RASTELLI, BARTOLOMEO FRANCESCO(Bartholomew Varfolomeevich) (Rastrelli, Bartolomeo Francesco) (1700–1771), architect, the largest representative of Baroque architecture in Russia.

Born in Paris, in the family of the Italian sculptor B.K. Rastrelli ( Cm. RASTELLI, BARTOLOMEO CARLO). In 1716, together with his father, who was invited to Russian service, he came to St. Petersburg. In 1725–1730 he studied abroad, most likely in Italy.

First independent work young architect (before that he completed the project for the park development of the Strelna manor entrusted to his father) was the house of the Moldavian ruler A. Cantemir in St. Petersburg (1721–1727). Appointed in 1730 as the court architect of Empress Anna Ivanovna, he designed for her a wooden palace on the banks of the Yauza (Annengof in Lefortovo; not preserved), as well as a new one, the so-called. third Winter Palace in St. Petersburg (1732–1736). In 1736–1740 he built palaces for Count Biron in Rundale (Ruentale) and Mitava (Jelgava) in Courland (now Latvia). The most significant among early works Rastrelli built a wooden Summer Palace in St. Petersburg (main works 1741–1744), which was subsequently dismantled during the construction of the Engineering Castle. All these buildings are characterized by a very restrained baroque style with fairly flat facades and a moderate use of sculpture; Without departing too far from the architecture of Peter the Great's time in the sense of moderate decoration, Rastrelli at the same time preserves and even enhances (especially in the Summer Palace) its inherent spatial scope. His ability to think spatially and spatially, in a wide landscape, was facilitated by his gift as a graphic artist (Rastrelli’s drawings and sketches belong to the masterpieces of European architectural drawing of the 18th century).

The highest flowering of the master's creativity comes in the middle of the century. In 1745–1757, he led the reconstruction of the royal residences in Peterhof (now Petrodvorets) and Tsarskoye Selo (now Pushkin). Having connected the previous buildings into integral ensembles, he unites them with a common rhythm using facades of enormous length and internal ceremonial enfilades, to which the entire layout is subordinated - according to the “gallery-block” principle. In Peterhof, the architect transformed and significantly enlarged the Grand Palace, creating anew almost the entire interior decoration. The Tsarskoe Selo Grand Palace, also practically created anew, is particularly grandiose and splendid; Baroque here reaches its utmost plastic splendor in the complex alternation of columns, window openings, sculptures and architectural decoration; a major role, which is generally typical for the master’s work, is played by the painting of the walls (in in this case– intense turquoise). In all cases, amazing luxury interior design(with an abundance of mirrors, gilded carvings, decorative paintings, etc.) is combined with an extraordinary - and at the same time thoughtful - scale. Sophistication and scale merge together in the arrangement of the main entrances to buildings and park areas (in Tsarskoye Selo Park, Rastrelli, in particular, completed the Hermitage pavilion begun by S.I. Chevakinsky and built the Grotto). In 1754–1762, according to Rastrelli’s designs, a new Winter Palace was erected, which also amazes with its union of picturesque luxury facade plastic and a general silhouette with a logical rigor of planning, visibly subordinating the vast urban area.

Among Rastrelli's other works are the Vorontsovsky (1749–1757) and Stroganovsky (1752–1754) palaces in St. Petersburg. In addition to palace architecture, the master radically updated Russian church architecture: in 1747–1750 he created a project for recreating the collapsed tent of the Resurrection Cathedral of the New Jerusalem Monastery near Moscow (later decorating the interior of the cathedral with rich stucco decoration), as well as a project for St. Andrew's Cathedral in Kyiv, the construction of which was completed in 1748–1767 conducted by I.F. Michurin. The largest of his church buildings, as well as his last great work, was the Smolny Monastery in St. Petersburg (1748–1764) with residential buildings and churches arranged in an ensemble around the central Resurrection Cathedral; the latter, like St. Andrew's Church in Kyiv, is centric in plan, combining Western Baroque innovations with traditional Russian five-domes.

With the coming to power of Catherine II, the fashion for baroque went away, and the Smolny Monastery, although already established as an ensemble, remained unfinished (in particular, the giant bell tower planned by Rastrelli was not erected). Having ceased receiving orders, the master retired from the post of chief architect in 1763. In 1764 he decorated the Bironovsky palaces in Mitau and Ruenthal. In 1762 and 1767 he traveled to Italy in the hope of improving his affairs (including by exporting paintings by Italian artists for sale in Russia).

Introduction

One of the trends in architecture was the Baroque style, born in late XVI century. Literally it means: "pretentious, fancy." When applied to architecture, the term meant lush decorative style, in which the design elements were not only not emphasized, but were masked in every possible way. Instead of the clear harmony in layout and proportions characteristic of the Renaissance, complicated curvilinear forms came, creating illusory spaces. The balance of classical architecture was replaced by the baroque irrationality of the perception of volumes, feelings were opposed to reason.

The representative of this trend was Francesco Bartolomeo Rastrelli.

Francesco Bartolomeo Rastrelli

He came to Russia at the age of sixteen as a student and assistant of his father Bartolomeo Carlo Rastrelli, who entered the service of the Russian Tsar and undertook, according to the concluded contract, “to work in the service of His Tsar’s Majesty in all the arts and crafts that he himself knows how.”

Francesco Bartolomeo found himself in his youth at a huge construction site of the new Russian capital, which was growing with amazing speed on the islands of the Neva delta. Rastrelli never saw anything like this grandiose construction either in his homeland or in other countries. Western Europe, and nowhere in the world at that time was there any construction even remotely similar in scale and boldness of design to the development of St. Petersburg.

The young architect’s first independent work in St. Petersburg was the construction from 1721 to 1727 of a palace on Millionnaya Street for the Moldavian ruler Antioch Cantemir. Back in 1729

Rastrelli's talent as a skilled architect truly revealed itself during the reign of Anna Ioannovna. The Empress longed to have new luxurious palaces. The scale and splendor of the buildings were supposed to demonstrate the strength and power of the state, and the lushly decorated facades were supposed to hide the upset finances. Only Rastrelli with his indefatigable imagination could build such buildings. Willy-nilly I had to contact him. The first thing the architect was ordered to do was finish the Summer Palace, this smaller copy of the famous palace Louis XIV in Versailles. Then it was necessary to complete the Anichkov Palace on Nevsky Prospekt, begun by the talented Mikhail Zemtsov. Then build an extension to the Winter Palace, significantly expand the old palace of Tsar Peter in Peterhof and begin making a model of the future first convent In Petersburg. This is how his talent was recognized.

However, the true flowering of F. Rastrelli’s creativity, his establishment as the author of a new style, “Elizabethan” or “Russian” baroque, occurred during the reign of Elizabeth (1741-1761),

After the coup of 1740, which was carried out by Minich in favor of Anna Leopoldovna, mother of John VI, Rastrelli was ordered to stop all work in Courland and urgently report to St. Petersburg. Minich, who had now become the first minister, instructed him to build the Russian Versailles for the new ruler Anna Leopoldovna. Summer Garden. At the end of February 1741, Rastrelli prepared a project for the new Summer Palace, and in June of the same year, its foundation stone took place in a solemn ceremony.

In November 1741, another palace coup, who brought the daughter of Peter I, Elizaveta Petrovna, to the royal throne. At first, the new reign for Rastrelli did not bode well. For the first two months, no one remembered him. Then they demanded an explanation from him why he was listed as chief architect. In addition to all the troubles, a verbal order followed: not to give any orders to the Italian. Zemtsov, who knew Rastrelli well and tried in every possible way to attract him to work, began to run all architectural affairs.

The palace coup of 1741 and the accession of Elizabeth Petrovna contributed to the flourishing of Russian art in the 40s and 50s of the 18th century. And “for the first time, Russian architecture of modern times reaches the aesthetic heights to which it aspired in the previous half century”*.

This is the heyday of the style, which in Russia received the name developed or high Russian baroque, covering different types artistic creativity and spreading widely throughout the country. “On this fundamentally unified basis, the synthetic nature of art is formed - an almost indivisible union of architecture, decorative sculpture and painting.”

The socio-political situation of that era puts in first place the need to create palace and church buildings, which are the leading buildings in Western European Baroque. Its main representative was an Italian by birth, Francesco Bartolomeo Rastrelli, who received in Russia the name Bartholomew Varfolomeevich, which is more familiar to Russian ears. His most important projects were carried out during the reign of Elizabeth. His role in the development of a new style is so great that it is impossible to imagine the Russian developed baroque without the work of this brilliant artist, brilliantly and powerfully synthesizing Russian national traditions with artistic trends of Western Europe.

For Elizabeth, who did not like and, at times, feared Anna, Rastrelli was a typical representative of the “Courland court.” He even changed his signature from “de Rastrelli” to “von Rastrelli”, later explaining this act by Russian reality - which you cannot do for the sake of your daily bread. And wrote it down in my General description: "The architect in the service has nothing but his salary, without any remuneration, always permissible in other countries."

Rastrelli waited for seven years for confirmation of the chief architect's patent issued by Anna Ioannovna. In Russia you have to be able to wait.

Historian V.O. Klyuchevsky wrote about Peter’s daughter: “Having ascended the throne, she wanted to make her girlish dreams come true into a magical reality.” Endless holidays and celebrations under Elizabeth required appropriate scenes and framing. The construction of palaces became a matter of state necessity. Their impressive size and splendor hid financial distress and a secret desire to appear stronger than you are.

By 1743, architects I. Korobov, A. Evlashev, S. Chevakinsky,

A. Kvasov and G. Dmitriev. The Admiralty architect Korobov was too strict and utilitarian in his designs and was unsuitable for the construction of palaces. Chevakinsky and Kvasov were still considered “architectural gazelles.” And Evlashev and Dmitriev, to a small extent, their talent and the scope of architectural imagination were not taken into account. There was only Rastrelli left, whose “inventions” were always magnificent.

Elizaveta Petrovna longed to have her own luxurious palaces and was forced to turn to Rastrelli. In the spring of 1744, she instructs him to complete the construction and interior decoration of the wooden Summer Palace in St. Petersburg. In 1741-1744. Rastrelli built in St. Petersburg, at the confluence of the Moika and Fontanka rivers, the Summer Palace (on which, due to the whims of the empress, he had to work for 10 years (it was not preserved). And a few months later, he continued the construction of the Anichkov Palace, begun by Zemtsov.

Soon she will demand the completion of the Anichkov Palace and at the same time prepare drawings of the palaces in Perov near Moscow and in Kyiv, and at the same time expand the Grand Palace in Peterhof, her father’s favorite residence. What kind of work ability did you have to have in order to be able to carry out all these commands?

And so in 1747, the ruler approved the plan for the future of Peterhof. But the chief architect’s patent has not been confirmed. The maestro continues to wait. In Peterhof they were already preparing the foundations for the palace, when suddenly Rastrelli announced that he was going to leave Russia. The yard is perplexed. The "buildings office" is at a loss. The Empress is forced to yield. In November 1748, by her decree, the patent of the chief architect Count Francesco de Rastrelli was confirmed and his salary was increased. The architect, nevertheless, achieved his goal.

Francesco Rastrelli was Italian by blood, but he was called a Russian genius. He worked passionately and gave to St. Petersburg best years own life. He masterfully managed to combine the traditions of Russian architecture with elements of European architecture, and bring to life what the monarchs expected of him.

The great architect of St. Petersburg first came to Russia at the age of 16

Francesco Rastrelli was only sixteen years old when he first came to Russia. The future architect was brought with him by his father. Carlo Shostrelli - was one of those who, at the invitation of the king, arrived in new capital Russian Empire to build western city in Russia. This was the idea of ​​Peter I, who understood that nothing would work without the help of European architects.

Young Francesco turned out to be a worthy student of his father. And most importantly, he was truly talented. Later, he had to teach Russian masters the secrets of European urban planning science and himself expand his architectural horizons with Russian architecture.

Glory to him, which no other architect had ever achieved in Russia, came in the 1730s. The favorite of Tsarina Anna Ioannovna entrusted Rastrelli with building the palaces of his residence in Courland - the Rundale Palace and the Palace in Mitau. These are the first creations of the master that have survived to this day. Duke Biron was delighted with the work done. It was on his recommendation that Francesco became the chief architect of the empress. Another uncrowned person for whom Rastrelli built was Catherine Petrovna’s favorite, Mikhail Vorontsov. The palace that the count dreamed of took nine years to build. It was a luxurious estate, where every detail is a true work of art. However, Vorontsov was unable to maintain this magnificent palace and the building had to be sold to the treasury. The Page Corps was located there, and later the Suvorov School.

It can be noted that the reign of Elizaveta Petrovna became the heyday of the glory of Francesco Rastrelli. They both dreamed of turning St. Petersburg into the most best city on the ground. And their concepts of how to do this successfully coincided. After Catherine visited the Summer Palace built by the master, she was convinced that he was a genius. There were one hundred and sixty apartments in the palace. They were all mirrored and richly decorated. WITH early spring until the fall, the family of the heir to the throne, Paul I, lived there with the empress. Meanwhile, having become emperor, he immediately demolished the Summer Palace. In its place, the emperor built the Mikhailovsky Castle, where he was killed by the conspirators.

However, Rastrelli exceeded all the queen’s expectations when he realized her most cherished dream - the Peterhof Palace. The famous building was truly fabulous and surpassed the famous residence of the French kings. The territory of the upper gardens was arranged in the French style, and inside the palace every detail was incredibly beautiful. It all started with the main staircase, where the lace of the railing alone made it impossible to take your eyes off. Not a single room in this huge building was the same as another. Everything was exquisite and varied.

Peterhof Palace surpassed the residence of French kings

Admired by the works of Francesco Rastrelli, many influential people wanted to have a palace built by him. One of these people turned out to be an associate of the empress, Sergei Grigorievich Stroganov. His will was carried out in just a month and a half. Every detail of the palace, as always, was a masterpiece and reflected unique style architect The Stroganov Palace still remains one of the main parts of St. Petersburg Avenue, and its main hall is the only room that does not need restoration.

The largest multi-tiered bell tower in Russia was supposed to be the Smolny Cathedral. Rastrelli built a temple on the banks of the Neva, but, unfortunately, it was not possible to fully realize the grandiose plan. The war with Prussia began and Elizaveta Petrovna had to cut the budget. However, the cathedral turned out to be excellent anyway. And the combination of the tradition of Russian architecture with elements of European architecture made the building festive and picturesque.

Another undisputed masterpiece of Francesco Rastrelli is the Catherine Palace. It was there that Russian monarchs received their famous foreign guests. After all, even the most spoiled by luxury people were delighted with the interior of the palace. On the building, which stretches for more than three hundred meters, the architect placed everything that fascinated him in Russian architecture.

In Tsarskoe Selo, one of the pavilions is the Hermitage. Translated from French - a place of solitude. Here Russian sovereigns held receptions for the elite. All corners of this intricate little palace are highlighted by twin Corinthian columns. This technique, which gives all buildings an airiness, was Rastrelli’s favorite.

For the first time an architect was awarded after 26 years of service

By order of Elizabeth Petrovna, another architectural monument was created - the Winter Palace. It combined all the master’s favorite compositional techniques. But Rastrelli failed to complete the finishing of all the interiors of the palace. Now there is a popular museum of Russia.

The Empress did not live to see the completion of the Palace Church. The first person to go inside the new building was Peter III. He was so amazed by the beauty of what he saw that he awarded the architect the Order of St. Anne and the rank of Major General. For twenty-six years of service, this was the first royal award.

Rastrelli did not even imagine that it was possible to build palaces where, after sunny Paris, it seemed to him impossible to live. However, he did what others could not. Unfortunately, much of what the architect built has not survived to this day. But what remains continues to fascinate us no less than its contemporaries.

History is created by human hands, and its beautiful modern look The northern capital owes its talent to outstanding masters of past centuries. Francesco Bartolomeo Rastrelli is an architect who created many of the sights of St. Petersburg, emphasizing the austere beauty of this city.

Rastrelli: an outstanding architect and his works in St. Petersburg

The Russian Italian, who came from an Italian family that moved to St. Petersburg, studied with his father, an architect, and did not forget to travel to France and Italy in order to improve the level of his skills. One of his father’s wonderful works is a bust of Peter I. Rastrelli was able to achieve a high resemblance to the face of the emperor using a wax cast taken from the face of Peter I in 1719. You can see this work now at.
At the court of Anna Ioannovna, Francesco Bartolomeo Rastrelli received the position of chief architect, and continued his career under the next empress, Elizabeth. For her, he built a wooden one, which has not survived to this day. At the peak of his fame, Francesco Bartolomeo Rastrelli oversaw several grandiose projects: The Grand Palace in, St. Andrew's Cathedral in Kyiv and the reconstruction of the Catherine Palace in. Usually he developed the project, and other craftsmen monitored the progress of the work. Thus, it belongs to the hand of Rastrelli and the architect designed a three-part through arch on the side of the facade and the grandiose Jordan Staircase.

Francesco Rastrelli designed it on the orders of Empress Elizabeth Petrovna - it was there that she planned to retire in her twilight years. After the death of the Empress, Rastrelli's favorite style, Baroque, went out of fashion. The new empress, Catherine II, was disposed towards Antonio Rinaldi, who was well acquainted with the latest fashion trends thanks to his connections in Europe.
Having lost his job, Rastrelli, accustomed to living in grand style, experienced financial difficulties, despite the good pension assigned to him by the Empress.

The architect died in Mitau and was buried next to his wife Maria, who had passed away earlier. Complete collection his drawings were bought by the Polish count, and now they can be seen in the National Library of Warsaw. And Francesco Rastrelli left sights for St. Petersburg, the exquisite lines of which will be admired by many more generations of residents and guests of the Northern capital.

Rastrelli Varfolomey Varfolomeevich, Russian architect

Rastrelli Varfolomey Varfolomeevich(Rastrelli) (Bartolomeo Francesco) (1700-1771), Russian architect. Italian by birth, son of B.K. Rastrelli. The main representative of the Russian Baroque of the mid-18th century. In 1716 he came with his father to St. Petersburg. Studied abroad (possibly in Italy) between 1725-30. In 1730-63 court architect. Early buildings are close to Russian architecture of the first quarter of the 18th century. (Biron's palaces in Rundale, 1736-40, and Mitava, now Jelgava, 1738-40). In the mature period, the traditions of European Baroque were rethought by Rastrelli under the influence of Russian artistic culture. This was manifested in the desire for the spatial scope of the ensemble, the use of bell towers, domes, porches, thin columns, etc., characteristic of Russian architecture, a passion for the colors of the walls, gilding, and floral motifs in the decor (St. Andrew's Church in Kyiv, project - 1747, built in 1748- 67 by architect I.F. Michurin). In 1747-52 Rastrelli worked on the construction Grand Palace in Peterhof (now Petrodvorets). Having preserved the basic composition of the palace of the Peter the Great era, Rastrelli expanded its middle part, added a palace church and a “building under the coat of arms” to its ends, distinguished by graceful proportions and expressive appearance, and re-created all the interiors, which are characterized by bright polychrome and an abundance of decor. In the 50-60s. Rastrelli's buildings acquired even greater plasticity. The relief of architectural forms, the complex rhythm of the placement of colonnades, the spatial scope are combined in them with clarity of volumes, clarity of silhouette, rigor of plans, often rectilinear (Bolshoi, or Catherine, Palace in Tsarskoe Selo, now Pushkin; palaces of M. I. Vorontsov, 1749-57 , and S. G. Stroganov, 1752-54, in St. Petersburg).
The Smolny Monastery and the Winter Palace in St. Petersburg, which Rastrelli conceived as grandiose, self-contained urban ensembles, are imbued with power and grandeur.