Orlov, but he doubted the reality of such grandiose plans.
By the summer of 1768, Bazhenov completed work on sketches and began the reconstruction project itself, creating a large model of the Kremlin
palace. Preparations for construction began. In July, a special expedition was already established to build the palace. It was headed by Lieutenant General Izmailov. After a thorough examination of the Kremlin buildings and a detailed development of construction plans, the members of the expedition began to draw up an estimate.
According to preliminary estimates, twenty or, in extreme cases, thirty million rubles should have been required.
The expedition settled in the Kremlin itself, in the small Poteshny Palace. Here was the architect's apartment, where he soon brought his young wife. And next to it, a wooden one-story building was hastily built.
An important building with a vast octagonal hall is the Model House. Then they made a huge wooden model future Kremlin. The model, according to Bazhenov, is "half of the practice", that is, the finished building, which will allow you to check the correctness of its composition and proportions.
The model impressed everyone, even l
people who were skeptical or distrustful of the Bazhenov project. A lot of things were striking - both the manufacturing technique and the dimensions of the model themselves. They were such that several people could walk around in the courtyards. In its proportions, the model mathematically exactly matched the dimensions of the future
current palace.
The facade of the main building of the palace conceived by Bazhenov had a complex articulation. The two lower floors were united by a continuous horizontal rustication and cornice and served as a kind of pedestal for the two upper ones. All floors were united by decorative decoration and columns into one whole. Entable
The ent, decorated with sculpture, was supported by fourteen columns. On both sides of the central ledge - ten columns, behind them - two-column ledges. In the niches of the walls there were graceful vases. The entire facade of the central building was thus, as it were, the richest and most beautiful architectural decoration.
tion. The inner facade of the main building, overlooking the courtyard, had almost the same richly decorated design.
The circumference was impressive - a huge semicircle with a high four-stage plinth, numerous marble columns. The circumference was connected to the main building, there
there was an entrance with three beautiful arches. The richly decorated entrance was framed by columns. From the other end, the circumference was connected to the theater. A special effect was produced by its main entrance, from which wide intersecting staircases ran. The walls of the theater were decorated with Ionic columns.
less spectacular was the interior design, especially the central hall of the palace, which is impressive in its size. The model and the unprecedented project were talked about with enthusiasm and envy in the European royal courts.
However, in the spring of 1771, work had to be stopped: an epidemic of the plague descended on Moscow. AND
tough, but little effective measures of the authorities aroused the discontent of the townspeople. A riot broke out, the stern Moscow Archbishop Ambrose was killed, the crowd smashed his chambers in the Kremlin, a stone's throw from the Model House. Bazhenov was afraid for the fate of his precious model, built of dry wood. But a riot at two d
I was suppressed, the model survived, the epidemic subsided only by winter.
The following summer, a new stage of work began with a holiday - they dug a foundation pit for the palace foundation, which was laid a year later in an even more solemn atmosphere. But the years passed, and the construction did not rise above the foundation - there were not enough funds.
In the spring of 1775, the empress ordered that the foundation pit be filled up, which means that work should be stopped. The offended Bazhenov refused to lead the backfilling of the pit: "I leave it to the one who will be elected for the good."
In the meantime, he built wooden pavilions outside the city, on the Khodynka field, to celebrate the victory over that
rkami. Fanciful buildings of non-classical, relatively oriental architecture symbolize Taganrog, Kerch, Azov and other cities that went to Russia after the victory.
Ekaterina liked the elegant unusual buildings. This is how she wanted to see her new estate - just bought near Moscow Tsaritsyn
about. On the slope of a hill descending to a large pond, Bazhenov arranged, it would seem, in a free order, many relatively small buildings made of red brick. He wanted to decorate them with colored tiles, in the manner of old Moscow buildings. But the empress rejected this idea, and then the red brick
ich was effectively set off by inlays of carved white stone.
Some kind of artificial antiquity, a conventional, almost toy Middle Ages, was felt in the guise of Tsaritsyn. In those days, all medieval architecture, not yet distinguishing between eras and countries, was called "Gothic". The classicists considered it "nepr
agile, distorted by the ignorance of the former builders, but it still attracted Bazhenov. True, during the construction of Tsaritsyn, he did not adhere to any particular style: he freely combined the lancet windows of the Western European Gothic with the patterned brickwork of Russian buildings of the 17th century, used in
white-stone carving of state symbols - here is the monogram of Catherine, and the double-headed state eagle.
For ten years Bazhenov built Tsaritsyno. Every spring, he moved there with his family from a recently purchased city house to be constantly at work. Here, unlike the Kremlin, he
lal himself: managed finances, bought materials in advance, hired workers. Construction grew, and money came from St. Petersburg more and more slowly. Vasily Ivanovich now and then turned out to be guilty. In addition, they were tortured by debts, litigation. He was tired, at forty he felt like an old man. In the queen's cheese
the children did not get sick, the youngest son died ...
In the summer of 1785, the empress finally arrived and visited the almost finished estate, which she knew only from drawings. Elegant houses seemed to her small and cramped - everything looked more impressive on paper. She ordered to rebuild Tsaritsyno and transferred the construction to K
The palace in Tsaritsyn was not destroyed immediately. MM. Izmailov was trying to find a way out of the situation in order to somehow help Bazhenov. He worried about his friend and Kazakov. Colleagues agreed: Bazhenov, without special permission, will make a new version of the palace and present his earlier
What will Kazakov do? But nothing came of it, again the work was wasted. Catherine rejected Bazhenov's work, without even getting to know her properly. In February 1786, an order came “on dismantling the main building built in the village of Tsaritsyno to the ground and on production later (but
building) according to the newly confirmed plan made by the architect Kazakov.
Kazakov, in his version of the palace, tried to preserve, as far as possible, the style of old Russian architecture chosen by Bazhenov. But he was also unlucky. The palace was designed with three floors, with an emphasis on the central part of the building.
However, in the course of construction, much had to be redone, as appropriations were constantly cut. The result is a big difference between the project and the completed building.
Vasily Ivanovich turned out to be practically removed from the Tsaritsyno construction. He got a year's sick leave
and: eyesight worsened, heart and nerves played pranks. In December 1786, Bazhenov asked Count A.A. Bezborodko, the first secretary of the Empress for the acceptance of petitions, to extend the leave with the preservation of salary in order to finally improve his health. In case of refusal, Bazhenov also agreed to resign, “but with a pension
it, like all loyal subjects of Her Imperial Majesty, use it, because, as your Excellency knows, I do not have as much maintenance as for my large family, and, moreover, for paying debts, it is necessary. The request was granted.
Even before his second, Tsaritsyn, disaster, the architect
new friends appeared who helped to overcome spiritual turmoil and despair. These were the Masons. Bazhenov had long been acquainted with the heir to the throne, Pavel Petrovich, and when he came to St. Petersburg, he handed over Masonic books printed in Moscow to him. Suspicious Catherine II accused the Masons of being x
otyat "catch" the heir to his sect, subdue him. It was a state crime. Nikolai Novikov, a journalist and publisher who once accepted Bazhenov into the Masonic Order, suffered the most. The architect himself was not touched, but the queen did not find any more work for him.
Of course, Vasily I
Vanovich carried out not only royal orders, but, unfortunately, much less is known about them: the papers of the architect and most of his customers have not been preserved. It is authentically known that in the 1780s Bazhenov built a house for the rich man P.E. Pashkov. The palace flaunts on a high hill against the Moscow Kremlin - those
Pere is an old Russian building state library. Meanwhile, the task of the architect was difficult: the site is uneven, on the one hand steeply going downhill, and on the other - sharply tapering. However, Bazhenov managed to turn his inconveniences into advantages: he put elegant gates at the narrow end, with
through which a view of the house opens, the facade is widely deployed on the edge of the hill above the garden descending to the city - a decision that not accidentally echoes the project for the reconstruction of the Kremlin.
Bazhenov created here in the literal sense of the word a castle-fairy tale. A great connoisseur and connoisseur of Russian architecture I. Grabar
wrote: "It is difficult to find a more perfect ratio of all parts of a single structure than that which has been achieved here."
The opinion of Russians and foreigners was unanimous: "Pashkov House" is a pearl of Russian architecture. Connoisseurs of architecture emphasized that, despite the sophistication of compositional techniques,
The artist's idea is distinguished by courage, a flight of fancy and, at the same time, thoughtfulness of the smallest details. This is equally characteristic of the composition as a whole and the interior layout of the premises, as well as for the external design.
In 1792, Bazhenov had to move to St. Petersburg, to a modest home.
the position of architect at the Admiralty. He now built, mainly in Kronstadt - barracks, a sugar factory, forest sheds, and often according to drawings used more than once - it was necessary to save the most public money, and the artistic qualities of such buildings of the Admiralty officials did not at all
interested. That is why they did not accept the last big project of the architect - the reconstruction after the fire of the galley harbor on Vasilyevsky Island in St. Petersburg: it was "very extensive and magnificent", and therefore expensive ...
Catherine II died in 1796. Pavel Bazhenov's longtime patron became emperor
ohm. Vasily Ivanovich immediately received from him an important rank and a village with a thousand souls of serfs. Extensive creative possibilities opened up before him again... At the beginning of 1799, the emperor made another gift to the architect: he appointed him vice-president of the Academy of Arts - a position that was introduced with
especially for Bazhenov. So he returned victorious to his Academy, which rejected him more than thirty years ago.
And the strength returned. The sixty-year-old vice-president was eager to renovate the decrepit Academy, to educate young artists, to look for talents. But he has time for this
Turns out it didn't exist anymore. In the summer of 1799, Bazhenov was paralyzed.
At the end of July, on one of the white nights, Vasily Ivanovich asked the children - Olenka, Nadezhda, Vera, Vladimir, Vsevolod and the eldest of his sons, Konstantin - to gather at his bedside to make a farewell speech. 2 august great archi