Francesco shot. Francesco Bartolomeo Rastrelli

I think with what to come back here. There were ten photo travelers per megabyte, so everyone has long been full of travel reports. I suggest to those who are interested in architecture a little more, a new idea. And let's post architectural graphics here - projects, plans, measurements. This material on Russian architecture is clearly not enough on the net. Graphics have been published a lot, but not everyone has exactly these books, or, better to say, there are some, but not others. It would be nice to collect such an Internet collection of beautiful drawings. In the conception, any architecture is always better than the implemented one, it is more imaginative and more expensive. And then everything is as usual. depends on the budget. It makes sense to draw up a visual range of architectural graphics, which would include not only those buildings that were built, but also those ideas that remained on paper. Something here has often been laid out on this topic, but in fragments or appendage to photographs of monuments or a story about their history. I propose to introduce a special genre of posts into the community - a selection of architectural graphics on a topic. It can be by the author, it can be by the building or complex. Or how. Naturally, they will be taken away in hundreds of reposts, and this is good. Let the Internet be filled with high-quality and in-demand content, otherwise there is no fountain in terms of such materials.

Let's start with Francesco Bartolomeo Rastrelli (1700-1771) . The main figure of the Russian baroque, the court architect of the two empresses, Anna Ioannovna and especially Elizabeth, for whom he built all her luxurious palaces. Rastrelli's drawings are now kept in various collections, much has been published. Of the Russian collections, the largest are in the Museum of the History of St. Petersburg and the Hermitage. From foreign - in the People's Library in Warsaw and the Vienna Albertina. Scans of varying quality from literature on Rastrelli's work and museum catalogues.

Graphics of the early period of the 1730s. Palace of the Duke of Courland Biron in Rundale, laid down in 1736, completed and completed after the return of the duke from exile in 1762. The tower with access to the courtyard was never built.

Plan everything palace and park ensemble in Rundale

Second biron palace(and by status even the first one) since 1738 was built in the capital of Courland Mitau, present Jelgava. The palace was unlucky, it was never finished with all the splendor, and what was there repeatedly burned in fires. Now there is an agricultural academy.

Further drawings wooden Summer Palace Elizabeth, which was built in 1741-1744 and dismantled by order of Paul I to make room for his Mikhailovsky Castle (in which Emperor II was killed).

Moscow Palace of Elizabeth, also wooden, in Perov, which then belonged to the favorite of the Empress Alexei Razumovsky. The palace is also long gone.

Another Moscow Imperial Palace, in the village of Pokrovsky. It has been preserved, although it was rebuilt beyond recognition as an almshouse, it is located on Gastello Street.

Elizabeth's Srednerogatsky Palace, on the outskirts of St. Petersburg, built in 1751-1754. Demolished recently. in 1971.

One of the early rebuilding and expansion options Grand Peterhof Palace, 1746

Further design drawings for the restructuring of the Catherine Palace in Tsarskoye Selo. 1749-1756 years.

And the last of the Elizabethan residences - Winter Palace In Petersburg, 1753-1762

Further Rastrelli interiors, mainly for the Winter and Catherine Palaces. In general, there are few interiors of Rastrelli left, and most of them are restoration remodels after military destruction. In Zimny, almost everything was remade already under Catherine in classicism, and then burned down in a big fire in 1837 and partially recreated by Stasov, like, for example, the Jordan Stairs.

Rastrelli stoves as independent architectural forms, either church bell towers or park pavilions.

Triumphant niche for the throne of Elizabeth.

The Hermitage Pavilion in Tsarskoye Selo. 1748. Superbly preserved and recently restored.

The Grotto Pavilion is also for Tsarskoe Selo. 1749-1761 years. Preserved, but partially lost decoration

The hunting pavilion of Monbijou in Tsarskoye Selo. 1754, restructuring of the original building by S.I. Chevakinsky. Then Adam Menelas rebuilt the pavilion again, as a result of which it became the Arsenal on the outskirts of the park. Now abandoned, but worth it. The first version of the project.

Second final version

Roller Hill in Tsarskoye Selo, built in 1754. Dismantled for dilapidation in 1795.

Orthodox Church in Mitava(Jelgava), rebuilt beyond recognition at the end of the 19th century

Recreation Project rotunda tent in the New Jerusalem Monastery near Moscow. The project was implemented under the leadership of Carl Blank. Destroyed during the war, now being restored for the second time.

Smolny Resurrection Novodevichy Convent in St. Petersburg. Laid down in 1748. An early project, where the cathedral's corner bell towers are widely spaced, and a completely different bell tower than the one that was eventually decided to be built. This project influenced the appearance of the bell tower of the cathedral complex in Kostroma, built by Vorotilov. And that, in turn, influenced the spread of a characteristic type of bell towers with a recognizable curved end throughout the Kostroma province and neighboring Volga territories.

Plan for this project option

Side facade of the approved design option Smolny Cathedral. But during the construction of the head, they decided to connect them together, which was done.

Section of the cathedral. You can see how Rastrelli conceived the interior. His plan was never fully realized. Elizabeth died, and Catherine was not going to continue the costly construction in accordance with the project. The interior was made much more modest and already in a different era, according to the project of Stasov.

Also, the tall 140-meter high Bell tower, the top of which transparently hinted at the Ivan the Great Bell Tower in the Moscow Kremlin.

Among Rastrelli's projects there is such an original drawing churches triangular configuration. The project is close to similar designs of triangular churches (usually dedicated to the Holy Trinity), common in Italian and German baroque. What place this drawing was intended for is unknown. It was never implemented.

Rastrelli's plan was not fully implemented either. Gostiny Dvor in St. Petersburg on Nevsky Prospekt, 1757. Due to cost savings, Elizabeth handed over the construction site to J.B. Wallen-Delamot, who greatly enhanced Rastrelli's project, abandoning all the lush details of the Baroque. The drawing shows what Rastrelli wanted to see the clock tower above the main entrance to the building.

Here he was, the chief architect of the Court of Her Majesty Count Rastrelli of the Italian nation ...

Rastrelli's projects included in the selection are published in books:
Denisov Yu, Petrov A. Architect Rastrelli. Materials for the study of creativity. L., 1963
Francesco Bartolomeo Rastrelli. Architectural projects from the collection of the State Museum of the History of St. Petersburg. Catalog. SPb., 2000
Three centuries of Russian estate. Painting, graphics, photography. Pictorial chronicle of the 17th - early 20th century. Album catalog. M., 2004
Empress Elizaveta Petrovna and Tsarskoye Selo. Spb., 2010
Lancmanis Imants. Jelgavas pils. 2006

Rastrelli Francesco Bartolomeo (1700-1771). The son of the Italian sculptor C. F. Rastrelli, who served at the court of the French king Louis XIV and left France with a sixteen-year-old boy after the death (1715) of the king. F. B. Rastrelli acquired architectural and construction experience in Russia; being a gifted artist, he managed to prove himself as a skilled architect and took the highest position in the architectural world of Russia as a “chief architect”. His work reached its peak in the 1740s and 1750s.

The main works of the architect F. B. Rastrelli include: the ensemble of the Smolny Monastery in St. Petersburg (Leningrad); palaces in Courland (Latvia) - in Rundale and Mitava (Jelgava); the palaces of the Elizabethan nobles M. I. Vorontsov and S. G. Stroganov in St. Petersburg; imperial palaces- Winter in the capital, the Bolshoi (Ekaterininsky) in Tsarskoe Selo (Pushkin), the Grand Palace in Peterhof (Peter Palace); St. Andrew's Church and the Mariinsky Palace in Kyiv. All of them vividly characterize the Baroque style of the mid-18th century. in Russia and the evolution of creativity of a remarkable architect. Smolny Monastery (1748-1764) was created in the traditions of Russian monastic ensembles of previous centuries, but the architect introduced the principle of regularity and symmetry into its planning system, which, nevertheless, did not prevent the author from giving picturesqueness to a wide spatial composition with a majestic five-domed cathedral in the center and four symmetrically located one-dome tower-shaped corner churches. Conceived by Rastrelli at the insistence of Empress Elizabeth, the high (about 140 m) bell tower was not built due to the Seven Years' War. Elizabeth demanded that the architect revive the Russian traditional five-domed structure in the form of a cathedral and ordered the construction of the Smolny Cathedral on the model of the Assumption Cathedral in the Moscow Kremlin. The architecture of each building (Fig. 6.34) and the interior in the ensemble of the Smolny Monastery, especially the cathedral itself, is distinguished by unusual picturesqueness and plasticity of forms. The interior decoration of the cathedral was not completed due to the Seven Years' War. The outstanding Russian architect V.P. Stasov completed the construction of the ensemble in the 1830s.

St. Andrew's Church in Kyiv (1747-1753), picturesquely crowning the hill above the Dnieper, is distinguished by an unusually expressive silhouette, formed by one dome and four cupolas on extended turrets. The construction of the temple was carried out by the architect I.F. Michurin. To decorate the facades of this church, decorative details prepared in the form of iron castings for the Smolny Cathedral were used. The surviving early palace buildings of F. B. Rastrelli include two palaces in the Courland estates of Biron - Rundale and Mitava (Jelgava), built in 1736-1740. under the direct supervision of the architect. The architecture of both palaces in the form of closed squares clearly shows restraint in the use of decorative accessories, which were increasingly being introduced into the practice of baroque palace construction. Both of these palaces are still close to the architecture of the time of Peter the Great, and the palace in Jelgava is somewhat closer to the works of the mature period of the work of F. B. Rastrelli than the Rundale Palace.

With the fall of Biron, the construction of palaces was suspended, and they were completed with the participation of F. B. Rastrelli only in the 1760s

The palace of M. I. Vorontsov is already a typical work inherent in the developed “handwriting” of the architect. The central three-storey risalit is richly decorated floor-by-floor (first and second floors) with double wall columns, and windows with figured frames. Thanks to the expressive plastique of the center with its unraveled middle part (three spans), it stands out in contrast against the background of the calmly arranged wings closed by the end projections. Arc-shaped passages connect the palace itself with service wings, flanking the yard and "tightened" by a fence.

S. G. Stroganova (1752-1754) on Nevsky Prospekt This is an urban-type palace with a closed courtyard-garden and decorative framing of courtyard facades that hid outbuildings. The facades of the palace, facing Nevsky Prospekt (the main one - with a gate passage) and the Moika Embankment, are distinguished by an exquisite composition with the highlighting of their centers, decorative porticos designed in different ways and brilliantly executed window frames.

The first floor with horizontal rustication is interpreted as a basement, carrying columns of a large Ionic order in unraveled porticos, the capitals of which are originally decorated with garlands of flowers and acanthus leaves. On the roof of this palace, even the chimneys are given decorative outlines in the form of vases.

Winter Palace The main imperial residence - the Winter Palace (1754-1752) - was formed over many years, initially from several palaces of Peter's nobles. Despite such a long process, accompanied by many restructurings, in its final form it led to a clear composition in plan, consisting of four compact blocks and buildings connecting them, embracing the inner closed courtyard of a cruciform shape. . Through various combinations of risalits and porticos, the volumetric structure of a three-story building is achieved, and a diverse combination of three-quarter columns in the porticos, eaves, balustrades and statues on it create a striking picturesqueness, emphasized by the color of the walls (background), columns and decorative details. despite the diversity, they do not violate the unity of the impression of the entire building. The main idea - a grandiose enfilade along the Neva facade - he failed to implement, and all other premises were finished after his death.

Grand Palace in Peterhof

reflect two stages of creativity of the famous architect. If in the external appearance of the Grand Palace in Peterhof (Petrodvorets), radically rebuilt by him in 1745-1752, the features of the architecture of the first third of the 18th century are still preserved. In 1747, architect. F.-B. Rastrelli, by decree of Empress Elizabeth Petrovna, began a radical restructuring of the palace, leaving only the central part of Peter's Upper Chambers unchanged, enlarging the galleries and turning the side wings into buildings. The arrangement of halls and rooms according to the enfilade corresponded to the theme of parade processions, court ceremonies and diplomatic receptions. The gilded Grand Staircase led to the Dance Hall, decorated with gilded carvings and picturesque baroque plafonds.

In 1763–67 classicist arch. J.-B. Wallin-Delamot decorated the Portrait Hall with paintings in "trellis hanging" and finished two Chinese cabinets - western and eastern, adjoining the Peter's Hall in the center of the palace. In 1770–73 student of Rastrelli, arch. J. Felten completed the decoration of the suite of living rooms using Rococo techniques, unique fountain structure, one of the most beautiful in the world architectural structures- The main (Big) cascade of Peterhof. The Grand Cascade consists of three independent staircase cascades with seventeen waterfall steps and a grotto that unites them. The cascade is decorated with 37 statues, 29 bas-reliefs and more than 150 small decorative ornaments. An indelible impression is made by 64 fountains of the Grand Cascade ensemble, which simultaneously throw out 142 jets of water of the most unexpected shape. It has a mesmerizing effect on all visitors.

The second stage of Rastrelli's work (the Grand (Ekaterininsky) Palace in Tsarskoye Selo) is when architecture is presented as the apotheosis of decorativeness and generosity of pictorial compositional techniques. B. Rastrelli reconstructed in 1752-1757, skillfully preserving much that was done by his predecessors, but enriching the building with decorative elements and new compositional techniques. Rastrelli used buildings that had existed since the time of Peter the Great and which were repeatedly rebuilt and built on. The architect significantly increased the size of the palace and made the entire building the same height - three floors with a slightly elevated central part due to an additional mezzanine. As a result, he combined all the volumes of the building into a single and powerful whole.

The bulk of the palace unfolded 306 meters in length; five gilded domes glittered above the east wing. Against the background of turquoise walls, rows of white columns, whimsical reliefs of architraves, as if flowing into one another, an openwork belt of forged balcony lattices with gilded details, are clearly readable. Sculpture, striking in abundance and variety of forms, gives a special refinement to the facades.

A two-tiered, light-flooded, wide front staircase led to the second, or, as it was called, “beautiful” floor, which consisted of a suite of front rooms. Between the Main Staircase and the Great Hall (the main room of the palace), Rastrelli placed five anti-chambers. These spacious two-height living rooms, interconnected by three rows of doors, were unusually ingeniously decorated with double gilded columns, carvings, sculptures, picturesque ceiling lamps, stoves lined with tiles.

Russified name and patronymic Varfolomey Varfolomeevich; (1700-1771) - the famous Russian architect of Italian origin, count, holder of the Order of St. Anna and academician of architecture.

Son of a famous sculptor and architect Bartolomeo Carlo Rastrelli(1675-1744), Russified Italian. Educated in Paris, he also studied with his father, a sculptor. In 1716, together with his father, he came to Russia as his assistant, and soon began to work independently. To continue his education in 1722-30 he traveled to Italy, Germany and France. Rastrelli was the favorite architect of Elizaveta Petrovna, with her were created his best work. Received the rank of Major General. He left behind a school of students and followers. In Moscow and St. Petersburg he built for Anna Ioannovna, in St. Petersburg and its suburbs - for Elizaveta Petrovna, in Courland - for Anna Ioannovna's favorite, Ernst Johann Biron.

By order of Anna Ioannovna, he completed a number of buildings: a small wooden palace in the Winter Annenhof in the Moscow Kremlin and a summer Annenhof in Lefortovo (both have not been preserved). After the empress moved to St. Petersburg in 1732, work began on a new Winter Palace (the third in a row) on the site of the current one. In 1741, after the ascension to the throne of Elizabeth Petrovna, the time for the brilliant flowering of Rastrelli's talent begins. He receives the largest official orders. In the magnificent creations of this time, the face of the Russian Empire is expressed, the ideas of glory, power and wealth of Russia are embodied.

In 1741-42 on the site of the current Engineer's Castle Rastrelli builds a new summer wooden palace, ordered under Anna Leopoldovna and completed under Elizaveta Petrovna. This Summer Palace became the favorite residence of Empress Elizabeth. In the compositional solution of the palace and in the design of its interiors, the mature handwriting of the master is already taking shape, as well as in another, no less famous, at one time, his creation - Ropsha Palace and Park Complex.

By order of Empress Elizabeth, Francesco Bartolomeo Rastrelli designed in Ropshe a large ensemble with a palace complex in the center and the Upper and Lower Gardens on its sides. Since that time, we can talk about the creation of a palace and park ensemble, and not just a complex of buildings with a small garden accompanying it, because both parts of the complex become full-fledged and inseparable. And although the architect, due to the outbreak of the Seven Years' War, did not manage to fully implement the project, he created a new composition of a whole complex of buildings on a vast terrace plateau based on Golovkin's modest manor house. The old chambers were connected to the new side buildings by long one-story galleries. Two more buildings are being added to the former outbuildings.

A church appeared at the ends of the galleries on one side, and the Hermitage pavilion on the other. The main façade of the building was also redesigned in the Baroque style favored by Rastrelli. The features of the famous architect's corporate style - slender white columns of the Corinthian order - still proudly carry a triangular classical portico. However, it is difficult to talk about how great the role of Rastrelli in arranging the estate is. The monument changed a lot in subsequent years, although the compositional solution of the famous architect was preserved by his followers.

Perhaps the most striking representative of Russian baroque. F. B. Rastrelli he was the first to combine elements of European baroque with Russian architectural traditions, drawn by him primarily from the Naryshkin style, such as bell towers, roofs, and color scheme.

Francesco Bartolomeo Rastrelli was born in 1700, in Paris. His father, Bartolomeo Carlo Rastrelli, an architect and sculptor, came to Russia with his family in 1716, because after the death of King Louis XIV there was no work for him in France. The contract signed by Bartolomeo Rastrelli on October 19, 1715 stated that "Mr. Rastrelli Florensky undertakes to go to St. Petersburg with his son and his student and work there in the service of His Tsarist Majesty for three years ..."[Cit. according to 1, p. 208]. Thus, at the age of 16, Francesco ended up in St. Petersburg, which then surpassed all the cities of Europe in terms of the scope of construction.

In pre-revolutionary and Soviet literature, the architect is often called Varfolomey Varfolomeevich. Such a nickname was given to him by those who were unusual or unpleasant to use foreign names. The architect himself signed almost all documents in French: "de Rastrelli" or "Fransois de Rastrelli", that is, Francois de Rastrelli. In the Italian manner, it would be correct to call him Francesco Bartolomeo Rastrelli.

The first address of the Italians was the wing of the former house of Kirill Narshykin on Second Coastal Street. In the summer of 1717, they moved to a house on First Beregovaya Street (now Shpelernaya), which previously belonged to the widow of Peter I's elder brother, Tsarina Marfa Matveyevna.

Francesco Bartolomeo Rastrelli learned the art from his father. Until the 1970s, it was believed that he went to Italy or France to study. But there are no documents to support this. Most likely, this trip did not happen. Rastrelli Jr. was an apprentice of Rastrelli Sr. After many years, compiling a list of everything he did, he will rank among his works those that were led by his father. In the time of Peter the Great, Francesco helped his father create a model of the Strelna Palace, together with him he was engaged in interior decoration in the palaces of Apraksin and Shafirov.

It is worth noting that Bartolomeo Carlo Rastrelli was still more of a sculptor than an architect. Probably, in their joint work, the son's architectural talent was clearly manifested, which his father skillfully developed and directed in the right direction.

In 1721-1727, Francesco Bartolomeo Rastrelli completed his first work, the palace of Antioch Cantemir. The Italian master would later become the most prominent architect of the Baroque era in Russia. But this work of his, although talented, is the work of a student. The Cantemir Palace was built in the style of northern European architecture, not Italian or French.

The Rastrelli family did not lose customers even after the death of Peter I. Even the enemy of Menshikov, Prince Dolgorukov, ordered the project of his palace from them.

The talent of the Italian Rastrelli did not disappear under the niece of Peter I, Anna Ioannovna, who ascended the Russian throne. She yearned for luxury and demanded for herself everything of the most exquisite. Bartolomeo Carlo Rastrelli skillfully took advantage of this by going with his son to an audience with new empress to Moscow on the day of her coronation on April 28, 1730. After meeting with the architect, she ordered him to build her palace (Annenhof) in the Kremlin, and then in Lefortovo. Rastrelli Sr. supervised the construction, and Rastrelli Jr. drafted.

In 1732, Francesco Bartolomeo Rastrelli was commissioned to build an arena on a vacant lot between Nevsky Prospekt and Bolshaya Morskaya Street. The order is given by Biron, the favorite of Empress Anna Ioannovna. In parallel with this, the Rastrelli family is designing the new Summer and Winter Imperial Palaces.

Around the same time, the architect married a certain girl Wallace. The young family settled in the house of Bartolomeo Carlo Rastrelli. In early March 1733, Rastrelli had a son, Joseph Yakov, in the last days of 1734, a daughter, Elizabeth Catherine de Rastrelli, and at the end of October 1735, a daughter, Eleanor.

Biron became the first private customer of the architect. In the autumn of 1734, he invited Francesco Bartolomeo Rastrelli to build a palace in Courland, to which the architect gladly agreed. It became his first major independent work. Biron Palace in Ruenthal is the earliest surviving creation of Rastrelli, created in 1736-1739. In this project, Rastrelli for the first time created an entrance tower-bell tower for himself, which he later repeated in the project of the Smolny Monastery.

In December 1737, the architect's son Joseph Yakov died of cholera. January 6, 1738 - daughter Eleanor.

In 1737 Biron became Duke of Courland. He needed an even more luxurious residence, the creation of which was again entrusted to Francesco Bartolomeo Rastrelli. The customer was not constrained by financial resources, which allowed the architect to fully reveal his talent. The palace in Mitau was built from 1738 to 1741, before Biron was sent into exile.

In 1738, Rastrelli finally became chief architect with a salary of 1,200 rubles a year. What Bartolomeo Carlo Rastrelli wanted so much when he arrived in Russia, his son achieved after 22 years. At the same time, Rastrelli Jr. received a service apartment in the former Winter Palace of Peter I.

After the death of Anna Ioannovna, nothing should have changed in the fate of the Rastrelli family. Biron, who was well known to them, became regent for the young prince Ivan Antonovich. The change of power in November 1740 did not affect their fate either. The regent was the mother of Tsarevich John, Princess Anna Lepopoldovna, under whom Minich received power. This German also treated Rastrelli favorably, as did Biron.

At the direction of Minich, Francesco Bartolomeo Rastrelli abandoned the unfinished palace in Mitava and arrived in St. Petersburg. Despite the fact that the architect wrote a petition for payment for his work in Courland, Minich did not want to spend public money on Biron's palaces. Therefore, this work of Rastrelli was left without payment.

In St. Petersburg, the architect began designing a new palace for Anna Leopoldovna. But he was in no hurry to complete this project, as rumors about a possible imminent change of power did not pass him by. And so it happened. As a result of another palace coup, the daughter of Peter I, Elizabeth, ascended the throne.

Under the new government, everything German is swept out of Russia. Rastrelli's connections with Biron and Munnich did not go unnoticed by the empress's associates. At the beginning of 1742, Elizaveta Petrovna ordered Rastrelli not to recognize the dignity of count in Russia, to delay the payment of his salary, and not to give him any orders for construction.

In such a situation, any foreigner would leave Russia. But not Francesco Bartolomeo Rastrelli. He realized that his talent could not but be in demand by Elizaveta Petrovna. She, like Anna Ioannovna, loved the luxury that the Baroque style created. The construction of palaces under the daughter of Peter became a real policy. Following her, her close associates also sought to equip their residences. And the unsurpassed master of the Baroque style in Russia was only Rastrelli. Other architects here at that time were either too young or not so skilled.

Rastrelli wasn't wrong. At first, the Empress entrusted him to complete the construction of the Summer House, which he had begun under Anna Leopoldovna. Elizabeth herself settled in this Summer Palace. In 1744, the architect took part in the construction of the Anichkov Palace, begun by Zemtsov. After the death of Zemtsov in 1743, G. Dmitriev took care of the palace, but he could not satisfy the taste of the empress.

In 1744, Elizaveta Petrovna set off on a journey through Little Russia, the homeland of her favorite Alexei Razumovsky. On August 29, she arrived in Kyiv. In that ancient city she ordered to build a temple in honor of Andrew the First-Called and a travel palace for her next visits. The design of these objects was entrusted to the architect Schedel, who submitted the projects for the highest consideration a year later. Their empress did not approve, transferring the design to Rastrelli. He made drawings, but he did not have time for the construction itself. The management of the work was entrusted to the architect Ivan Fedorovich Michurin. During the construction process, he had to face numerous difficulties that Rastrelli did not take into account.

Bartolomeo Carlo Rastrelli died on November 18, 1744. The next day, Francesco Bartolomeo reported to the Chancellery from the buildings about the readiness for casting the equestrian statue of Peter I, which was created by his father. The architect took over the completion of the creation of the monument, which he considered his duty to his father.

In 1746, Elizaveta Petrovna decided to expand the Peterhof Palace, while retaining the old house of Peter I. Works in Peterhof were entrusted to Francesco Bartolomeo Rastrelli. Once Leblon removed his father from architectural affairs in St. Petersburg, and now Francesco Bartolomeo continued Leblon's work. The first perestroika project was ready on March 6, and on May 7, 1747, the next one. final version Rastrelli created by January 23, 1749. Construction in Peterhof Rastrelli led another three years.

During the reign of Elizabeth, the architect performs a huge amount of work. At the same time, the title of chief architect was not returned to him and his salary was not increased. Rastrelli had to cheat - he announced his departure from Russia. Only after that, on November 4, 1748, Rastrelli received the title of chief architect with a salary of 1,500 rubles a year. Apparently, Rastrelli was not going to leave Russia.

Works by Francesco Bartolomeo in 1748 [Cit. according to 1, p. 267]:

the project and drawings for the decoration of the premises of the Peterhof Palace, where "all the apartments inside were decorated with gilded molding and painting on the plafonds in the hall, gallery and front staircase";
Smolny monastery project
construction of a palace in the village of Perovo near Moscow;
project for the construction of St. Andrew's Cathedral in Kyiv;
the completion of the construction of the Anichkov Palace, the project for the decoration of its chambers and furniture especially for this palace;
project of the iconostasis of the Transfiguration Cathedral in St. Petersburg;
decorations for banquet tables of celebratory imperial dinners;
(probably in the same year) a project for a travel palace in Kyiv, the Shepelev Palace on Millionnaya Street.

In the same year, after a fire in the Kunstkamera, Rastrelli was asked to restore wax figure Peter I. The architect agreed, recreating the work of his father according to the preserved old forms.

With Rastrelli in different time collaborated architects S. I. Chevakinsky, K. I. Blank, I. F. Michurin, A. P. Evlashev, V. I. Bazhenov. Not a single complaint against Rastrelli has survived from the side of the architects.

In 1748, Empress Elizabeth issued a decree on the start of the construction of the Smolny Monastery and entrusted this to Francesco Bartolomeo Rastrelli. Construction was carried out from 1749, in 1751, due to the Seven Years' War, the implementation of the project had to be stopped. However, what has already been created is one of the most significant creations of the architect.

In 1749, Rastrelli began to take part in the construction of the Great (Catherine) Palace in Tsarskoe Selo. Initially, the work consisted only in the alteration of the old building, but since 1752 the architect began a new restructuring of the entire complex. The Catherine Palace became one of the most grandiose palace complexes of the 18th century. Rastrelli also noted the Tsarskoye Selo pavilion of the Hermitage as a separate item in the list of his works. He also created the Grotto pavilion here.

In 1749-1757, Rastrelli built a palace for Chancellor M. I. Vorontsov.

From 1752 to 1754, the Stroganov Palace was built according to the project of Rastrelli. Count Stroganov turned out to be the only customer who, in addition to a monetary reward, presented the architect with a generous gift. He ordered a portrait of Rastrelli from the artist P. Rotary, who came to St. Petersburg to paint portraits of members of the imperial family.

On February 16, 1753, Elizaveta Petrovna issues a decree on the start of construction of the new Winter Palace, the construction of which was entrusted to Francesco Bartolomeo Rastrelli. From the projects for the reconstruction of the Winter House of Anna Ioannovna, the project for the construction of a new imperial residence grew. The palace built on Palace Square became the most prominent building in St. Petersburg in the style of the Elizabethan Baroque, a symbol of this style.

Before the start of the construction of the Winter Palace, a temporary residence was built for Elizabeth Petrovana in just a few months in 1755, the arrangement of which was also carried out by Rastrelli.

In the mid-1750s, the family of Francesco Bartolomeo Rastrelli moved to Nevsky Prospekt, to the Sablukov house (now house number). By this time, the daughter of the architect, Elizabeth, had married and lived with her husband in her father's house. Big family demanded a lot of money. Rastrelli was assisted by numerous private commissions. He built Choglokov's palace, Vilboa's house, Sievers' country cottage, Shepelev's house.

In 1758, according to the project of Francesco Bartolomeo, the construction of Gostiny Dvor on Nevsky Prospekt began.

Despite the constant employment, the money was still not enough. After all, the position of chief architect also required the presence of masquerades twice a week. Commodities were constantly rising in price, but salaries remained the same. Some of the premises of the rented house, and perhaps even entire outbuildings, Rastrelli subleased. In 1760, advertisements for the sale of paintings and horses were published in the St. Petersburg Vedomosti. The architect was selling his valuables.

In 1760, Rastrelli's relationship with the Empress cooled due to the slow implementation of the projects he led. The architect was not to blame. A lot of money at this time was spent on waging war. Financing of St. Petersburg construction projects was too scarce. On January 15 and 26, 1758, the Senate removed blacksmiths from the construction sites of the Winter Palace and the Smolny Monastery, because there was no one to tie the wheels of the cannons. But Elizaveta Petrovna did not care much. Soon the construction of Gostiny Dvor was also suspended. The difficulties lay in the rejection of the project by the merchants, who considered it too expensive. There was not enough money for this building. In 1761, the construction of Gostiny Dvor was resumed, but according to a different project.

On December 25, 1761, Elizaveta Petrovna died, without having had time to settle in the Winter Palace. The construction of the imperial residence was completed under Peter III. He was the only one of the rulers who rewarded Rastrelli for his labors. He awarded the architect the rank of Major General and the Order of St. Anne.

Peter III did not rule for long. Already in the summer of 1762, Catherine II came to power. Under the new empress, the Italian was no longer given important orders. His baroque style went out of fashion. On August 10, Rastrelli was sent on leave "to use the disease in Italy for a year with the issuance of a full salary without deduction" with a one-time issue of 5,000 rubles to him.

A year later, Francesco Bartolomeo Rastrelli returned to St. Petersburg. Here he learned about the departure from Russia of Ivan Ivanovich Shuvalov and Chancellor Vorontsov, as well as that the French architect Vallin-Delamot, invited to St. Petersburg, was remodeling the interiors of the Winter Palace. On October 23, 1763, the empress signed a decree on the resignation of the chief architect, assigning him a pension of 1,000 rubles a year.

In St. Petersburg, Rastrelli had no customers left. But Ernst Johann Biron returned to Courland from exile. At the end of March 1764, Rastrelli's wife and daughter left for the duke, as he decided to complete the construction of the palace in Mitava. In August, Francesco Bartolomeo went after them.

In 1766, at the insistence of his son, Biron invited the young Danish architect Severin Jensen to work in his residence.

On February 24, 1769, Francesco Bartolomeo Rastrelli went to Italy to purchase paintings by Italian painters in Venice, Florence and Milan. The following year, he brought 33 canvases to St. Petersburg for sale. At the same time, he sent a petition to the Academy of Arts for his election as an honorary free fellow. On January 9, 1771, the Academy granted such a request.

Francesco Bartolomeo Rastrelli died in 1771. IN last years During his life, Rastrelli liked to repeat: "an architect is appreciated here only when he is needed." The exact date of death and the place of his burial are still unknown.

March 18th, 2018 04:49 pm

I invite the readers of our magazine to get acquainted with the article by Andrey Chekmarev, published in the Journal of Architectural Heritage - https://arch-heritage.livejournal.com/1745677.html - December 2013. Author's suggestion And let's post architectural graphics here - projects, plans, measurements. This material on Russian architecture is clearly not enough on the net" - I obviously like it. However, I will not quote the entire article, there are a lot of interesting things in it.
So, for reading:

Let's start with Francesco Bartolomeo Rastrelli (1700-1771) . The main figure of the Russian baroque, the court architect of the two empresses, Anna Ioannovna and especially Elizabeth, for whom he built all her luxurious palaces. Rastrelli's drawings are now kept in various collections, much has been published. Of the Russian collections, the largest are in the Museum of the History of St. Petersburg and the Hermitage. From foreign - in the People's Library in Warsaw and the Vienna Albertina. Scans of varying quality from literature on Rastrelli's work and museum catalogues.

Graphics of the early period of the 1730s.Palace of the Duke of Courland Biron in Rundale, laid down in 1736, completed and completed after the return of the duke from exile in 1762. The tower with access to the courtyard was never built.

Plan of the entire palace and park ensemble in Rundale

Second biron palace(and by status even the first one) since 1738 was built in the capital of CourlandMitau, present Jelgava. The palace was unlucky, it was never finished with all the splendor, and what was there repeatedly burned in fires. Now there is an agricultural academy.

Further drawings the wooden Summer Palace of Elizabeth, which was built in 1741-1744 and dismantled by order of Paul I to make room for his Mikhailovsky Castle (in which Emperor II was killed).

Moscow Palace of Elizabeth, also wooden, in Perov, which then belonged to the favorite of the Empress Alexei Razumovsky. The palace is also long gone.

Another MoscowImperial Palace, in the village of Pokrovsky. It has been preserved, although it was rebuilt beyond recognition as an almshouse, it is located on Gastello Street.

Elizabeth's Srednerogatsky Palace, on the outskirts of St. Petersburg, built in 1751-1754. Demolished recently. in 1971.

One of the early rebuilding and expansion optionsGrand Peterhof Palace, 1746

Further design drawings for the restructuring of the Catherine Palace in Tsarskoye Selo. 1749-1756 years.

And the last of the Elizabethan residences -Winter Palace in St. Petersburg, 1753-1762

Further Rastrelliinteriors, mainly for the Winter and Catherine Palaces. In general, there are few interiors of Rastrelli left, and most of them are restoration remodels after military destruction. In Zimny, almost everything was remade already under Catherine in classicism, and then burned down in a big fire in 1837 and partially recreated by Stasov, like, for example, the Jordan Stairs.

Rastrelli stoves as independent architectural forms, either church bell towers or park pavilions.

Triumphant niche for the throne of Elizabeth.

The Hermitage Pavilion in Tsarskoye Selo. 1748. Superbly preserved and recently restored.

The Grotto Pavilion is also for Tsarskoe Selo. 1749-1761 years. Preserved, but partially lost decoration

The hunting pavilion of Monbijou in Tsarskoye Selo. 1754, restructuring of the original building by S.I. Chevakinsky. Then Adam Menelas rebuilt the pavilion again, as a result of which it became the Arsenal on the outskirts of the park. Now abandoned, but worth it. The first version of the project.

Second final version

Roller Hill in Tsarskoye Selo, built in 1754. Dismantled for dilapidation in 1795.

Orthodox Church in Mitava(Jelgava), rebuilt beyond recognition at the end of the 19th century

Recreation Projectrotunda tent in the New Jerusalem Monasterynear Moscow. The project was implemented under the leadership of Carl Blank. Destroyed during the war, now being restored for the second time.

Smolny Resurrection Novodevichy Convent in St. Petersburg.Laid down in 1748. An early project, where the cathedral's corner bell towers are widely spaced, and a completely different bell tower than the one that was eventually decided to be built. This project influenced the appearance of the bell tower of the cathedral complex in Kostroma, built by Vorotilov. And that, in turn, influenced the spread of a characteristic type of bell towers with a recognizable curved end throughout the Kostroma province and neighboring Volga territories.

Plan for this project option

Side facade of the approved design optionSmolny Cathedral. But during the construction of the head, they decided to connect them together, which was done.

Section of the cathedral. You can see how Rastrelli conceived the interior. His plan was never fully realized. Elizabeth died, and Catherine was not going to continue the costly construction in accordance with the project. The interior was made much more modest and already in a different era, according to the project of Stasov.

Also, the tall 140-meter highBell tower, the top of which transparently hinted at the Ivan the Great Bell Tower in the Moscow Kremlin.

Among Rastrelli's projects there is such an original drawingchurchestriangular configuration. The project is close to similar designs of triangular churches (usually dedicated to the Holy Trinity), common in Italian and German baroque. What place this drawing was intended for is unknown. It was never implemented.

Rastrelli's plan was not fully implemented either.Gostiny Dvor in St. Petersburgon Nevsky Prospekt, 1757. Due to cost savings, Elizabeth handed over the construction site to J.B. Wallen-Delamot, who greatly enhanced Rastrelli's project, abandoning all the lush details of the Baroque. The drawing shows what Rastrelli wanted to see the clock tower above the main entrance to the building.

Here he was, the chief architect of the Court of Her Majesty Count Rastrelli of the Italian nation ...