Sculpture of the middle peak. mid-summer
At the rocky 1782 rock over the cold shore of the Nevi, a bronze dibka was rising with a bronze emperor in the seat. Matinka Katerina, as if unobtrusively signified her greatness, punished on the pedestal say: "Peter Pershom - Katerina Druga." Read: vіd uchnya - to the reader.
The clothes on Petri are simple and light. The deputy of a rich saddle is a skin, which, by design, symbolizes the wild nation, civilized by the sovereign. For the pedestal, there was a majestic skeleton in the shape of a whil, which, on the one hand, spoke of difficulties, and on the other, of maritime victories. The serpent under the feet of a stout horse was depicting "the fortune-tellers of strength." The figure of Peter is guilty, behind the idea, to hang out the thoughts of that strength, the unity of the rush and calmness.
Midny top. (Pinterest)
Katerina chided Peter with a rod or a scepter at the hands, which is like sitting on a horse like a Roman emperor, and not a legionary. Falcone, having thought of something else: “My tsar does not hold a wand, he stretches out his beneficent rule over the country, so that he should be obedient to him. Vіn podnimaєtsya on the mountain skelі, scho to serve you as a p'edestal.
The idea of a monument to Peter was born at the head of Katerina under the infusion of a friend of the philosopher Denis Diderot. Vіn also pleased Etienne Falcone: “At a new day of subtle relish, rose and delicacy, and at one time wines of uncouthness, suvory, no one can believe in ... I don’t know ugliness.”
For the creation of a plaster model, Falcone called a guards officer, putting a dibky kin. So it was a sprat of a year for a day. The horses for the robot were taken from the imperial steeds: horses Diamant and Caprice.
Plaster sketch of the head of the Midny Vershnik. (Pinterest)
The gypsum model was molded with all the light: the horse that apex was Etienne Falcone himself, the head was the yoga student Marie Ann Collot, the snake was the Russian master Fedir Gordiev. If the model was completed and hardened, it was necessary to inform about the forging. Falcone, until that one time, we didn’t take up the same thing, having let it go, so that fakhivtsiv were called from France. Called out. The French livarnik Benois Ersman and three masters came to St. Petersburg not with their own instruments, but to strike with their own squeak and that clay is not enough, wild Russia does not have the right syrovina in rapt. Alece did not help youmu vikonati zagovlennya.
The situation was spitting, the terms were twitching, Falcone was nervous, Katerina was dissatisfied. We knew the Russian smiles. The forging of the monument trival mayzha 10 years. Falcone himself did not find the completion of the work - in 1778 he was guilty of going to the fatherland. At the urochist, the sculptor was not requested.
Context
The pedestal represents no less powerful tvir, true, even victorious by nature. Nicknamed a thunder stone, he was known near the village of Kinna Lakhta (ninth district of St. Petersburg). The foundation pit, which, having settled down after the birth of the earth, became the rate, which is the same today.
Petrovsky becoming, scho vinik followed the thunder-stone. (Pinterest)
Consumed zrazok - vaga 2 yew. tons, zavdovzhki 13 m, zavvishki 8 m and a width of 6 m - the well-known state peasant Semyon Vishnyakov, who delivered a budіvelny kamin to St. Petersburg. According to the legend, the rock broke into the granite rock after the blow of a bliss, the star called thunder-stone.
The best way was to deliver the stone to the Senatskaya Square - the future pedestal could be podolat 8 km. The operation was carried out throughout the winter of 1769/1770.
The stone was brought to the shore of the Finnish tributary, where a special pier was arranged for this adventure. A special ship, prompted by the unique armchairs, was sunk and put on a front driven fire, after which the stone was destroyed from the shore onto the ship. The same operation was repeated in the right order on the Senate Square. The whole of Petersburg was guarded for transportation, from small to great. While the thunder-stone was being transported, it was hewn, giving it a “wild” look.
D_ya machines for transporting thunder-stone. (Pinterest)
Unexpectedly after the installation near the monument, local legends and horror stories began to multiply.
According to one of them, while the Midlander stands in his place, there is nothing to be afraid of. It came at the same time as the major's sleep, the hour Vytchiznyanoi war 1812 rock. The warriors handed over the night zhah to Oleksandr I, who themselves punished about the removal of the monument to the Vologda province - for a look at the French that were approaching. And after such prophecies, of course, the order was meted out.
The mayor of the Mid-River was nibito bachiv and Pavlo I for an hour alone from the evening walks. Moreover, it happened even before the installation of the monument. The future emperor himself revealed that on the Senate Square a ghost of Peter's guise was wafting, telling that the stench would reappear in the same place. A few hours later, the monument was opened.
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For Etienne Falcone, the monument to Peter I became the main right of life. Until recently, he worked mainly on the engagement of Madame de Pompadour, the mistress of Louis XV. Before the speech, she took away the recognition of the sculptor as the director of the Sevres Porcelain Manufactory. There were ten years of making figurines from images of allegories and mythological characters.
Etienne Falcone. (Pinterest)
“Less nature, I live, I am spiritualized, I am passionate, I can inspire the sculptor at marmur, at bronze and stones,” these words were the motto of Falcone. The French aristocrats loved yoga for bringing the baroque theatricality out of the antique austerity. And Diderot wrote what value Falconet’s creativity has in front of the fidelity of nature.
To finish the busy period of work under the supervision of Catherine II Falcone without asking for Russia. Remain 10 years of life, broken by paralysis, not a moment to practice and create.
"Midny Vershnik" - a monument to the first Russian Emperor Peter I, becoming one of the symbols of St. Petersburg. The holy sanctuary, consecrated to the 20th reign of Empress Katherine II, was celebrated on the 18th sickle (7 sickles according to the old style) 1782 on the Senate Square.
Initiative to create a monument to Peter the Great to lay down Catherine II. By his own order, Prince Oleksandr Mikhailovich Golitsin turned to the professors of the Paris Academy of painting and sculpture by Diderot and Voltaire, and Katerina II fully trusted their thoughts.
Vіdomi majstry recommended for the cієї the robots of Etienne-Morіs Falconet, who long ago dreamed of creating a monumental tvіr. Eskіz from wax was crushed by the master of Paris, and after their arrival in Russia in 1766, the work was done on a plaster model near the statue.
Inspired by the allegorical solution, inspired by youmu in the sharpened Catherine II, Falconet revealed the tsar as "the creator, legislator and benefactor of his land", which "stretches the right-wing woman over the land, that one should be obedient to him." Having entrusted the head of the statue of wines to the model of his student Marie Ann Collot, and then in the course of time he introduced changes into the image, pragmatically hang in the person of Peter the thought of that power.
The fork of the monument looked like a scythe of 1774. Ale vikonati її at a time, like having opened Falcon, did not go far. Under an hour of forging, cracks appeared in the livar form, through which rare metal became twisted. The main began to burn.
The self-confidence and guilt of the livar master Omelyan Khailov was allowed to extinguish the half-light, but the entire upper part of the fork in the top of the knee and the chest of the horse to their heads was wrongly zipped, and її happened to be cut. In an hour between the first and the other fork, the maistra laid and minted the opening, which was left at the top of the monument in the pipes (sprues), behind which the rare metal gave way to the form, and polished the bronze. The upper part of the statue looked like it was built in 1777.
Then, the joining of two parts of the sculpture and the laying of the seam between them, carving, polishing and patination of bronze began. In 1778, the construction of the monument was basically completed. On a riddle about Falcone, vigraving in one of the folds of the cloak of Peter I, he wrote in Latin language: "Drinking and encouraging Etienne Falcone, a Parisian 1778." The sculptor has left the top sickle of this fate in Russia, without having minted the monument.
Watch over the progress of the work from the construction of the monument following the arrival of the French sculptor from Russia and the architect Yury Felten.
The sculptor Fyodor Gordiev, the sculptor Fyodor Gordiev, symbolizes arrogance, steel and anger, serves as a support for the monument.
The lower sculpture - a giant granite shaved, so called thunder-stone, was found in 1768 on the birch of the Finnish tributary, near the village of Kinna Lakhta. The delivery of the colossal monolith with a mass of about 1.6 thousand tons to the month of the construction of the monument was completed in 1770. A bunch of yogo was transported dry on a platform with stingy skids, yak through 32 bronze coils spiraled on portable rails, laid on a prepared surface, and then on a specially motivated barge. On the little one of the architect Yuriy Felten, the stone was given the shape of a skele, as a result, the shape of the rosemary changed significantly. On the pedestal, in Russian and Latin language, there is an inscription: "Peter the First, Katerina Druga." The installation of the monument cheruvav was done by the sculptor Gordeev.
The height of the sculpture of Peter I is 5.35 meters, the height of the pedestal is 5.1 meters, the height of the pedestal is 8.5 meters.
At the statue of Peter, who calms the horse on the steep top of the rock, the unity of peace and calmness is miraculously conveyed; The royally proud seating of the king, the commanding gesture of the hand, the turn of the thrown head in a laurel wreath, which emphasize the opir of the elements and the affirmation of the sovereign will, are especially great for the monument.
A monumental statue of a horseman, with his hand clutching the reins of a horse stout in a strong blow, symbolizes the growth of power of Russia.
The place of roztashuvannya of the monument to Peter the Great on the Senate Square was chosen unfailingly. The order to be founded by the emperor is the Admiralty, which is the head legislative body of Tsarist Russia, the Senate. Katherine II leaned on the placement of the monument near the center of the Senate Square. The author of the sculpture, Etienne Falcone, created it in his own way, placing the monument closer to the Nevi.
Senate Square after the monument was named Petrovsk, in 1925-2008 it was called Decembrist Square. In 2008, the rotation changed the name of Senatsk.
Zavdyaks to Oleksandr Pushkin, a kind of victorist for a fantastic story about a revived monument at the hour of a shocked place near his own house, the bronze monument of Peter.
At the rocks of the Great Vitchiznyanoy war (1941-1945) the monument was covered with bears with a squeak, on top of which there was a wooden case.
"Midniy Vershnik" has been repeatedly restored. Zokrema, in 1909, water was drained from the pit, which had accumulated in the middle of the monument, and cracks were walled up; The complex of restoration works was built in 1976.
The monument to Peter I becomes an invisible part of the ensemble to the center of the place.
At the Day of the City near St. Petersburg, the official svyatkovi traditionally come to the Senate Square.
Material of preparations on the basis of RIA information
Monument to Peter the Great ("Midny Vershnik") of tashing near the center of the Senate Square. The author of the sculpture is the French sculptor Etienne-Morіs Falcone.
The place of roztashuvannya of the monument to Peter the Great was chosen unviolately. The order was founded by the emperor, the Admiralty, which was the head legislative body of Tsarist Russia - the Senate. Katherine II leaned on the placement of the monument near the center of the Senate Square. The author of the sculpture, Etienne-Morіs Falcone, having done it on his own, having erected the "Midniy Vershnik" closer to the Nevi.
Following the order of Catherine II, Falcone requested Prince Golitsin to St. Petersburg. For the sake of turning myself up to the first master of the professor of the Paris Academy of painting, Diderot and Voltaire, Katherine II trusted the relish of them.
Falconet was fifty years old. Vіn pratsyuvav at the porcelain factory, ale mriyav about great and monumental art. If there was a request for a monument from Russia, Falcone did not hesitate to sign the contract on 6 spring 1766. Think of it: the monument to Peter is guilty of being built up with "important cinema statues of colossal size". The sculptor was asked to pay a modest fee (200 thousand livres), other maisters asked for more.
At St. Petersburg, Falcon arrived with his seventeenth assistant, Marie-Ann Collot.
The turret of the monument to Peter the Great by the author of the sculpture was widely seen in the turret of the empress and the great Russian nobility. Katherine II made Peter I's bow with a rod or a scepter at his hands, which is like sitting on a horse like a Roman emperor. Statsky radnik Shtelin bachiv to post Peter the middle allegory of Reasoning, Pratsovitost, Justice and Peremogi. I. I. Betskoy, like a keruvav with robots from the arranging of the monument, presenting him with a figure to the fullest extent, embellishing the commander’s baton at the hands. Falcone was motivated to direct the emperor's right eye to the Admiralty, and left to the Twelve Collegiums. Saint-Petersburg Didro, who saw the roci in 1773, conceived a monument at the sight of a fountain, embellished with allegorical figures.
And Falcone, having thought of something else. Vіn vyyavivsya vpertym i napoleglivom. The sculptor wrote: "I will only surround myself with a statue of a hero, whom I do not interpret as a great commander, nor as a overcomer, although I want to win, more or less. There is a rich specialty of a creator, legislator, benefactor of one's own country, and I need to show people.
Vіdstoyuyuchi the right to his thought schodo looked at the monument to Falcone writing I. I. Betsky: "What could you say, like a sculptor, an excuse for creating such a meaningful memo, but for consolation of the building of thinking and for someone else's head, and not yoga's head, with the hands of his hands?"
Argument blamed and forgot the dress of Peter I. The sculptor wrote to Diderot: "You know that I will not dress yoga in Roman style, just like I would not dress Julius Caesar or Scipio in Russian."
Above the model of the monument at the life-size Falcone pratsyuvav three rocks. The work on the "Midny Vershnik" was carried out on the premises of the large Timchas Winter Palace of Elizaveta Petrivna. In 1769, the crossroads could have guarded here, like a guards officer riding horses on a wooden pomist and putting yogo on dibs. So it was a sprat of a year for a day. Bіlya vykna in front of the platform sat Falcone and respectfully zamalovuvav pobachene. Horses for robots over the monument were taken from the imperial flocks: horses Diamant and Caprice. Sculptor shaping the Russian "Orlov" rock to the monument.
Falcone's student, Marie-Anne Collot, smashed the head of the "Bronze Hearer". The sculptor himself took on this work, but Katerina II worked hard to remake the model. Mary herself proclaimed her sketch, which appeared to be accepted by the empress. For her work, the girl was accepted as a member of the Russian Academy of Sciences, Catherine II granted her a pension of 10,000 livres.
The Russian sculptor F. G. Gordeev created the snake under the foot of the horse.
The preparation of a full-size plaster model of the monument took as many as twelve years, and it was ready before 1778. The model of the bula vіdkrita for a deep look in the main at the rose of Tseglyany provulk and Velyka Morskoy ulitsa. Thoughts hung nayriznomanіtnіshі. The chief prosecutor of the Synod did not praise the draft. Didro pobachenim appearing pleased. Katerina II, with a baiduja, waded up to the model of the monument - she was not worthy of Falcone's swaville at the choice of the image of the monument.
For a long time, no one wanted to take up the task of making statues. The foreign masters were overwhelmed by a large sum of money, and the masculine minds lakav її rozmіr that foldability of the work. Behind the roses of the sculptor, for the preservation of the monument's ruggedness, the front walls of the monument were mali but with thin veils - a troch more than a centimeter. In such a way, the robots moved to send special requests for livarnik from France. Vіn calling Falcone divine and saying that the world does not have a fork like butt, so you won’t get lost.
Nareshty know the livarnik - master Omelyan Khailov of harmonizing references. At once, Falcone picked up metal from him, robbed the probe. For three rocky, the sculptor thoroughly sank littya. We began to build the "Bronze Heaper" in 1774.
The technology was more foldable. The tovshchina of the front walls of the obov'yazkovo is to blame for the tovshchina of the back ones. At the same time, the back part was important, which gave the statue a firmness, which spiraled on three points of support.
One filling of the statue on the right was not enough. Before the first hour, the trumpet splintered, like a burnt bronze near the mold. The upper part of the sculpture was zipped. It happened її zrubati and three more rocks got ready for another filling. Tsgogo time the robot vdalas. In memory of her, on one of the folds of the cloak of Peter I, the sculptor painted the inscription "Sculpted and molded by Etienne Falcone, a Parisian 1778".
About tsі under the St. Petersburg vіdomosti they wrote: “On 24 September 1775 Falcone made a statue of Peter the Great on horseback here. Zovsіm zgadany vpadok zdavavsya nastіlki terrible, scho feared, so that the whole budіlya would not be occupied with the fire, and, therefore, the whole right would not fail. Such a merciful Falcone of the destructions after the end, do it by rushing to the new and in the form of a wide heart, kissing and giving it to yourself as a penny.
According to the idea of the sculptor, the basis of the monument is to serve as a natural skelya yak hvili. The form of whil є nagaduvannyam about those who Petro herself took Russia to the sea. The Academy of Mystics began to search for the stone-monolith as long as the model of the monument was ready to be cast. A stone was needed, the height of which would become 11.2 meters.
The granite monolith was found in the Lahti region, twelve versts from St. Petersburg. After the mischievous orders, a glimmer ate at the skeleton, having made a crack in it. Among the local inhabitants, the skeleton was called "Thunder-stone". So then they began to call її, if they erected on the birch Nevi under the famous memorial.
Pochatkov vaga monolith - close to 2000 tons. Catherine II gave the city 7,000 rubles to the one who knew the most efficient way to deliver the skeleton to Senatskaya Square. From impersonal projects, the method of proponing Carburi was selected. It was a little bit that this project was bought by him into some kind of Russian merchant.
In the course of the journey, the stone to the shore was cut through by the inlets, and the soil was squashed. The skeleton was lifted from the zayvih nasharvan, it immediately became lighter by 600 tons. The grim-stone was placed on a wooden platform, which spiraled on the mid-couple. Tsі kuli were carried along the wooden zholobchih slats, upholstered in the middle. Prosіka bula zvivista. Robots transported the skeletons and tried in the cold, and in the sinter. Hundreds of people practiced. A lot of Petersburgers came to see the action. Deyakі z posterіgаchiv plucked stone tricks and made their own knobs on the cane or cufflinks. In honor of the extraordinary transport operation, Katherine II punished with a medal, on which is written "Sound like. Genvara, 20. 1770".
Mayzhe rik was dragged along the dry skeleton. Dali Finnish flood її carried on barges. Before the hour of transportation, dozens of kamenyarіv gave the necessary form. Skele arrived at the Senate Square on 23 April 1770.
At the time of the erection of the monument to Peter the Great, the sculptor's blueprints and the imperial court were still in existence. It went so far that Falcon began to be attributed only to the technical installation to the monument. The master of images did not reach the sight of the monument, at the spring of 1778 he went to Paris at once with Marie-Anne Collot.
The installation of the "Midny Vershnik" on the pedestal was carried out by the architect F. G. Gordeev.
The urochist of the monument to Peter I was celebrated on the 7th sickle, 1782 (according to the old style). The sculpture was closed from the eyes of the posterigachs with a linen fence from the images of the mountainous regions. Vranci yshov boards, ale wines without having to pick up a significant number of people on the Senate Square. Until noon the gloom rose. Guards entered the Maidan. Prince A. M. Golitsin cherubed the Viysk parade. About the fourth year, Empress Catherine II herself arrived on the boat. Vaughn climbed onto the balcony to wake the Senate in a crown and purple, she gave a sign until the monument was opened. The fence fell down, under the drumming of the police they destroyed the Neva embankment.
Following the order of Katerina II, on the pedestal is written: "Katerina II to Peter I". In this rank, the empress voted on the recognition of Peter's reforms.
Immediately after the appearance on the Senate Square of the "Midny Vershnik", the square was named Petrovskaya.
A. S. Pushkin called the sculpture “Middle Vershnik” in his poem of the same name. Tsey viraz became popular on the floor, becoming practically official. And the monument to Peter I itself became one of the symbols of St. Petersburg.
The carriage of the "Midny Vershnik" is 8 tons, the height is over 5 meters.
Under the hour of the blockade of Leningrad "Midny Vershnik" was stashed with bears from the earth and sand, sheathed with logs and doshkas.
The monument was restored in 1909 and 1976. During the rest of them, additional sculptures were carried out with additional gamma-ray changes. For this space, the monument was fenced around with bears with sand and concrete blocks. The management of the cobalt harmata was taken from the bus, which was known to be instructed. Zavdyakova tsomu doslіdzhennyu showed that the frame of the monument could be more ancient. In the middle of the figure, a capsule was laid with a note about the restoration of those її participants, a newspaper dated 3 September 1976.
In Denmark, the "Midny Vershnik" is a popular place for young people.
Etienne-Morice Falcone conceived "Midny Vershnik" without a fence. Ale, it was still created, it has not been preserved to this day. "Zavdyaki" vandals, who leave their autographs on the grim-stone that same sculpture, can easily implement the idea of reinventing the fence.
"Midny Vershnik" - a monument to the first Russian Emperor Peter I, becoming one of the symbols of St. Petersburg. The holy sanctuary, consecrated to the 20th reign of Empress Katherine II, was celebrated on the 18th sickle (7 sickles according to the old style) 1782 on the Senate Square.
Initiative to create a monument to Peter the Great to lay down Catherine II. By his own order, Prince Oleksandr Mikhailovich Golitsin turned to the professors of the Paris Academy of painting and sculpture by Diderot and Voltaire, and Katerina II fully trusted their thoughts.
Vіdomi majstry recommended for the cієї the robots of Etienne-Morіs Falconet, who long ago dreamed of creating a monumental tvіr. Eskіz from wax was crushed by the master of Paris, and after their arrival in Russia in 1766, the work was done on a plaster model near the statue.
Inspired by the allegorical solution, inspired by youmu in the sharpened Catherine II, Falconet revealed the tsar as "the creator, legislator and benefactor of his land", which "stretches the right-wing woman over the land, that one should be obedient to him." Having entrusted the head of the statue of wines to the model of his student Marie Ann Collot, and then in the course of time he introduced changes into the image, pragmatically hang in the person of Peter the thought of that power.
The fork of the monument looked like a scythe of 1774. Ale vikonati її at a time, like having opened Falcon, did not go far. Under an hour of forging, cracks appeared in the livar form, through which rare metal became twisted. The main began to burn.
The self-confidence and guilt of the livar master Omelyan Khailov was allowed to extinguish the half-light, but the entire upper part of the fork in the top of the knee and the chest of the horse to their heads was wrongly zipped, and її happened to be cut. In an hour between the first and the other fork, the maistra laid and minted the opening, which was left at the top of the monument in the pipes (sprues), behind which the rare metal gave way to the form, and polished the bronze. The upper part of the statue looked like it was built in 1777.
Then, the joining of two parts of the sculpture and the laying of the seam between them, carving, polishing and patination of bronze began. In 1778, the construction of the monument was basically completed. On a riddle about Falcone, vigraving in one of the folds of the cloak of Peter I, he wrote in Latin language: "Drinking and encouraging Etienne Falcone, a Parisian 1778." The sculptor has left the top sickle of this fate in Russia, without having minted the monument.
Watch over the progress of the work from the construction of the monument following the arrival of the French sculptor from Russia and the architect Yury Felten.
The sculptor Fyodor Gordiev, the sculptor Fyodor Gordiev, symbolizes arrogance, steel and anger, serves as a support for the monument.
The lower sculpture - a giant granite shaved, so called thunder-stone, was found in 1768 on the birch of the Finnish tributary, near the village of Kinna Lakhta. The delivery of the colossal monolith with a mass of about 1.6 thousand tons to the month of the construction of the monument was completed in 1770. A bunch of yogo was transported dry on a platform with stingy skids, yak through 32 bronze coils spiraled on portable rails, laid on a prepared surface, and then on a specially motivated barge. On the little one of the architect Yuriy Felten, the stone was given the shape of a skele, as a result, the shape of the rosemary changed significantly. On the pedestal, in Russian and Latin language, there is an inscription: "Peter the First, Katerina Druga." The installation of the monument cheruvav was done by the sculptor Gordeev.
The height of the sculpture of Peter I is 5.35 meters, the height of the pedestal is 5.1 meters, the height of the pedestal is 8.5 meters.
At the statue of Peter, who calms the horse on the steep top of the rock, the unity of peace and calmness is miraculously conveyed; The royally proud seating of the king, the commanding gesture of the hand, the turn of the thrown head in a laurel wreath, which emphasize the opir of the elements and the affirmation of the sovereign will, are especially great for the monument.
A monumental statue of a horseman, with his hand clutching the reins of a horse stout in a strong blow, symbolizes the growth of power of Russia.
The place of roztashuvannya of the monument to Peter the Great on the Senate Square was chosen unfailingly. The order to be founded by the emperor is the Admiralty, which is the head legislative body of Tsarist Russia, the Senate. Katherine II leaned on the placement of the monument near the center of the Senate Square. The author of the sculpture, Etienne Falcone, created it in his own way, placing the monument closer to the Nevi.
Senate Square after the monument was named Petrovsk, in 1925-2008 it was called Decembrist Square. In 2008, the rotation changed the name of Senatsk.
Zavdyaks to Oleksandr Pushkin, a kind of victorist for a fantastic story about a revived monument at the hour of a shocked place near his own house, the bronze monument of Peter.
At the rocks of the Great Vitchiznyanoy war (1941-1945) the monument was covered with bears with a squeak, on top of which there was a wooden case.
"Midniy Vershnik" has been repeatedly restored. Zokrema, in 1909, water was drained from the pit, which had accumulated in the middle of the monument, and cracks were walled up; The complex of restoration works was built in 1976.
The monument to Peter I becomes an invisible part of the ensemble to the center of the place.
At the Day of the City near St. Petersburg, the official svyatkovi traditionally come to the Senate Square.
Material of preparations on the basis of RIA information
A charitable wall newspaper for schoolchildren, fathers and readers “Briefly and clearly about the native”. Issue 98, serpen 2016 to the year.
Katerina II, Denis Didro, Dmitro Golitsin, Etienne Falcone, Yuriy Felten, Ivan Buckmeister, Oleksandr Radishchev, Ludwig Nikolai, Lewis Carroll and many others: citations from listing and spogadiv.
The newspapers of favorable coverage of the project “Briefly and clearly about the native” (site site) are recognized for schoolchildren, fathers and readers of St. Petersburg. The stench is delivered cost-free to the most important mortgages, as well as to the low medicines, child houses and other mortgages of the city. The project does not suffer from any advertising (only the logos of the founders), politically and religiously neutral, written in my light, good illustrations. The stench is conceived as an informational "talm" of learning, awakening cognitive activity and reading exercise. Authors who have seen, without claiming to be academically correct in submitting material, publish cіkavі facts, illustrations, interviews with leading figures of science and culture, and they themselves promote the interest of schoolchildren to the educational process. We dedicate ourselves to enlightening the administration of the Kirovsky district of St. Petersburg and everyone who helplessly help our wide-ranging wall newspapers. Okrema thanks Nadia Mykolaivna Efremova, intercessor of the director of scientific work for providing materials and consultations.
In 2016, 300 birthdays of the National Day of the French sculptor Etienne Moris Falconet are celebrated. The only monumental tver is the famous monument to Peter the Great on the Senate Square, known to the whole world as a Midday leader. Our wall newspaper has a leading stage in the creation of which, perhaps, the most beautiful symbol of St. Petersburg. So that at the same time, from the reader, we could see the atmosphere of the illuminated Catherine's era, we tried to give the floor to the uninterrupted participants and eyewitnesses of the events that are being described. The secrets of the Midny Vershnik, the revealing of the hour of restoration, as well as the mournful history of the pedestal - "Grim-stone" - we plan to discuss at the upcoming releases.
"Bring at the Zdivuvannya"
Senate Square. Baby of an unknown author.
“The monument to Peter the Great in Leningrad is a prominent piece of Russian and light sculpture. Inspirations on the Nevi birch may be two hundred years old, having become a real butt of the urochism of enlightened ideas, - this is how the doctor of mystical sciences, professor Avraam Kaganovich begins his fundamental book "Midniy Vershnik" (1975). - Hour vyyavivsya not dominion over the monument, vіn even more solidifying its imminent historical significance that aesthetic value. The monument is not only to glorify the hero, prominent sovereign fiance, - in a bright figurative form, in a new way, those changes that began in Russia in the first quarter of the 18th century, at the time of sovereign transformations, fundamentally changed the life of the country ... Great interest is presented as a monument, its plasticity, and its history.
In such a shabby tone (and a special interest in the history of the creation of the monument), earlier authors hung out. So, the librarian of the Imperial Public Library, writer and theologian Anton Ivanovsky at the book “Talk about Peter the Great and Yogo Spivrobitnikiv” (1872) vigukuvav: “Who among us, passing through Petrovsky Square, not sounding in front of the monument, Peter I ... for beauty, majesty, that lofty idea cannot be equal on all earthly backdrops... Історія спорудження цієї пам'ятки така цікава і водночас повчальна…» Про створення Мідного вершника написані цілі томи (найцікавіші книги перераховані в кінці стінгазети), тому ми дуже коротко відзначимо тут ключові моменти цієї «цікавої та повчальної історії», намагаючись дотримуватися спогадів сучасників та assessments of the knowledge of specialists.
"Not crushed by such magic"
Why didn’t Katherine’s statue of Rastrelli’s robot get better?
Monument to Peter I by B.K. Rastrelli in front of the Mikhailovsky Castle.
In 1762 Catherine II began to reign. The Senate immediately announced the erection of a monument to myself. The young empress decided what to blame the wiser, increasing the memory not of herself, but of Peter the Great - the reformer of Russia, reinforcing them to come forward and rule.
It is noteworthy that for an hour, if there was a need to build a cine monument to Peter I near St. Petersburg, a cine statue of Peter I at St. Petersburg ... already bula. Read about the sculpture of the authorship of the Italian sculptor Bartolomeo Carlo Rastrelli. Vіn prepared a model of the monument for the life of Peter I, having first made a wax mask-clip right in front of the emperor's face, and himself having reached the greatest portrait likeness. In 1747, the sculpture was made in bronze, after which it was forgotten, it was forgotten, it was saved in the comoria. Katerina, glancing at the monument, came to the conclusion that “it is not shattered by such a mysticism as it is possible to imagine the flooring of a great monarch and serve to embellish the Moscow city of St. Petersburg.” Why?
With the death of Empress Elizaveta Petrivna, the Baroque era ended in Russia. It's marvelous, how quickly you can create the most beautiful things you can do out of fashion! Empress Katherine the Great and her companions did not add “curls” to writing, the time for classicism had come. Simplicity and clarity of the image, high-quality decorative details, the lighted hero to the free specialness of the illuminated hero, the motives of rooting wild zabobonivs and convergence from deep non-government to light roses began to be valued in art. Naturally, during this period, architects appreciated the primordial beauty of natural stone. Later, “the image of Rastrelli’s creations, de panting the wicked emperor, - to rob Kaganovich’s whiskers, - looking rich in what is an anachronism. Vіk Enlightenment was to accept such an exchange of yoga interpretation. It was necessary to build a new, more deep and modern solution of the monument.
"The last and talented sculptor"
Why did you choose to fall on Falcon yourself?
Sculptural portrait of Etienne Falcone, victorious yoga student Marie-Anne Collot (1773). Museum of the Place Nancy, France.
How to remind Mikhailo Pilyaev at his famous book “Old Petersburg. Explanation of the Colossal Life of the Capital”, in 1765 Katerina ordered the Russian envoy in Paris, Prince Dmitry Golitsin, to know “that accomplished and talented sculptor”. Famous French sculptors looked like candidates for the role of the creator of the monument to Peter the Great: Augustin Pajou, Guillaume Coustue (younger), Louis-Claude Vasset and Etienne Falcone (voice for the French tradition of being put on the rest of the warehouse). The manifestation of a hopeless artistic sensibility of Golitsin confirms, zokrema, one of his friends, the philosopher-educator Denis Diderot: “Prince ... having achieved success in the knowledge of science ... the new high thought had that beautiful soul. And in a person with such a soul there is no filthy relish. Didro recommending Golitsyn (as well as Katherine herself, the stink shards littered in a friendly leafing) to name their choice on Falcon: “The axis is a brilliant person, filled with some kind of evil, powerful and non-powerful genius. To a new day of subtle relish, rozum, delicacy, give that grace ... to me clay, grind marmur, and at once read that rosemary ... that person thinks that she is greatness.
On September 27, 1766 (250 years ago), Falcone signed an agreement to prepare in St. Petersburg a “movie statue of a colossal size”. At the spring of this fate, the escort of her pupils Marie-Anne Collot, rushed from Paris to St. Petersburg, where she arrived in about a month and immediately started to work. Oleksandr Polovtsov, secretary of the Russian Historical Association, at the front of the “Listenance of Empress Katherine II with Falconet” (seen in 1876) remarking: “Master, having become such an important right and so far more expensive, but not one of the quiet unfortunate, we went to Russia. And they thought to know light bread in the barbarian, at their glance, country, but, Falconet had exactly fifty fates, and in five fifty fates he had already reached the honorable place of the midst of his spivgromads.
Spring 10, 1766 Falconet flew out of Paris; yogo’s speeches were directed by the sea ... it appears that only the artist’s belongings were stored on 25 boxes, the rest were filled with books, engravings, marmur, as well as clips and pictures for the Academy of Mystics. Fooling a friend, Didro yelled: “Remember, Falcone, what can you do or die for the robot, otherwise great things will happen!”
“Didro gave me the opportunity to come to a man, which, I think, is nothing equal: tse Falconet; if not for a long time a statue of Peter the Great, and even though they are artists, as if they were equal to my art, then I boldly think that there are no such people who could be equaled with him for a little bit: in a word, wine is a sincere friend of Didro, ”Katerina herself said about the sculptor, who arrived.
"Great help and most important benefits"
What is "nasty" in ancient statues?
The statue of the Roman Emperor Marcus Aurelius near Rome is the only statue that has survived antiquity.
One of the projects of the monument to Peter I by B.K. Rastrelli “with allegorical figures”. Detail of the "Plan of the Moscow city of St. Petersburg ..." Mikhail Makhaev (1753 rec).
Sharpened by Katerini, on the back of her hand, she skillfully copied the composition of one of the book memos to kings and generals, which were installed at that time near the borders of Europe. First of all, the statue of the Roman Emperor Marcus Aurelius in Rome (160-180); a statue of the Italian condottiere (Naiman) Bartolomeo Colleoni near Venice (sculptor Andrea Verrocchio, 1480s); a statue of Friedrich Wilhelm, elector (ruler) of Brandenburg near Berlin (sculptor Andreas Schlüter, 1703); statue of King Louis XIV of France near Paris (sculptor François Girardon, 1683; demolished during the French Revolution of 1789-1799) and other prominent creations.
So, Jakob Shtelin, diyach Russian Academy sciences and memoirist, writing: “There will be a statue of greatness on a horse, and the pedestal before it will be embellished with bas-reliefs, which glorify the great yoga and the most important yoga.” Statues of vices were passed along the pedestal’s corners, like Petro “throwing off with fearless goodness”, and to herself: “rude non-government, divine zabobons, evil nights and malicious deceit”. Like a spare buv vipadok with statues of "heroic spirit, invincible goodwill, victory and immortal glory."
Architect Johann Schumacher shouted to wake up in front of the Winter Palace, or in front of the Kunstkamera’s wake “at the court, at the collegium, at the Admiralty, and especially at the courts, who walk along Newir, wake up ... white marmur, cast metal and with a red gilded eye” , sharpened with allegorical figures of seas and rivers, which “show the expanse of the state”.
Baron Bіlіnshteyn proponuvu put up a monument on the birch of the Nevi - so that Petro marveling with his right eye on the Admiralty and at the bek of the empire of the Empire, and Lіvim - on Vasilіvskiy Ostrіv and conquered by him Ingermanland. Parrying Falcone, what could be better for the squint-eyed bones. “The right and left eye of Peter the Great made me laugh; it’s more and more stupid, ”Katerina echoed you. “You don’t think, gracious sovereign,” writing to Falconet to the baron, “that the sculptor is conducive to the ability to think, and that the hands of a yogo can only work for the help of someone else’s head, and not a master’s head. Also, find out that you are the creator of your creation ... Let's give it to you, listen to them, to the one who in the most intelligent head has a sufficient place to take revenge on Oman. But if you act as an official distributor of ideas, then you will be less than a comedy.
Navit Diderot recommending Falcone a cunning decision: “Show him your hero ... blaming barbarism in front of him ... with half loosened, half braided at the braid of hair, with a body, covered with wild skin, which throws a fierce menacing look at your hero, fearing his horse; so that from one side I will greet the love of the people, that I will stretch out my hands to my legislator, see him off with a look and bless, so that from the other side I will greet the symbol of the nation, rozpovsyudzheniya on the earth and calmly enjoy the calm, invigorating and unturbulent".
Ivan Betskoy, president of the Academy of Arts, a ceremonial worker of the Commission for Stone Life (as well as an official, appointing Katerina for everything related to the building of the monument to Peter), having attacked the fact that Falcone took the statue of Marcus Aurelius for a sign. This super girl has gone so far that Falcone was stunned to write a whole treatise “Watching over the statue of Marcus Aurelius”. In a series of deep analysis of ancient sculpture, Falcone ironically respects that in a similar position, it is not possible for a stone to work the same crucible, that the ruins of all yogas cannot be shown one to one.
Katerina, as best she could, admonished Falcone: “Listen, throw ... the statue of Marcus Aurelius and the filthy world of people, so as not to slander the good sense, go your own way, You will grow a hundred times better, listening to your own voices ...”
“For a long time the floorings did not change us, the stench did not destroy everything so good, so that we would not be left with the destruction,” the sculptor said. Needed bula unperfected courage and reverence for the powers of power, to see the age-old tradition of depicting the rulers at the viyskian hands quietly, so that you can sit calmly in the same poses on the roaring horses in polished allegorical figures.
The site for the monument was appointed on May 5, 1768, when Betskaya voted to the Senate: "The imperial majesty unobtrusively punished the monument to be erected on the square between the Nevi River, overlooking the Admiralty and Budinka, in the presence of the Uryadoviy Senate."
"Hero on the emblematic rock"
How did the people conceive Falcone?
Engraving "Kinna statue of Peter the Great" from the album "Costume of the Russian Empire" (London, 1811).
The serpent under the horse's hoards is a symbol of the overcoming of zadroshchiv.
More Parisi Falcone having thought over the project of the future monument and having created the first sketch. “That day, if I threw on the rose of your table the hero of that yoga horse, which jumps over the emblematic skeleton, and you were satisfied with my idea,” wrote Diderot later. – The monument will be simply viskonano. Barbarism, love of the people and the symbol of the nation will not be there. Peter the Great himself has a plot and an attribute: only show it. I show the hero not as a great commander, but as a conqueror, although I want to win and buv, obviously, both, and others. It is required to show the people a beautiful sight, a creator, a legislator, a benefactor of his country... yakі vin podolav. Henceforth, tsia batkivska hand, tsia haircut on a steep rock - the axis of the plot, which gives me Peter the Great.
Seriously reflect on the robes of the future leader. As a variant of proponuvavsya and fashionable at that time, the European costume, and the Roman toga, and the military uniforms, and the old Russian outfit. Ivan Bakmeister, the librarian of the Academy of Sciences, who was especially familiar with Falcone, categorically hung out at his miracle work “A historical note about the article of the film depicting Peter the Great” (1783 rіk): “French clothes to a heroic image. Antique and face dress “is a masquerade, if she is dressed for a person, if she was not a Roman, and, especially, if you don’t look like a warrior ... Like an old Moscow kaptan, then wine is not enough for someone who has voiced the war to beards and kaptans . If you dress Peter in that robe, like a wine, then you won’t be allowed to convey the movement and lightness of the great sculpture, especially the cinema monument. That is why Peter's costume is the clothes of all peoples, of all people, of all hours - in a word, a heroic suit, ”Falconet summed up.
The snake, as an important element of the composition, also appeared as a result of long thoughts. “This allegory gives the subject all the power of power, which I could not have done earlier ... Peter the Great was countered by anger, without a doubt; having finished my husband's її ... such is the fate of being a great person, - having beaten Katerina Falcone. - If I somehow robbed the statue of your majesty, and the composition did not allow it, then I threw my ass down to the bottom of the pedestal. The Empress chimed in slyly: “The alegorical snake does not fit, does not suit me. I wanted to say something against the snakes…” And the barricade was chimalo: if you think that the snake is “equal” and better, “the bula is broken with greater curvatures”, it’s - it’s too big, it’s too small. And Betskoy at the roses with Katerina, representing a snake, as if waving the sculptor's prims. It was not without reason that the wise Falcone conceived the snake not only as a fiery artistic image, but as part of a bearing construction: I don’t know, like me, that without this happy episode, the support of the statue would be even more hopeless. The stench did not kill the number of forces I needed. If you don’t know what to listen to for your sake, then the monument is unstoppable.” The fate of the snake was called by such words of Katerini: "There is one old song, in which it is said: if it is necessary, then it is necessary, my axis is like a snake."
As figuratively hanging Kaganovich, “the leader, having roused his biased energy, striving with his breath of deadly pereskoda, flow of zdorosti, accessibility that for the sake of, like they respected the free movement of progress.”
We would like to bring to a stop the respect of Lewis Carroll (the author of "Alice in the Land of Wonders") from his "Schodennik on the way to Russia" (1867): , but here you can’t be surprised at the new one: it’s understood, the “driven” principle is not recognized.
“Creating your head robot!”
How did the robot work on the model?
Adolphe Charlemagne. M.-A. Kollo sculpting the head of Peter I, fragment (1867). Film "Midny Vershnik" (1981).
A small model of the monument to Peter the Great, crushed by the artist Anton Losenok at the Falcon maisterna (1770). Museum of the Place Nancy (France).
Falconet arrived in St. Petersburg on the verge of 1766 rock and, already on the cob of advancing rock, having built the composition of the future monument, proceeding to the preparation of his “small model”. Through the river, the bula was ready, she took away the place of praise. On February 1, 1768, a “great model” was painted - a life-size bronze statue of the future.
Self-improvement and thoughtful work of the master over the skin detail is supported in such a way: “... if the idea was born in me to convey in the sculpture a horse in a gallop and on a pidomi, I turned back not to my memory and less to my own, so I’ll viconate for sure model. I have twisted nature. For whom I entrusted the work of a girka, which I added to that sickly, which is my mіy pedestal. I zmusiv stribati vershnik: first - not once, but more than a hundred; another - at a different hour; the third - on different horses. For the eye can catch the effects of similar shvidky ruhіv only for the help of many repeated attacks. Vivchivshi obrazaniya me rush horse zagal, transition to vychennya details. I examined, licked, painted the skin part - from below, from the beast, from the front, from the back, from both sides, for there are no other means to take the exact knowledge of the subject; only after these studios, I’ve taken into account that I’ve been able to pass the horse, that I’m climbing uphill in a gallop, to pass the correct form of m’yaziv and zv’yazok ... ”(It’s a great respect that the camera was only blamed after 60 years).
At the contract, Falcone especially discussed the possibility of an uninterrupted choice of horses and naturals for him. The sculptor selected the best stallions of the court troop - they showed the beautiful Diamond and Caprice. In the name of one of the Nazis - Athanasius Telezhnkov. For instructions, calling Falcone, so was Colonel Petro Melissino, "the appearance of that statue is already similar to the emperor." Advising the sculptor was the great signer of horses, the English ambassador, Lord Catkard.
The only problem was to shake the head of the emperor.
“In order to depict the individual in the model of the original in the model of the style accurately, as much as possible, having taken the blame for the high order from the Academy of Sciences, I’m already going to plaster the head of Peter the Great, writing the same way from Bologna, looking like the emperor image ; Therefore, it is permissible for you to marvel at your will at what is known in the Academy of vibrations from the wax image, knowledge from the face of the emperor himself,” Buckmeister noted. Maybe, after some time not far away, I tried to prepare a sculptural portrait of Peter, which I will repeat my idea, Falcone, having entrusted the task of Marie-Anne Collot, for some reason, being a portrait painter, gleamed brightly.
Near linden 1769 a life-size clay model of the future monument of the bula vikonan. Until the spring of the advancing fate, її were transferred to gypsum. "I created my head to the robot! - writing Falcone to others. - Oh, how I have brought to the end a monument to a good man, and a great man, who was depicted by him, like a monument to this one without damaging my art, nor my family, then I would say in a moment to Horatia: "I will not die all of me!"
"The Urivok of the Great Epic Eat"
What did the public say when they saw the model?
This is how the monument to Peter the Great of the Japanese mandriving Daikokuya Kodai, who saw St. Petersburg in 1791, is remembered. Tokyo National Museum.
Falcone returned to the Academy of Arts and asked Russian artists to discuss the shortcomings of the model, “if they can, about those who can improve it,” after which the model was set to “two goals for a national view.” “Sankt-Peterburzki vіdomosti” wrote about it: “On January 19, from 11 to 2, and after lunch from 6 to 8, two years later, a model was shown to Petr Vel. at the city’s large winter palace, which is at the Nevsky prospect, Budov.
“Nareshti, the curtain has risen,” Falcone wrote in praise. - I, zrozumilo, have the power of the public; my minestern is chock-full."
“Others praised, others slandered,” Buckmeister said. - The front part of the horse's neck, for the notes, was shattered a quarter of an inch of a tow, the lower buti lay ... a penetrating man, perhaps, not unbelievably, remembering that the fingers of the outstretched hand were even wider. Chi vyplivaє z tsgogo, like someone thinking, schob stench were bought at once? Such a hand would not express anything and would not mean anything. Others knew that the choice of the size of the head in the miraculous was not wrong ... The others were simply given the choice of obscene ... ” Khtos Yakovlev “knew the emperor’s greedy vus”. The prosecutor of the Synod was overwhelmed by the fact that “a person and a stone are stronger, a lower stench will sound.” Let’s speak English using “letter explanation”, so that one can understand “sensation of the skeleton and the horse’s camp”. Ludwig von Nikolaj, the future president of the Academy of Sciences, said: “Falconet… it was a little roused by the judgments of his supervisors. One kind lad yelled: “My God! What was the man thinking? Zvichayno, Petro is called great, and so wine and boo. Ale is not the same velvet! One taєmnogo radnik Falcone zustriv bіlya doors, і, like a zavzhd, energizing yoga thought. “Oh, oh, - starting at the first glance. - How could you get such a rude pardon? Don’t you worry, why is one foot too rich for another?” - "I thank you for your respect, but let's finish that right report." - Falcone pov_v yogo on another bek. - “Ox you once! Now іnsha dovsha!” Two people chirped in front of the statue: “Why is Petro stretching out his hand like that?” - “You fool,” having blocked the other, “wine mats, chi go ahead.” Dali Nikolai wrote: “Falcon having brought the vinyatkov’s respect to the horse, and having respected the image of Peter on the right, the other row. Vіn vіdchuvav, scho vіn vіn vіn vіn vіn vіdnіnі vіn vіn can overthrow аntique sculptors, and in the image of Peter lіvе reach the old majstrіv. The Russian people, having cleared up the monument to Peter, and not his horse, did not deserve it, especially if they entrusted their student, Mademoiselle Collot, to knock out the head of the hero, the head part of the whole work.
Similar criticism added, and hurt Falcone more painfully. “Laugh at the fools and go your own way. This is my rule, ”Katerina yelled at Yogo. Vtіm, zahoplenih vіdgukіv was significantly more.
“Today, I have finished the famous statue of Peter the Great,” wrote the French diplomat Marie Corberon, “the best of all of them, like me in my house. You know all the super girls, like that gluzuvannya, їй viklikani; I can zapevnit you, forget it all. Axis of reference of one English mantra: “Hey twir will become in his own simplicity with a great concept… This memo is the same in his family, and miraculously expresses the character of the people, and the nation, which is right.” Falconet's teacher, Jean-Louis Lemoine (after taking off a small copy of the sculpture by hand) wrote as follows: “I’ve been respecting Falconet even more talented and firmly reconned, so that I can create a miraculous monument to the Russian Tsar, but those who I blew, turned everything over.”
Diderot, who saw St. Petersburg in 1773-1774, having looked, as if he had seen it, was choked: it looks even more beautiful: you stop yoga with regret and always want to turn around again. "A hero and a stone to become at once a beautiful Centaur, such a part of a human and myslyach, it is completely calm to lie down a part of a fierce creature." And more: “The truth of nature has preserved all its purity; ale genius your angry glint with her all the more and marvelous poetry. Your throw is not a sign of the most beautiful and striking horses, just like Apollo Belvedere is not a repetition of the most beautiful of people: and that and the other are the essence of creation and mitya. Vіn colossal, but light, vіn mighty and graceful, yogo head is in line with the mind of that life. I could judge in a moment, I’m guilty of victories with over-the-top watchfulness, and even more deeply, I don’t harm the outrageous hostility; everything is wide open. No stress, no work not visible anywhere; think, what a robot of one day. Allow me to speak the firm truth. I knew you for a human rightly, but I didn’t put anything like that in your head ... You learned to grow in life ... sing a great epic urovka.
Singingly, the sculptor was most hushed by the words of the empress about “that sensible beast, which occupies the middle ... mains”: “These throw, in front of you and between your fingers, that the clay is sucked, stribay straight to the offspring, like, it’s better than the moderns to appreciate the conscience” .
"Zuhvalіst podіbna"
History of Grim-stone
The medal "Zuhvalіst podіbna", vikarbuvan in honor of the unique transportation of Grim-stone - from the Lakhtinsky swamp to Senatskaya Square.
“Zvichayne podnizhzhya, on which more statues are hardened,” Buckmeister wrote, “does not mean anything and does not wake up in the soul looking for a new reverent thought ... Vibran podnizhzha to the statue image of the Russian hero is to blame for the wild and unhandled stone thought! The stone itself, with its own embellishment, is guilty of telling about the current state of the state and about the difficulties, like the creator of it, in the creation of his own worlds, he is guilty ... In the distance from St. Zdivuvannya, and the thought of transporting Yogo to another place zhalala.
The majestic stone was dug up, put on a platform with valances, pulled with special rails to the shore of the Finnish Inlet, zavantage on a specially designed barge and delivered to St. Petersburg. The history of the Grim-stone of the flooring is hooting, that we lied to dedicate one of the upcoming issues of the wall newspaper.
Detailed description of the turn of the statue
Preparation of a plaster mold for a distant forging of the statue of Louis XIV. Iverdon Encyclopedia (1777).
Wax copy of the statue of Louis XIV with a system of tubes - for pouring bronze, waxing wax and making a bet. Iverdon Encyclopedia (1777).
The form, fitted with zalizny hoops, is prepared for the cob of the fork of the statue of Louis XIV. Iverdon Encyclopedia (1777).
Written on a pedestal in my Latin. Can you translate it? And the bottom row?
The technology of casting small statuettes made of bronze was introduced as far back as the 3rd millennium BC. A model of a future statuette (for example, made of wood) was robbed on the back of the hand. The model was covered with a ball of clay. After hardening, the clay shell was cut into two halves, neatly cut, the model was beaten, and the halves were wound again and wrapped with a dart. From above, in such a rank of form, they drilled an opening and poured bronze into the melted middle. It was left to dochkatis, until the bronze was caught, take the form and be adored by a statuette.
From the method of saving expensive metal, they learned how to work empty statues. At this point, the shape in the middle was smeared with a ball of soft wax and the empty one, which was gone, was covered with a squeak. Bagatya was bred under the form, the whisk melted and blew. Now the bronze is poured on the beast and melted, it occupied that obsyag, which had previously been used. Bronze overtook, after which the form was taken apart, and the peep in the middle of the statuette hung through the back of the redundant opening.
Approximately the same principle was followed by Falconet (to ensure that an eight-ton five-meter hulk, and not a small statuette, is to blame for the result). Unfortunately, no Falcone, no one from this sharpening did not try to cover up (otherwise, the stench has not yet been detected). To this we will bring here little ones, which are illustrated by turning the monument to Louis XIV near Paris.
“From the great model of the figurative image lay the first for all plaster form”, – Buckmeister told. Tse means that the model from the left side was smeared with a thick ball of plaster, that it hardened, smeared, filling the skin fold. The model was smeared in front with fat, so that the plaster did not stick to it. After that, as the gypsum form had hardened, they were cut into pieces, numbered and taken from the model. A ball of melted wax was applied to the inner surface of the skin shmat with a penzlik.
Falcone rozumіv: to ensure the status of stability, її the center of gravity of the next growth is as low as possible (like that of a tumbler). For this wall of the statue, the bottom is due to the tovst, important, and the beast is thin, no more than 7.5 mm. Z looking at the price and vіsk, various comrades were applied to the form. Then we shaped the pieces, smeared them with wax in the middle, picked them up anew, in the necessary places they were reinforced with a steel frame. Empty in the middle was filled with a special warehouse, which is harder, with plaster and grated pots. Now, having carefully taken the plaster form, Falcone, having taken away the power, respectfully glance at the wax copy of the future statue, to make the remaining corrections. “There is no mention of a defect in the great model, which was lost, could be corrected, the skin of rice in the individual was brought to greater perfection. The maiden Kolot was set especially at the corrected model of the head of the leader, which was broken by her. On this job, a kіlka tizhnіv was put into use.
Now let's go to the quietest little tufts of the future statue of the faceless wax haircuts. Nadal, having melted the middle of the clay mass, the skin of such a wax shearing transforms into a tube - a sprue. Sprues united at five great trumpets. Special tubes were recognized for pouring melted wax, as well as for exiting again - around the world, molded with bronze. All these numerical tubes “clung tightly to the model and looked like a brilliant tree.”
The entire structure with the largest guards “should have been covered with a clay warehouse. They smeared with this ripped matter the head of the sprat once a dot, the docks of the wreath were half an inch; dry and hard bark was alternately covered with solid, then with glue and earth, until the docks did not become eight inches long. Sob the clay form with an overcast rank was wrapped around with metal swags and rims. The rest of the robot, which was left behind, was melted wax. Around the new, almost armored, uniforms rose to a majestic bagattya, like it burned in the summer days, after which the whole temple (and it was 100 pounds!) Vitek, providing a place for a distant pouring of bronze, and the uniform itself was sealed up and became more powerful.
“The hour of the statue is approaching. The day before, they flooded the smelter, marveling at what was handed over to the harmonic livar master Khailov. The coming day, as the copper melted already, five head pipes were fired up the mountain and the copper was let in ”(it is necessary to respect that earlier the word “mid” was used for everything close to the warehouse of metal and bronze in that number). “The lower parts of the mold were already filled up, which announced the greatest success, with an aleraptom the middle from the clay mold of the glass and spilled over the bottom, as if it had begun to burn. Zdivovaniya Falconet (that kind of mitetz not zdivuvavsya b, bachachi ninth svіy pratsyu in kіlka khvilin znischenim, what an honor to yogo gin, and yogo’s bums are already triumphant) hastening first for all the stars, and the unbearable hurried after him so very soon drink. One Khailov, as if marveling at the whirling middling with a storm, was drenched to the point ... and when the middling whistled, he melted to the last drop in the form, not being afraid of the antrohi of the nebezpeka, which life was brighter. Tsim smoke il garbage with the outfit of the Lyrevon Maistra Falkonet Buvs of the Clacks, the Vin for Zachinenni Crucenes to the Nyogo PIDBIG, having reassured yogo, he was noting his sorely podyakukhokh of his powerful gamantsya ... . For neither at the top, nor in the horse, one can see the same in the middle of the shell, the chink, but everything looked so clean, like a bov vіsk. In the aftermath of the accident, the upper part of the monument still appeared to be sealed. “The head of the leader on the shoulders did not go so far that I would break a piece of bronze when I cracked it. The upper half of the horse's head is in the same position along the horizontal line," Falcone added. In 1777, roci wines were topped up - once without a doubt.
“There is more need for practical work, so that you can work it out so that you can put yoga publicly. Warehouse, which is reminiscent of the insides of the form ... and the zayvy zalizny prilad needed to be wilted; trumpets were laid on the statue, which were found on all surfaces, served until the end of the wax, until the end of the season, and until the pouring of the melted midi; soak the bark, which looks like a mixture of midi with clay, and beat it with special bullets; fill in the cracks and cracks in the middle; slap nervously on the same parts that have been, proportionate tovshchina and sing about vipolating the whole creation with the most perfect rank ... Nareshti Falconet having enjoyed the pleasures, we’ll finish our creative work with our own completion. ” To the riddle about the number of podії in the warehouse of the cloak of Peter I, the sculptor wrote: “Lip and cheer Etienne Falcone, a Parisian of 1778”.
It’s a pity, at this stage, when Falcone’s blues were worn by Katerini’s, before Betsky’s, the floorings were closed, so that the master of turmoil would leave St. Petersburg for good, not having reached the mark of his head creation. Buckmeister wrote with vehemence: “Zbіg raznіh obstaviny ... robil Yomu away Yogo in St. Petersburg being unacceptable, disrespectful for every reason, as mysticism and vicarity merited Yogo. From the beginning of yogo vіddany buv to yogo will, and after the twelve-fold perebuvannya here virushing the wines of the spring month of 1778 rock ... "
The completion of the unfinished work was entrusted to Yuriy Felten, an academician, the head architect of the “Office of the Budіvel of the Imperial Majesty of the Houses and the Gardens”, who was a pratsyuvav from Falcone, even from a rocky outgrowth. Tsіkavo, what was left to grow? “Under Felten’s ceremonies,” Kaganovich recalls, “there were rocks in front and behind… two stones were placed, like a trio they pushed down the pedestal and put on him that form, like he takes wine until the next day. The installation of a statue on a pedestal, no doubt, became a great folding. Prote in this turn Felten did not get stuck with superworldly difficulties, the shards were visible, that the rozrahunka during the forging turned out to be accurate, and the forging itself was vikonan with such a maisternist, as a top, installations vertically and still no strengthening, save the hopes. So Felten had a chance, zgіdno z yogo "full-term" of the Office Budіvel, "...parts of the serpent build a model, walk on the stone zmіtsniti. Next to the monument, to cover the area with great pieces of wild stone and surround it with її grates with decent embellishments, ”as well as“ write on both sides of the pedestal. Before the speech, Falcone was against the fence: “With a stake of Peter the Great, you won’t be able to live – is it time to put yoga in a cage?”
Wrote on the p'edestal tezh maє his own story. Diderot uttered the following variant: Kateryna Druga consecrated a monument to Peter the Great. Resurrected valor led to the majestic zusilly tsyu majestic skeleton and threw її under the feet of the hero. Falcone, at Katerina’s sheet, scribbled on a more short inscription: “Katerina Druga argued with Peter the First” and clarified: “I really want to, schob ... didn’t think of writing anything more ... the new filthy minds began to work with inexhaustible writings, in some of them there was one great word b enough. Katerina, having removed the word “prompted” in royal strokes, presented the Petersburgers with a concise and deep motto behind the silver: “Peter the First, Katerina the Friend.”
“This is a simple, gentry and high-pitched writing that speaks of everything that only a reader is guilty of at any thought,” Buckmeister suggested.
"The image of the monarch appeared at the high thoroughness"
Description of the view of the monument
View of the monument to Peter I on the Senate Square of St. Petersburg. Engraving by A. K. Melnikov from the baby of A. P. Davidov (1782). The State Hermitage.
View of the Isaakivskiy Mist. Painted lithography (1830s). The enemy in the sight of the monument to Peter the Great was looming over the time that, on the contrary, the buoy of guiding the floating point across the Neva (since 1727-1916 with breaks).
"After him everywhere the Medny Vershnik galloped with an important stupidity ..." Illustration by A. N. Benois (1903 r_k) before the poem "Midny Vershnik" by A. S. Pushkin.
Preserved a rich description of the visionary saint; best for us - save eyewitnesses. Let's listen to Ivan Bakmeister: “...Leather check from the satisfaction of that day, if this monument is publicly guilty of being recognized. Її Imperial majesty allowed me to appoint you until this holy day on the 7th day of the month of 1782 ... The unveiling of this monument was made exactly one hundred years after I entered the All-Russian throne of the hero, who was appointed to the honor of him. In front of the cleansing of the image ... a bula was placed under the yogo linen fence, on which image there were different stone farbs and mountainous regions. The weather was bouldering... a little gloomy and gloomy; ale, unimportantly on the spot, people flocked from the other parts of the city ... by the thousands. Nareshti, as the sky began to shine, then the peeps began to be taken by the great natovpas in a specially designed gallery. The Admiralteysky Val and all the windows were filled with buds, which lay, were filled with peeping eyes, and they themselves were covered with peepholes. Opivdni demolished their mission before the solemn celebration of the regiments under the wire of their commanders and occupied the field shown to them ... The number of soldiers was up to 15,000 people ... On the fourth year, the imperial majesty arrived on the ship. Not long after that, the monarch appeared on the balcony of the Senate. Її friendly looking animal, look at the indistinguishable faceless people, spovnenny reverent zdivuvannya. The signal was followed - in that very hvilina the fence was called without visible accomplices to the ground, and the image of the Great Monarch appeared in high perfection. Yake shambles!” (Did you return your respect, shanovny chitacha, for the whole word? Linguistic gift right from the 18th century! You can spend a little time doing it - why the author herself wrote so). “Great Katerina, almost like the exploits of her ancestor for the bliss and glory of Russia, shalt her head before him. Eyes are shedding tears! All the regiments shattered the image of the hero to the battles at the drum and honor, to the shattered ensigns and the votes three times welcomed, for which the grim garmat from the fortress, from the Admiralty and from the imperial yachts, as if they were embellished with radshuprase. , To whom it will always be dear and holy. At the end of the day, the whole place was illuminated, and especially Petrovsky Square, a great bunch of fires.
Oleksandr Radishchev, the author of the famous “Road from St. Petersburg to Moscow”, also wrote in response to the monument, writing on the other side of the page: steep, as if the tops of the veins were already within reach, having crushed the snake, which lay in a high sting and with its sting, the horse’s rush and the apex’s head had been bitten... the snake, which lies in a doz, - the approach and anger, which whispered death for the introduction of new sounds; the old-fashioned robe, the beastly coat and the whole simple removal of the horse and the leader - the essence of simple and rude sounds of that neosveta, like Petro is known among the people, which wines are changed by namirivsya; the head, with the laurels of the winemaker, - more you can overcome it earlier, lower legislator; looking masculine, that straining, that mіtsnіst peretvoryuvach; the hand is outstretched, sho opіkuєtsya, as її calling Didro, and the look of joy is the essence of the inner zapevnennia, which is reached, and the hand is outstretched showing that the mіtsny man, having done all the exercises of yoga, vices resisted, the cover of his is given to everyone, the children of yoga. Axis, loving friend, weak image of what, marveling at the image of Petrov, I see.
There is no need to say that in our days the immortal creation of Falcone is continuing to pray for mercy. The historian Solomon Volkov writes in his book “History of the culture of St. And already, bypassing the statue of Peter the Great, and in the world of turmoil, all the new and new aspects of his image - a wise and decisive legislator, a fearless commander, a calm, not tolerant monarch, - without guessing, that in front of her is the headiest, most supreme popular symbol of their place”.
"However, nothing so deeply and subtly has taken on the work of a sculptor, like Pushkin," - it is fair to rob the visnovok Kaganovich. In Boldin's autumn of 1833, the monument to Peter the Great became for us the Midsummer for good. The composer Reinhold Glier created a ballet of the same name, a fragment of which became the official anthem of St. Petersburg.
"Defend stone and bronze"
How to behave with monuments?
Spіvrobіtnik of the Sovereign Museum of Russian Sculpture to put on the statue a special restoration design.
Midday Vershnik today.
Since 1932, the birth, protection and restoration of the Midny Vershnik (a row of monuments of monumental art in our city) has been transferred to the Sovereign Museum of Russian Sculpture. Nadiya Mykolaivna Efremova, the intercessor of the director of the Museum of Science Robotics, told us about the culture of the occasion with monuments.
"Monuments - the most accessible view figurative art. Shchob pobachiti, for example, a picture of abo theatrical production, you need to report deyaky zusil. And the monuments are always in front of us - on the Maidans of the city. It is important for monuments to live to the current world. Negative infusions are pouring in, as if the author was going to inspire indulgence. For example, vibration. Aja monuments were erected at that hour, if important transport had not yet passed through the streets. Another problem is the blocking of flows underground waters in the wake of the state's activity. As a result, water flowed under an important pedestal, leading to the storage of yogo stone blocks. At the same time, the gaps between them are enlarged and the seams are ruined, as if we were working for additional special mastic. Monuments, even if they were crushed with metal and stone, they were unprotected in front of the people. I bachila, like on holy days people climbed on the neck of a horse, grabbing for yoga front legs, not understanding that the tovshchina metal here is scanty. Selling bronze with the soles of chereviks is as easy as shelling pears. In view of such an invisible stress, invisible cracks appear in the metal. In our climate - in view of the temperature difference, in view of the water that has drank in the middle - be it a microcrack growing rapidly. It is even more important not to destroy the p'yatin - the thinnest spit, which crisscrosses the bronze. The coloristic features of the patina are the visiting card of the skin memory. And it’s like something (unconsciously navischo) is shabby, or it’s tearing up to a glimpse like a statue’s statue, it’s not only to rob the bronze that is not stolen, but I’m looking for a unique piece of patina, to make it seem superbly foldable. Falcone, on the cob, moving into the fence: “It is necessary to protect the stone and bronze from the gods and children, so that the warts in the Russian empire.” Without relying on the "vartovs", it would be good for us to learn for ourselves that if there was any contact with the monument (crim of the visual), I would go to hell with you.
In one of the upcoming releases, we will tell you about the secrets of the Midny Vershnik, revealed at the hour of the last restoration.
What to read about Midny Vershnik?
Kaganovich, A. L. Midny Vershnik. History of the creation of the monument. L .: Mistetstvo, 1982. 2nd edition, corrected. that dod.
Ivanov, G. I. Kamin-Grom: ist. story. (Up to 300 St. Petersburg). St. Petersburg: Budvidav, 1994.
Arkin, D. E. Midny top. Monument to Peter I near Leningrad. M.-L.: Mystetstvo, 1958.
Creation of a model and forks of the monument to Peter I near St. Petersburg. Viluchennya z pratsі I. G. Buckmeister born 1782-1786
View of the monument to Peter I near St. Petersburg. 7 serpnya 1782 Examination of practice I. G. Buckmeister. 1786
Lewis Carroll. The schodennik is expensive to Russia 1867 Translated by N. Demurova
Radishchev A.N. List to a friend who lives in Tobolsk / Communication. P.A.Efremov // Russian Starovina, 1871. - T. 4. - No. 9.
Listing of Empress Katherine II with Falconet. The text of the leaves is in French, with a Russian translation of mine. Collection of the Imperial Russian Historical Association. Volume 17. St. Petersburg, 1876. Electronic version - on the website of the Presidential Library upon request.
Shubinsky S. N. Historical drawings of evidence. SPb: Type. M. Khan, 1869.
Ivanovsky, A. Talk about Peter the Great and yoga spivrobitnikiv. SPb: type. Budinki pіkluvannya malolіt. bіdnih, 1872.
Malyunok O. P. Losenok from the Falconetivsky monument to Peter the Great. P. Ettinger. For the materials of a scholar for lovers of art and antiquity "Old Rocks", birch, 1915.
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Yours Georgiy Popov, site editor
On September 27, 2016, at the cinema center "Chaika" there was a premiere of the cartoon "Midny Vershnik", created by the children of the studio "Multchaika" for the idea and inspiration of our friend Deer Pilipovskaya. Have a close contact with our project. A wonderful cartoon of the Mustlook category!
