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Andreyan Zakharov: French megalomania on Russian soil. Zakharov, Adrian Dmitrievich Adrian Zakharov

Andreyan Zakharov: French megalomania on Russian soil. Zakharov, Adrian Dmitrievich Adrian Zakharov

16.06.2019

Date of Birth Date of death

August 27 (September 8) ( 1811-09-08 ) (50 years)

A place of death Works and achievements Worked in cities Architectural style Important buildings Urban planning projects

Vasilievsky island development project

Andreyan Dmitrievich Zakharov at Wikimedia Commons

Andreyan (Adrian) Dmitrievich Zakharov(August 8 (August) - August 27 (September 8), St. Petersburg) - Russian architect, representative of the Empire style. Creator of the complex of buildings of the Admiralty in St. Petersburg.

Biography

In 1786 he returned to St. Petersburg and began working as a teacher at the Academy of Arts, at the same time starting to design. After some time, Zakharov was appointed architect of all the unfinished buildings of the Academy of Arts.

1803-1804. Architectural plan of the Nizhny Novgorod fair

Zakharov prepared a draft architectural plan for the Nizhny Novgorod fair, according to which the architect A. A. Betancourt built it a few years later.

Alexander Garden and Admiralty

1805-1823 Work on the Admiralty building

The initial construction of the Admiralty was carried out by the architect I.K. Korobov in 1738. This building is the greatest monument of Russian architecture of the Empire style. At the same time, it is a city-forming building and the architectural center of St. Petersburg.

Zakharov performed work in 1806-1811. Creating a new, grandiose building with a length of the main facade of 407 m, he retained the configuration of the plan that already existed. Having given the Admiralty a majestic architectural appearance, he managed to emphasize its central position in the city (the main highways converge to it with three beams). The center of the building is a monumental tower with a spire, on which there is a boat, which has become a symbol of the city. This ship carries the old spire of the Admiralty, created by the architect I.K. Korobov. In the two wings of the facade, symmetrically located on the sides of the tower, simple and clear volumes alternate with a complex rhythmic pattern, such as smooth walls, strongly protruding porticos, and deep loggias.

Sculpture is the strength of the design. Decorative reliefs of the building complement the large architectural volumes;

Inside the building, such interiors of the Admiralty as a vestibule with a main staircase, an assembly hall, and a library have been preserved. The abundance of light and the exceptional elegance of decoration are set off by the clear severity of monumental architectural forms.

Other works in St. Petersburg and suburbs

During the period of work on the Admiralty, Zakharov also worked on other tasks:

Main article: Provision Island

In particular, Zakharov developed around 1805 a project for the Cathedral of St. Catherine the Great Martyr in Yekaterinoslav (now Dnepropetrovsk). The cathedral was built after the death of the architect, in 1830-1835. under the name of Preobrazhensky and has survived to this day.

Literature

Grimm G. G. Architect Andrey Zakharov. Life and work / G. G. Grimm. - M.: State. Archite. Publishing house Acad. Archite. USSR, 1940. - 68 p. + 106 ill. - (Masters of architecture of Russian classicism).
Arkin D. Zakharov and Voronikhin. - M.: State publishing house for construction and architecture, 1953. - 78 p., ill. (A cycle of lectures "Masters of Russian Architecture").
Pilyavsky V. I. Architect Zakharov / V. I. Pilyavsky, N. Ya. Leiboshits. - L .: Knowledge, 1963. - 60 p., ill.
Shuisky V. K. Andreyan Zakharov / V. K. Shuisky. - St. Petersburg: Stroyizdat, 1995. - 220 p.

Mikhalova M. B. Unknown autograph A. D. Zakharova// Architectural heritage. - No. 49 / Ed. URSS, 2008. - ISBN 978-5-484-01055-4 - p.219-222.
Rodionova T. F. Gatchina: Pages of history. - 2nd ed., corrected. and additional - Gatchina: Ed. STsDB, 2006. - 240 p. - 3000 copies. - ISBN 5-943-31111-4

Notes

Chief architects of Imperial Gatchina

Categories:

Personalities in alphabetical order
August 19
Born in 1761
Born in St. Petersburg
Deceased September 8
Deceased in 1811
The dead in St. Petersburg
Architects alphabetically
Architects of St. Petersburg
Architects of Gatchina
Architects of the Russian Empire
Buried at the Lazarevsky cemetery of the Alexander Nevsky Lavra
Pensioners of the Imperial Academy of Arts
Architects of Nizhny Novgorod

Wikimedia Foundation. 2010 .

08/08/1761 - 08/27/1811), a classic of Russian architecture. He came from a family of a petty official. In 1767-82 at the St. Petersburg Academy of Arts, in 1782-86 her "pensioner" (stipendiary) in Paris, from 1787 he taught at the St. Petersburg Academy of Arts, from 1794 - adjunct professor, 1797 - professor, from 1803 - senior professor. In 1794-99 Zakharov was the "architect of academic buildings", in 1799-1801 he was the chief architect of the city of Gatchina, from 1805 he was the "Main Admiralty architect", supervised the design and construction of many public buildings in major port cities of Russia.

Zakharov - the creator of one of the masterpieces of Russian architecture in the Empire style - the Admiralty in St. Petersburg (begun in 1806, completed in 1823 after the death of Zakharov). The Main Admiralty, built according to the project of Zakharov, became one of the dominants of the architectural composition of St. Petersburg. The center of the building with a powerful colonnade is crowned with a gilded spire ("Admiralty needle"). Zakharov also built a cathedral in Kronstadt (1806-17, has not been preserved), created building projects for Vasilevsky Island in St. Petersburg, buildings for the Provision Society (1806-08), Galley Port (1806-09), projects for buildings for provincial and county towns. In total, more than 600 buildings were built according to Zakharov's designs.

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ANDREEAN DMITRIEVICH ZAKHAROV

1761-1811) Zakharov's work is one of the brightest and most meaningful pages in the history of Russian architecture of the 18th and 19th centuries. The innovative value of his work is enormous. No one before him had been able to realize in such a size and with such force the idea of a massif building, dominating the vast urban ensemble and expressing the lofty national idea in such clear and integral images with the whole structure of its forms. In this regard, the Admiralty is an exceptional phenomenon in all the architecture of modern times, and its author rightfully occupies one of the equal places among the great masters of architecture, true classics of domestic and world art. Andrey Zakharov was born on August 19, 1761 in the family of an admiralty official, chief officer Dmitry Ivanovich Zakharov, who, with his small salary, managed to raise two sons for Russia, who glorified their surname in science and art. The first son, Yakov, became an academician, professor of chemistry and mechanics, the other son, Andreyan, became an academician, professor of architecture. In the quiet Kolomna, the outskirts of St. Petersburg, the first years of Andreyan's life passed. The marital status was difficult, so the happy event for the family was the appointment of six-year-old Andreyyan as a pupil at the art school at the Academy of Arts. Little Andreyan Zakharov had to live among strangers and be completely dependent on government mentors. This greatly affected his character. He grew up as a reserved, thoughtful and observant boy. His insecure position encouraged him to study hard and work hard. The boy soon showed his abilities in the sciences and art. After graduating from college, Zakharov moves to the architectural class of the academy. Here, the talent of the young man and his great abilities for fine spatial art are quickly revealed. For one of his first architectural projects - "Country House" - Andreyan receives the first academic award - a Small Silver Medal. With each student's architectural composition, Zakharov's remarkable talent is revealed more and more widely. One after another, he receives all the academic distinctions, up to the highest - the Big Gold Medal. The last one is celebrated on September 3, 1782, with his project of the Pleasure House, or, as it was then called, the Foksala. At this time, Zakharov is fond of innovative classical ideas promoted by the professors of the Academy of Arts Kokorinov and Ivanov, for whom he worked. Therefore, he learns with great joy that, according to the decision of the Council of the Academy, "... for success and commendable behavior, by virtue of academic privilege, he was promoted to the 14th grade as an artist and sent to foreign lands as a pensioner to acquire further success in architecture." Indeed, in "foreign lands", in Paris, where he is sent, he will be able to get acquainted in kind with the famous buildings of the leading architects of France, about which he had already heard so much at the St. Petersburg Academy. In the autumn of 1782, Zakharov, along with three other pensioners of the Academy of Arts, sailed from Kronstadt to France. In Paris, pensioners immediately began attending a class in natural drawing at the Academy of Fine Arts. Upon arrival in the capital of France, Zakharov immediately with a letter of recommendation from Professor A.A. Ivanova went to the great architect de Valli. However, his workshop was already completed, the Russian architect had to look for another teacher. He came to the little-known architect Zh.Sh. Belikar, and then decided to go to Shalgren. Zakharov's creative search coincided with the thoughts and aspirations of his new teacher, Chalgrin, who later became famous for the grandiose Arc de Triomphe built on the round Square of the Star in Paris. Andreyan practiced copying the works of Schalgren, studied composition, and carried out the program of the architectural project assigned to him. In 1784, Schalgren sent a brilliant review of his student to the St. Petersburg Academy of Arts, whose outstanding talent and rare efficiency aroused his admiration. “At the moment, Zakharov is working under my leadership, whose abilities and behavior I cannot praise enough. Such people always give a high idea of the school that brought them up, and allow high appreciation of the institution that gives such brilliant patronage to the arts. If, as I have no doubt, the zeal, perseverance, and prudent behavior of this young man continue, you will, of course, welcome him upon his return ... ”After returning to Russia, Zakharov teaches at the Academy. From 1794 to 1800 he held the position of adjunct professor of architecture, architect and superintendent of academic buildings, and from 1799 to 1801 he was the architect of the city of Gatchina. In 1802, Zakharov was elected to the Council of the Academy of Arts, in 1803 he became the senior architect of the Academy. Later, Olenin wrote about Zakharov and his students: "Being ... a senior professor of architecture, he brought the greatest benefit to the Academy by educating the most famous of today's Russian architects." From 1802 to 1805 Charles Cameron supervised the construction at the Admiralty. It was difficult for the elderly architect to cope with the ever-increasing volume of design and construction work and to monitor the implementation of the latter on time. They began to look for a younger and more energetic architect. The task turned out to be so difficult that Minister P.V. Chichagov to deal with this issue. He considered Zakharov the most suitable candidate. As a result, on May 25, 1805, a decree was issued: “To dismiss the Chief Admiralty Architect Cameron from his current position, and to appoint the departments of the Zakharov Academy of Arts with a salary of one thousand five hundred rubles a year in his place ...” The architect developed many projects for Russian cities. However, most of his works have not survived to this day. And without them it is impossible to get a complete picture of the gigantic work of the architect. On the banks of the Neva, the Admiralty barracks were not preserved. From the huge complex of the Naval Hospital, rebuilt and expanded by Zakharov, there remains, and even then with distortions, a small fragment on Clinical Street. The project of monumental, despite the low height, grocery stores on the Neva embankment opposite the Mining Institute was not implemented. The originality of the author's handwriting manifested itself here in a special, only to this architect, inherent purity of form, clarity of proportions, in a combination of narrow openings and wide piers. Sculpture at the entrances, masks on capstones are elements of the fundamental synthesis of arts for Zakharov. Working as the chief architect of the Naval Department, Zakharov supervised many buildings in the country's admiralties. In St. Petersburg, he created on Proviantsky Island, on the banks of the Moika, at the mouth of the Neva, wooden Admiralty stables on a stone foundation. This group of projects includes plans for a cadet corps in Nikolaev, a hospital for Kazan and the unpreserved Chernomorsky hospital in Kherson - a whole complex of buildings with a courtyard-garden, with a compact layout of buildings. According to his designs, a church was built in the name of the Apostle Paul in the village of Aleksandrovsky near Shlisselburg, St. Andrew's Cathedral in Kronstadt. Reimers in 1807 said, referring to the church of the Gatchina Palace and the project for rebuilding the building of the Academy of Sciences, that “in all his projects it is clear that this artist had great talent, he has knowledge and reaches the height of his art.” This is perhaps the most interesting of all the characteristics of Zakharov by his almost contemporary. Already in the 1730s, Meyer, in an explanatory text to his famous handwritten atlas on the development of St. one of the most beautiful places in the capital. All this is true, but the main achievement of his life is the building of the Main Admiralty in St. Petersburg, which was rebuilt, or rather, rebuilt according to his project. Zakharov began its design and reconstruction in the autumn of 1805. The building of the Admiralty of Ivan Korobov, from the time of Peter the Great, was already very dilapidated by the beginning of the 19th century, and outdated in terms of technological, shipbuilding. As can be assumed, Zakharov himself, as the new architect of the Admiralty, came up with the idea of rebuilding all the buildings of the Admiralty. Zakharov left the old plan of Korobov as the basis for the project of restructuring the Admiralty. The hull covered three sides of the slipway and the shipyard. The fortification ditches around were filled up as unnecessary, and Admiralteyskaya Square was formed in their place. Everything seemed to remain in place, and at the same time everything changed unrecognizably. All architectural design Zakharov decided in monumental, powerful and solemn images of Russian classics. The building of the Admiralty was spread wide with its main facade for almost four hundred meters. Its length is resolved architecturally not by a monotonous wall, but by three buildings placed in a row, in one line. The side cases are massive and richly decorated with pediments. Between them, in the middle part of a two-story, very simple building, a central tower rises above the gates. This tower was the main decoration of the Admiralty and the whole city at that time. It was placed above the Korobov tower, the wooden structure of which was preserved and still exists under the new spire. The height of the new tower is seventy-three meters. Through the mighty, three-story high, stone massif, an arch of passage gates is cut through. This power is artistically emphasized by the fact that the arch is made double. First built of large stones, and then smooth, with a rich ornament of banners and military equipment. From above, the arch is overshadowed by two flying "Glory" banners. On both sides of the arch, colossal groups of caryatids are placed on granite pedestals, supporting the earthly and heavenly spheres. The cornice is designed in a courageous and monumental Doric order. The triumph of the entrance is also emphasized by the martial ornament of the wall above the cornice and the figures of warriors at the corners of the massif. Above, above the main entrance of the building, there is a quadrangular square tower. On all four sides it has eight-column portico galleries. Above each column of the elegant and slender Ionic order on the attic are twenty-eight statues. The tower culminates in a golden spire adorned with a ship at the top. In this work of the Russian architect, everything is excellent. The side corner portals from the side of the Neva are harmonious, simple and at the same time so rich. Both huge arches, cut into the smooth mass of the wall, are framed at the corners by colonnades miraculously found in proportion. And how they are finished! The upper square is crowned with a round drum, and the round roof steps up to three dolphins, which hold the flagpole with their tails. Every detail is thoughtful, appropriate and beautiful. The architect did not live to see the completion of the construction. But the multilateral talent of Zakharov was appreciated by his contemporaries. Pushkin, Batyushkov, Grigorovich, and many artists admired the Petersburg Admiralty. This building is not only an architectural masterpiece, but also the dominant of the city center, the main link in the system of its ensembles. It completes the perspectives of three streets, defining the famous three-beam layout of St. Petersburg. Later, Pavel Svinin wrote about the Admiralty that "this important and useful building is now among the main decorations of the capital and can quite rightly be called a gigantic witness to the latest successes of Russian architecture." And today, without the Admiralty, it is impossible to imagine the panorama of the Neva banks. The creation of Andrey Dmitrievich has become an architectural symbol of the city on the Neva. From the time of his appointment to the post of chief architect of the Admiralty and until the last days of his life, Andrey Dmitrievich supervised construction in many port cities. In addition, Zakharov developed projects and made estimates, often he himself entered into contracts with contractors and made settlements with them, and solved financial problems that arose. The extraordinary scope of his creative activity and breadth of ideas often met with misunderstanding of the admiralty officials, who often replaced the businesslike working atmosphere with relations based on intrigues and gossip. To cope with the huge amount of work, the architect needed a whole staff of assistants, whom he constantly lacked. As a result, Zakharov was forced to spend a lot of time on rough work that did not require his qualifications. Over the course of a number of years, he repeatedly turned to the expedition of the St. Petersburg Admiralty Buildings, which was part of the Admiralty Department, with a request to provide him with assistants. Instead of sending him assistants, an excuse was soon found to impose a fine on him in the amount of a month's salary for delaying the financial report! From such backbreaking work, already after four years, Zakharov's health was undermined. From business correspondence it follows that the architect suffered, most likely, heart attacks, periodically repeated from year to year until his death. Alas, despite the universal recognition, the love of students, Zakharov's life cannot be considered happy. He was not destined to see any of his major works completed. Zakharov belonged to that category of architects who, having plunged into construction, being generous in action, remained stingy with words. His appearance is conveyed in the portrait of S. Shchukin, and he appears as a thoughtful, withdrawn, self-absorbed person, indifferent to honors and glory. Zakharov saw the meaning of life only in work. Apparently, therefore, he did not find family happiness, remaining a bachelor until the end of his days. Having connected his life with the St. Petersburg Academy of Arts, where he studied and then taught, the architect never left the design and construction activities. The architect lived permanently in an academic apartment. Occupying high positions as a professor of architecture at the Academy of Arts and later - the "Main Admiralties of the Architect", Zakharov never boasted of his titles, often taking contractors at home, in an informal setting. Devoting himself undividedly to his beloved art, combining high talent with a rare capacity for work, he considered architecture to be his life's work. Zakharov was a man of broad erudition. The surviving catalog of his library indicates that he was interested in both the artistic side of architecture and construction techniques. In the list one can find, for example, books on the art of carpentry, "on the art of producing rural buildings to perfection," "on the new hydraulic machine." At the end of the summer of 1811, Zakharov fell ill and soon, on September 8 of the same year, he died. He was only fifty years old. The architect was buried at the Smolensk cemetery.

Andrey Zakharov

Did this man think that in many decades his name would become the personification of the Russian genius in architecture? Indeed, in the opinion of even other specialists, he is the author of only one architectural monument, although his projects were carried out in many cities of Russia. A significant part of the plans was not embodied either during his lifetime or after the death of the master. What did the architect feel when he saw how his best projects were shattered by the ignorance and stupidity of officials? One can only guess about this…

HELL. Zakharov

Adrian (Andreyan) Dmitrievich Zakharov was born in 1761 in the family of an officer - a commoner by birth. From five to twenty years old he studied at the Academy of Arts and, having received a large gold medal, was sent to Paris to continue his education with Professor Chalgrin. The exceptionally high appraisal given by the French architect to his Russian colleague is well known.

Rice. V.G. Isachenko. "Bird" in Gatchina

Church in Small Kolpany near Gatchina. Dimensional drawing by V.G. Isachenko

The speed of Zakharov's professional growth is amazing. From 1794 he was an academician, from 1796 he was a professor at the Academy of Arts, at the end of the 18th century he became the city architect of Gatchina. For this St. Petersburg suburb, Adrian Dmitrievich did a lot of work: he supervised the reconstruction in the palace, created projects for the monastery of St. Kharlampy, a church and barracks in the Ekaterinverder area, a Gatchina educational village for children (two options). Already here, the town-planning approach to design peculiar to him, the sense of the ensemble, special attention to the general plan and the layout of buildings were manifested. The appearance of these unrealized structures is extremely modest, but noble.

On the banks of the Kolpanka River in the Gatchina park, Zakharov erected the buildings of the Farm and the Poultry House (end of the 18th century). Roughly textured limestone slabs, Pudost stone, and high roofs give the Farm a special charm. Perfectly inscribed in the landscape of "Sylvia" (the name of a part of the park) is the one-story building of the "Aviary" with a Doric portico facing the river, a balustrade and a mezzanine. The breadth of the master's range is evidenced by the three-arched Lion's Bridge thrown across the Karpin Pond (October 25 Avenue). Zakharov's handwriting is typical for the Salt Shops building located at 48 Krasnoarmeisky Prospekt. Despite later distortions, here you can see the "Zakharovsky" proportions of the openings. One of the earliest buildings of the architect is a limestone church in Malyye Kolpany near Gatchina with "Gothic" lancet windows (the spire, bell towers, alas, were destroyed during the Great Patriotic War and have not yet been restored). Along with N.A. Lvov, Zakharov played an important role in the formation of Gatchina at the turn of the 18th–19th centuries.

His merits are also great in the development of other cities. At the beginning of the century, the architect created many "model projects" - military schools, residential buildings, government offices, governor's houses, food warehouses for provincial cities. Zakharov himself considered their main properties to be economy and artistic expressiveness. These were two-storey, sparsely decorated buildings, the appearance of which had a strong influence on the development of classicism in Russia and Ukraine. One of the most characteristic buildings is the governor's house in the center of Kaluga. Undoubtedly, Zakharov's influence (not to mention direct participation) on the layout of the Round Square in Poltava.

Adrian Dmitrievich participated in compiling the album "Russian Architecture" (according to the plan of V.I. Bazhenov), created drawings of many masterpieces of architecture in St. Petersburg and Moscow. In the 1800s, Zakharov enjoyed unquestioned authority as an engineer, an expert in construction in the broadest sense of these words. He devoted a lot of time to consultations, architectural supervision, examinations, drawing up calculations, estimates, and detailed explanatory notes. The architect oversaw the construction of barracks at 90 Fontanka River Embankment, the repair of St. Nicholas Cathedral and its bell tower. And how many projects of other architects, corrected by Zakharov, were distributed throughout Russian cities! Adrian Dmitrievich himself traveled a lot around Russia, thoroughly getting acquainted with the architecture of different eras.

Most of Zakharov's works have not survived to this day. However, without them one cannot get an idea of the gigantic work of the architect; a number of his buildings, especially in the provinces, are still waiting for their researchers. Unfortunately, the Admiralty barracks (located on the site of the current Palace of Labor) have not been preserved: from the large complex of the Naval Hospital, rebuilt by him, only the kitchen building has survived; a number of its buildings, especially in the provinces, are still waiting for their researchers. The project of monumental, despite the low height, grocery stores on the Neva embankment opposite the Mining Institute was not implemented. The originality of the author's handwriting manifested itself here in a special, only to this architect, inherent purity of form, clarity of proportions, in a combination of narrow openings and wide piers. Sculpture at the entrances, masks on capstones are elements of the fundamental synthesis of arts for Zakharov.

Working as the chief architect of the Naval Department, Zakharov supervised many buildings in the country's admiralties. In St. Petersburg, he created on Proviantsky Island, on the banks of the Moika at the mouth of the Neva, wooden Admiralty stables on a stone foundation. This group of projects includes plans for the Cadet Corps in Nikolaev, a hospital for Kazan and the unpreserved Chernomorsky hospital in Kherson - a whole complex of buildings with a courtyard-garden, with a compact layout of buildings.

Zakharov's multilateral talent was appreciated by his contemporaries. Pushkin, Batyushkov, Grigorovich, and many artists admired the Petersburg Admiralty. This building is not only an architectural masterpiece, but also the dominant of the city center, the main link in the system of its ensembles. It completes the perspectives of three streets, defining the famous three-beam layout of St. Petersburg. Without the Admiralty it is impossible to imagine the panorama of the Neva banks. The creation of Adrian Dmitrievich has become an architectural symbol of the city on the Neva.

Admiralty

In 1805, he received an order for the restructuring of the building erected by Ivan Korobov, becoming the chief architect of the Admiralty. In terms of the scope of the compositional concept, there is little that can be compared with this work, not only in Russian, but also in European architecture of classicism. In it, Zakharov expressed not so much the symbol of the noble empire, but the spiritual power of his people.

The three-axis composition is formed by a tower and two wings with twelve-columned porticos. The central four-tiered tower with a triumphal arch of the gate is somewhat reminiscent of the gate towers of ancient Russian architecture.

The motive of the cube is constantly varied by the architect, including in the pavilions overlooking the Neva. The main façade, despite its length (more than four hundred meters), does not seem monotonous thanks to the precisely found proportions of the three-part composition, decorative flair, a combination of creative inspiration and sober calculation.

Admiralty. Fragments of the facade

Zakharov showed respect for the work of his predecessor, one of the "chicks of Petrov's nest", Korobov (a noteworthy example!), retained the spire, tower, part of the walls and even the axes of some openings he created, but his work acquired a completely different sound. The windows and entrances are sparingly spaced, the piers are much wider than they were before, and this again brings to mind ancient Russian monuments, although similar techniques are also found in French architecture. The almost smooth walls of Zakharov's creation with a minimum of decor evoke a feeling of powerful masonry. There are undoubtedly romantic elements in the appearance of the tower, which we see in a number of other works by the master. The Zakharovsky order is strikingly strict and noble - the main means of plastic characterization of the structure. Brilliant profile drawing. Admiralty forms “breathe” so widely and freely that even many monuments of the Classical era seem overly decorative in comparison with this building, and the neoclassical architecture of the early 20th century seems sham and pompous.

The lobby of the Admiralty

The Admiralty is not just a monument of classicism or empire. Like all truly great creations of human genius, it is above the limits and canons of style. For its creator, the main thing was the artistic balance of the masses, the unity of urban planning, space-planning, as well as social tasks. Every detail here is subordinated to the whole, thanks to the clarity of the author's thinking, the gigantic building does not suppress a person, because in everything it is proportionate to him.

Adrian Dmitrievich died in 1811, when he was only fifty years old... The completion of work on the Admiralty was supervised by assistants and employees of the architect - A.G. Bezhanov, D.I. Kalashnikov, I.G. Gomzin. But this monument of Russian glory, worthy of standing next to the best of the ancient kremlins and monasteries of Russia, has not come down to us the way its creator wanted to see it. Even under Nicholas I, the windows of the third floor were broken in place of the frieze (however, this was done quite tactfully): in the 1860s, some of the statues were destroyed, and in the 1870s, the channels inside the complex were filled up. In the second half of the century, the architect's town-planning plan was violated by the erection of buildings that covered the facade of the Admiralty from the Neva, with the exception of two pavilions.

In 1805, Zakharov built the Foundry Yard at the corner of Bolshoy Prospekt and 4th Line, one of the main attractions of the then capital (later it was rebuilt as apartments for employees of the Academy of Arts). Many monuments were cast here. Five years later, he rebuilt the Church of Our Lady at the Smolensk cemetery (built in the 1780s by A. A. Ivanov).

The buildings of the barracks of the Izmailovsky regiment at the intersection of Izmailovsky Prospekt and the current Krasnoarmeisky streets have been preserved in a rebuilt form.

Two more significant works by Zakharov have been preserved in Leningrad. The well-known residential building of the Academy of Sciences at 1 Lieutenant Schmidt Embankment was rebuilt in 1808–1809 from a building designed by S.I. Chevakinsky. The construction was led by A.G. Bezhanov. The processing of the facades is laconic, the main one is decorated with a portico of Doric columns. The house with many commemorative plaques dedicated to the scientists who lived here occupies an important place in the development of the Neva embankments.

Grave of A.D. Zakharova

Zakharov's characteristic clarity and rigor of decision also manifested itself in house No. 26 on the embankment of the Fontanka River, the best building on the site between the Belinsky and Pestel bridges, with exquisite proportions in the forms of mature classicism.

As a member of the Commission for the construction of the Exchange. Adrian Dmitrievich actively participated in the creation of the general plan of the Spit of Vasilievsky Island, the design of the buildings of the Academy of Sciences on the Neva embankment, including the work of D. Quarenghi in the complex. His comments were taken into account by T. de Thomon, erecting rostral columns.

Unfortunately, the St. Andrew's Cathedral in Kronstadt and the Church of Peter and Paul near St. Petersburg (in the village of Aleksandrovsky) have not survived to this day. Zakharov also rebuilt the Invalid House on the banks of the Bolshaya Nevka near the Kamennoostrovsky bridge (in the 1970s the building was rebuilt again).

In his figurative thinking, Zakharov is a deeply national architect. The fruitful impact of his art is felt in the works of A.A. Mikhailova, A.I. Melnikova, V.P. Stasova, N.I. Martos, D.I. Kalashnikov. However, the legacy of the great master not only lives on in the creations of his students, but in itself is an enduring value. Zakharov can be ranked among the greatest representatives not only of Russian architecture, but of the entire national culture as a whole. His work was inspired by the architects of post-war Leningrad.

Andreyan (Adrian) Dmitrievich Zakharov (August 8 (19), 1761 - August 27 (September 8), 1811, St. Petersburg) - Russian architect, representative of the Empire style. Creator of the complex of buildings of the Admiralty in St. Petersburg.

Born on August 8, 1761 in the family of a minor employee of the Admiralty College. At an early age (he was not yet six years old) he was sent by his father to an art school at the St. Petersburg Academy of Arts, where he studied until 1782. His teachers were A.F. Kokorinov, I.E. Starov and Yu.M. Felten. In 1778 Andrey Zakharov received a silver medal for the design of a country house, in 1780 - a large silver medal for "an architectural composition representing the house of princes." . Upon graduating from college, he received a large gold medal and the right to a pensioner's trip abroad to continue his education. He continued to study in Paris from 1782 to 1786 with J. F. Chalgrin. In 1786 he returned to St. Petersburg and began working as a teacher at the Academy of Arts, at the same time starting to design. After some time, Zakharov was appointed architect of all the unfinished buildings of the Academy of Arts. At the end of 1799, by decree of Paul I, Zakharov was appointed chief architect of Gatchina, where he worked for almost two years. After that, he worked in St. Petersburg, reached the rank of chief architect of the Maritime Department. From 1787 Zakharov taught at the Academy of Arts, among his students was the architect A. I. Melnikov. Since 1794, Zakharov became an academician of the St. Petersburg Academy of Arts.

Admiralty in St. Petersburg

The work carried out by A. D. Zakharov during this period went on with the increasing complexity of the tasks and the disclosure of the talent of the architect. He worked with ever-increasing complexity.

1799-1800 Gatchina. St. Peter's Lutheran ChurchMain article: St. Peter's Lutheran Church (Gatchina). Zakharov began work in 1799, under his leadership the building was significantly rebuilt, the interior decoration was completed, and an iconostasis and a pulpit with a canopy were also created according to his project. The most noticeable of the expressive details of the new building were the gilded rooster and the ball made of thick brass for the spitz that completed the bell tower (destroyed during the Great Patriotic War, not restored).

1800 Gatchina. humpback bridge

The humpbacked bridge in Gatchina. The humpbacked bridge in the Palace Park of Gatchina was built by A. D. Zakharov according to his own project, the first documentary evidence dates back to November 1800. The bridge has two wide bank abutments, designed in the form of terraces - observation platforms. The terraces and span of the bridge are surrounded by a balustrade, in the middle part of the bridge there are stone benches for rest. Since the architecture of the bridge is designed to be perceived from a distance, its elements create a play of light and shadow, clearly visible from afar.

Gatchina. "Lion's Bridge"Built according to the project of A.D. Zakharov in 1799-1801. The bridge got its second name because of the stone lion masks that adorn the keystones of its three arches. In addition to these stone masks, according to the architect's plan, on the low pedestals of the bridge, it was supposed to install sculptural groups, allegories of the "Abundance of Rivers". After the tragic death of Emperor Paul I, this project was not implemented. But even without sculpture, the Lion Bridge belongs to the best works of palace and park architecture. Destroyed during the war, the Lion Bridge was rebuilt at the end of the last century.

1803-1804. Vasilyevsky Island development projectThe reconstruction of Vasilyevsky Island in St. Petersburg according to Zakharov's project was supposed to be carried out in the traditions of the French urban school: the unity of the ensemble was to be achieved by the general rhythm of the arrangement of buildings and the same architectural details. The execution of the project was supposed to lead to the restructuring of the building of the Academy of Sciences.

1803-1804. The architectural plan of the Nizhny Novgorod fair. Zakharov prepared a draft architectural plan for the Nizhny Novgorod fair, according to which the architect A. A. Betancourt built it a few years later.

Alexander Garden and Admiralty

In 1805, Zakharov was appointed chief architect of the Naval Department, replacing Charles Cameron in this post. In this position, he was in charge of construction management and design of civil and industrial buildings and structures. The first project of the architect in his new position was the reconstruction of the Admiralty building in St. Petersburg. The initial construction of the Admiralty was carried out by the architect I.K. Korobov in 1738, this building is the greatest monument of Russian Empire style architecture. At the same time, it is a city-forming building and the architectural center of St. Petersburg. Zakharov carried out work in 1806-1811. Creating a new, grandiose building with a length of the main facade of 407 m, he retained the configuration of the plan that already existed. Having given the Admiralty a majestic architectural appearance, he managed to emphasize its central position in the city (the main highways converge to it with three beams). The center of the building is a monumental tower with a spire, on which there is a boat, which has become a symbol of the city. This ship carries the old spire of the Admiralty, created by the architect I.K. Korobov. In the two wings of the facade, symmetrically located on the sides of the tower, simple and clear volumes alternate with a complex rhythmic pattern, such as smooth walls, protruding porticos, deep loggias. Sculpture is a strong point of design. The decorative reliefs of the building complement the large architectural volumes; The abundance of light and the exceptional elegance of decoration are set off by the clear severity of monumental architectural forms.

House of Mizhuev (Fontanka, 26)

During the period of work on the Admiralty, Zakharov also worked on other tasks:

In 1806-1808, Zakharov created a project for the development of the Proviantsky Island

In 1806-1809 he created a project for the ensemble of the Galley Port

In addition, Zakharov fruitfully worked on the urban planning tasks of Kronstadt. In 1806-1817, the architect worked on one of the most significant buildings in Kronstadt - St. Andrew's Cathedral (not preserved). In addition, Zakharov prepared projects for government buildings and churches for provincial and district cities of Russia. Experts note their emphatically monumental character. In particular, Zakharov developed around 1805 a project for the Cathedral of St. Catherine the Great Martyr in Yekaterinoslav (now Dnepropetrovsk). The cathedral was built after the death of the architect, in 1830-1835. under the name of Preobrazhensky and has survived to this day.

Matvey Kazakov was born in 1738 in Moscow, in the family of a petty official. From 1751 to 1760 he studied at the architectural school of D. V. Ukhtomsky. From 1768 he worked under the leadership of V. I. Bazhenov in the Expedition of the Kremlin Building, in particular, from 1768 to 1773 he participated in the creation of the Grand Kremlin Palace, and in 1775 - in the design of festive entertainment pavilions on the Khodynka field. In 1775 Kazakov was approved as an architect.

Kazakov's legacy includes many graphic works - architectural drawings, engravings and drawings, including "Amusement buildings on the Khodynka field in Moscow" (ink, pen, 1774-1775; GNIMA), "Construction of the Petrovsky Palace" (ink, pen, 1778; GNIMA).

Kazakov also proved himself as a teacher, organizing an architectural school at the Expedition of the Kremlin Building; his students were such architects as I. V. Egotov, A. N. Bokarev, O. I. Bove and I. G. Tamansky. In 1805 the school was transformed into the School of Architecture.

During the Patriotic War of 1812, Matvey Fedorovich's relatives took him from Moscow to Ryazan. There the architect learned about the fire in Moscow - this news hastened the death of the master. Kazakov died on October 26 (November 7), 1812 in Ryazan and was buried in the cemetery (now defunct) of the Ryazan Trinity Monastery.

In 1939, the former Gorokhovskaya street in Moscow was named after him. The former Dvoryanskaya street in Kolomna is also named after him.

[edit] Works

Many monuments of Kazakov's Moscow were badly damaged during the fire of 1812 and were restored with deviations from the original plan of the architect. The authorship of Kazakov in relation to many Palladian buildings, especially those built according to standard designs outside Moscow, is conjectural and extremely controversial (despite the assertions contained in local history publications).

Monument to Vasily Bazhenov and Matvey Kazakov (in the foreground) in Tsaritsyno by Leonid Baranov

The Senate building in the Moscow Kremlin (1776-1787); University buildings on Mokhovaya (1786-1793, after a fire in 1812, rebuilt by Domenico Gilardi); Noble Assembly (1775); House of Archbishop Platon, later the Small Nicholas Palace (1775) Church of Philip the Metropolitan (1777-1788);Travel Palace (Tver);Kozitsky House on Tverskaya (1780-1788);Church of Cosmas and Damian on Maroseyka (1791-1803);Demidov's Estate House in Gorokhovsky Lane (1779-1791);Estate House Gubina on Petrovka (1790s); Golitsyn Hospital (1796-1801); Pavlovsk Hospital (1802-1807); Baryshnikov's Estate House (1797-1802); General plan of Kolomna in 1778; Church of the Savior in the village of Raisemenovskoye, completed in 1774 -1783Petrovsky entrance palace (1776-1780); Governor-General's house (1782); Mausoleum in Nikolo-Pogorely (Smolensk region, 1784-1802).

I will continue posting here my articles about Russian architects from the last published volume of the "Orthodox Encyclopedia". The first was Ivan Petrovich ZARUDNY, the second with the letter "Z" will be Andrey ZAKHAROV. It's funny that the idea to write monographic articles on architects who made a significant contribution to church architecture did not appear in the "Orthodox Encyclopedia" immediately, but after several volumes had already been published. Therefore, those architects whose letter has already passed, found themselves in flight, among them, it seems, and ... oh horror! - BAZHENOV (Mr. Barkhin will definitely beat the entire leadership of this publication with a heavy warrant!). This is how we do all the big things, "as God puts on the soul." So,

ZAKHAROV Andrey Dmitrievich (1761, St. Petersburg - 1811, St. Petersburg) - one of the largest Russian architects of the turn of the 18th - 19th centuries, in whose work the principles of the so-called. high classicism or empire style with a romantically sublime understanding of the architectural image that embodied the idea of the greatness and power of the empire, as well as with an ensemble approach to solving urban planning problems. The architect’s own creative heritage is relatively small, but the presence of several undeniable masterpieces in it (for example, the Admiralty building in St. Petersburg) and Zakharov’s active pedagogical activity make him a key figure in the Russian architectural process, which had a significant impact on the development of style.

HELL. Zakharov was born into a poor family of an officer on the outskirts of St. Petersburg, at a young age he was sent to a school at the Academy of Arts, in which he immediately proved himself well, for which he was publicly awarded a book in 1769. Zakharov continued his studies at the Academy in the architectural class of A.A. Ivanova. In 1782, for the graduation project of the “foxal” building, intended for recreation and entertainment, he was awarded a large gold medal and the right to a pensioner's trip to France, where he stayed from the beginning of 1783 to the middle of 1786. In Paris, Zakharov expected to study under the guidance of Sh de Vailly, but he turned him down due to lack of vacancies. After working for some time under the guidance of the little-known J.-Ch. Blikara, Zakharov became an apprentice to the royal architect J.-F. Chalgrin, in the future one of the creators of the Napoleonic Empire style. In the workshop of Chalgrin, Zakharov took a passion for megalomania, characteristic of pre-revolutionary French neoclassicism, with its characteristic Piranesian reading of antiquity, severe minimalism of generalized forms and contrasting geometry of volumes. In addition to Schalgren himself, the Russian architect was also influenced by other leaders of the new direction, primarily K.-N. Ledoux and, to a lesser extent, distinguished by the extreme avant-gardism of E.-L. Bulle. Having come into contact with the bold experiments of the French school and having inherited from it a romantic understanding of grandiosity, Zakharov, upon returning to his homeland, demonstrated his adherence to the traditions of Russian classicism of the Catherine era, which is characterized by an attentively competent attitude to the order and calm symmetrical compositions.

Returning to Russia, Zakharov joined the Academy of Arts, in 1794 he received the title of academician. By 1792, the earliest project that came down from him dates back - a sketch of a solemn decoration on the occasion of the conclusion of the Iasi peace treaty with the Ottoman Empire. Unfortunately, the surviving graphic heritage of the architect is extremely insufficient and makes it difficult to study his work. Some of his important projects are only known from descriptions. Since 1794, Zakharov served as the architect of all academic buildings, linking his professional activity even more closely with the academy. Since 1797 he was listed as a professor of architecture, in 1802 he was elected a member of the Council of the Academy, and a year later - a senior professor of architecture. Until the end of his life, he taught, raising several generations of graduates. His most famous student is A.I. Melnikov, who built many buildings in the Empire style and late classicism, incl. several large cathedrals in different cities of Russia. Another capable pupil of Zakharov was a native of the serfs S.E. Dudin, the author of bright classicist buildings and ensembles of Izhevsk, of which the complex of the Izhevsk plant stands out, designed under the influence of the Zakharovsky Admiralty.

In 1800, by imperial decree, Zakharov was appointed architect of Gatchina, which was transformed by Paul I from a country residence into a city. Under the guidance of an architect, the construction of the monastery of St. Kharlampy, park structures, and a church in the village began there. Small Kolpano, the palace church is being refinished, numerous projects are being carried out for the park and the city. However, shortly after the assassination of the emperor, the work was curtailed. Much was never realized or completed with the abandonment of sculptural decorations. Now, from the buildings of Zakharov in Gatchina, the poultry pavilion (recreated according to the original project in 1844), the Humpback Bridge, the remains of the Treharochny (or Lion) Bridge have been preserved.

In 1805, Zakharov was appointed chief architect of the Admiralty in order to begin work on the main work of his life - a major reconstruction of the Admiralty building in St. Petersburg, built back in the 1730s. I.K. Korobov. Having taken over the leadership of the restructuring of the Admiralty from C. Cameron, Zakharov already in 1805 developed a project for a complete change in the facades of the building, and in 1806 he prepared the final draft of the entire reconstruction, with redevelopment and new adaptation of the premises to the needs of the recently established naval ministry. Construction began immediately after the approval of the project and dragged on for many years, until 1823. Along the way, difficulties with financing regularly arose, the deadlines for the completion of the facility were postponed, Zakharov had conflicts with officials, which, as a result, greatly undermined his health. He never lived to see the completion of the work, dying in August 1811.

The renovated Admiralty is one of the most outstanding masterpieces of Russian classicism, having opened a number of so-called. "big projects" of St. Petersburg in the first third of the 19th century, which changed the face of the city center, endowing it with a new scale and stylistic unity. Zakharov managed to organically link the utopian scope of French megalomania with the real place of the Admiralty founded by Peter the Great in the structure and life of St. Petersburg. The building, which closed the perspective of the three-beam of the main highways, was created as an architectural symbol of maritime power, which was also emphasized by the allegorical language of the rich sculptural decoration (sk. F.F. Shchedrin, I.I. Terebenev). The tower with a spire, left over from Korobov's design, in the new Zakharov's edition, strengthened its role as the most important high-rise dominant. In its architectural design, the aesthetic principles of the nascent Empire manifested themselves in full force, especially in the predominance of large geometric volumes with even planes, contrasting with the exquisite jewelry of the decor.

In addition to the Admiralty, Zakharov developed several other important projects for St. Petersburg (re-planning of the galley port on Vasilyevsky Island, the Admiralty barracks, the new building of the Naval Hospital, etc.), of which little was implemented. These ideas that remained on paper are primarily interesting from the point of view of new urban planning approaches that were part of Russian architecture largely thanks to Zakharov. Zakharov's projects were not limited to St. Petersburg, in 1802 he was instructed to develop several projects of "state buildings" for provincial cities. Buildings erected on the basis of Zakharov's drawings in the style of strict classicism have been preserved in Chernigov (the house of the civil governor), Poltava (the development of the Round Square) and other cities.

In the field of religious architecture, Zakharov does not have many works, but they are interesting from the point of view of the development of the typology of a classicist temple and the evolution of style. Rare examples of medieval stylization in the work of the architect include the remaining unrealized plan of the monastery of St. Kharlampy in Gatchina (1800). Designed by order of Paul I, the monastery is organically integrated into the circle of romantic fantasies of the emperor, who dreamed of the revival of knightly morality and medieval piety. The monastery was conceived by Zakharov as a Catholic abbey with features of fortified architecture (as indicated by buttresses and small openings), but without clear stylistic features. The architect used minimal inclusions of Romanesque, Gothic and even Baroque elements, as if hinting at the long history of the ancient monastery, which was subjected to alterations. The dominant role in the asymmetrical composition was to be occupied by a basilica type church with three naves, completed only by a miniature tabernacle and a modest Baroque-Gothic belfry. Inside, an iconostasis was planned, arranged according to the principle of traditional table iconostases, but with lancet gothic frames. By the beginning of 1801, ditches were dug for the construction of the monastery and the foundation was partially laid, but after the death of Paul, all work ceased.

In the immediate vicinity of Gatchina in the village. Small Kolpano designed by Zakharov in 1799-1800. a Lutheran church was built. The simple scheme of the hall temple is complemented by a high tower, originally topped with a tent. In the design of facades lined with limestone, Zakharov combined classical elements (rust) with Gothic ones (lancet openings), which is a characteristic feature of the so-called. Pavlovian romanticism.

For Gatchina, Zakharov also completed the project of a temple in an educational village, which remained unrealized. Judging by the remaining drawings, the monumental church, squat in proportion, should have resembled the Cathedral of St. Joseph in Mogilev, designed back in 1780 by N.A. Lvov. Its interesting feature was the wide and low drum of the dome, cut through by many arched windows - a technique traditionally in Catherine's classicism pointing to Greek prototypes and, first of all, to Sophia of Constantinople.

In the 1800s On behalf of Empress Maria Feodorovna, Zakharov completed several versions of the project of the monument-mausoleum to Paul I for the park in Pavlovsk. Known from drawings (the project of Thomas de Thomon was carried out in 1807-1810), they demonstrate the romantic nature of the concept, with an abundance of sculpture, lavish interior decoration and spectacular theatricalization in the spirit of the times. So, in the first version, where Zakharov started from the image of the Egyptian pyramid, two smoking altars were conceived at the entrance. In the second project, the rotundal mausoleum space is inscribed in a laconic cube with a Doric portico.

Zakharov's main contribution to church architecture is associated with the development of a type of monumental domed basilica, ascending on the one hand to the model of the Parisian Pantheon (the Church of St. Genevieve, architect J.-J. Souflot), and on the other, continuing the line of the Trinity Cathedral of the Alexander Nevsky Lavra I.E. Starov. In January 1801, Paul I approved the project of a church completed by Zakharov at the Obukhov Steel Plant (former Alexander Manufactory). The orientation to the Starovsky Trinity Cathedral is obvious - in addition to the general typological similarity, there are recognizable citations, such as the shape of the domed rotunda with semi-columns or the entrance portico with six columns.

The image created by Zakharov was laconic. The chosen theme of the basilica with the dominant of the "Roman" dome was relevant in the light of Paul's utopian projects to restore the disintegrated unity to Christianity. The final version was preceded by the first, in which the church even more resembled the cathedral of the main metropolitan monastery, having two paired towers on the western facade. At the direction of the emperor, the project was ordered to be reworked, removing the towers, which Zakharov did, placing two belfries on the sides of the attic of the porch, like a screen, attached to the body of the temple.

The construction of the church was started only in 1804 in memory of Paul I, because of which it was decided to consecrate it in honor of the Apostle Paul. Under the guidance of the architect G. Pilnikov, the temple was erected until 1806, after which the work was suspended and resumed only in 1817 after the death of Zakharov. Then, for technical reasons, the unfinished temple was dismantled and rebuilt according to the Zakharovsky project. At the same time, difficulties arose, because there was no complete set of drawings, incl. side facades and detailed plans. The project was finalized by the architect N.A. Anisimov, who independently designed the interior and side facades of the church. Only in 1826 the temple was consecrated, and in 1930 it was destroyed to the ground.

Zakharov developed the theme begun by the project of the Church of the Apostle Paul in his most famous and significant church work - St. Andrew's Cathedral in Kronstadt, founded in 1806 and completed also after the death of the author, in 1817. Starting from the space-planning structure of the temple of the Alexander Manufactory, Zakharov achieved greater harmony in proportions and gave expressiveness to the image of the cathedral by introducing a high bell tower, completed by an elegant rotunda column and a sharp spire. In addition to the French prototypes in the silhouette of the cathedral, especially its bell tower, one should note the influence of one-tower churches of English classicism, incl. buildings of K. Wren.

St. Andrew's Cathedral, demolished in 1932, was a notable phenomenon in Russian classicist church building, which influenced the architecture of some churches in the provinces and brought to life two relatively exact repetitions that differ from the original only in details. Spaso-Preobrazhensky Cathedral in Dnepropetrovsk (former Yekaterinoslav, 1830-1835) in 1805-1806 was designed by Zakharov himself, but these drawings have not been found. In the 1820s the architect F. Sankovsky completed a project based on the Zakharovsky project of the Kronstadt Cathedral, according to which the Yekaterinoslav Cathedral was eventually built. The second copy of St. Andrew's Cathedral appeared in 1816-1823. in Izhevsk and is associated with the activities of Zakharov's student S.E. Dudin. He first completed his own project of the Alexander Nevsky Cathedral, which was rejected, after which he took the teacher's plan as a basis, changing some details, first of all, the completion of the bell tower. The influence of the appearance of the Kronstadt Cathedral can be observed in a number of projects and buildings of A.I. Melnikov, as well as other architects, for example, A.A. Mikhailov in the project of the Church of St. Catherine on Vasilyevsky Island in St. Petersburg (built in 1811-1823).

Admiralty