In his homeland. The authors of the idea of perpetuating the memory of the historiographer were local nobles: the poet's brothers, P.M. I am. Yazykov, Prince Yu.S. Khovansky. In 1833, a committee for the construction of the monument was created and fundraising began. The idea of a monument-monument was proposed by the Minister of Internal Affairs D.N. Bludov, who stood at the origins literary society"Arzamas", and after the death of N.M. Karamzin published the last 12th volume of the History of the Russian State. D.N. The Bludovs proposed a place for the installation of the monument and scenes for bas-reliefs on its side faces. In 1835, the sculptor S.I. Halberg. After the death of S.I. Galberg in 1939, work on the monument was continued by his students: A.A. Ivanov, P.A. Stavasser, N.A. Ramazanov, K.M. Klimchenko. The monument was cast in bronze in foundries under the supervision of P.K. Klodt on March 12, 1843. In 1843, the statue, and in 1844 the pedestal of the monument from Finnish granite were delivered to Simbirsk by water. The grand opening of the monument took place on August 23, 1845. In 1855, at the expense of Aurora Karamzina, the widow of the historian A.N. Karamzin, in memory of her husband, who died in 1854 on Crimean War, a cast-iron openwork lattice was made, installed around the monument. The grille was made at the Demidov plant in Nizhny Tagil.
The monument with a height of 8.40 m is a two-tier sculptural composition. The monument is crowned with a bronze image of Clio, the muse of history (height 4.30 m). The Muse is depicted with her head bowed, with a trumpet-fanfare in her left arm half-bent at the elbow. The lowered right hand holds the tablet, which rests on a four-sided altar. The pedestal (1.90x2.33 m, height 4.10 m) is made of dark red granite. It is a square monolithic prism in cross section. A bust of N.M. is placed in a round niche in the center of its front part. Karamzin in a Roman toga. Under the bust there is an inscription of applied bronze letters in four lines: “N.M. Karamzin, historian Russian state by order of Emperor Nicholas I in 1844. On the left side face of the pedestal there is a high relief “Karamzin reading history”, in allegorical form representing the reading of N.M. Karamzin to Emperor Alexander I chapters from the "History of the Russian State" March 18, 1811 in Tver, in the palace Grand Duchess Ekaterina Pavlovna, wife of the Tver Governor-General Prince G. Oldenburg. Pictured on the left is N.M. Karamzin, dressed in a Roman toga, reads a scroll to Alexander I, sitting in an armchair against the background of the Russian double-headed eagle, and Ekaterina Pavlovna, leaning from behind on an armchair, also presented in the form ancient heroes. On the right side face of the pedestal there is a high relief "Karamzin on his deathbed". On it, in allegorical form, the award on May 13, 1826 by Emperor Nicholas I of the terminally ill N.M. Karamzin with a pension of 50,000 rubles annually for treatment in Italy, as well as for the life support of his wife and children, is presented on it. Patient N.M. Karamzin, who is surrounded by his wife and adult son and daughter, is shown rising on a couch and with a movement of his left hand greeting the winged goddess with a staff and a cornucopia from which coins are pouring. A baby, sitting at the foot of the bed, reaches out to them. common ground The monument is served by a square basement platform (width 3.95 m, height 0.40 m) made of polished slabs of dark red granite. The monument is surrounded by an openwork cast-iron quadrangular fence. In 1866-1869. designed by architect N.A. Beloved around the monument was broken.
Bibliography:
Pogodin M.P. Historical laudatory word to Karamzin, uttered at the opening of a monument to him in Simbirsk, August 23, 1845, in the meeting of the Simbirsk nobility / [reprinted. 1845]. - Samara; Ulyanovsk, 2006. - 96 p. : ph.
Rassadin A.P. Simbirsk monument to N.M. Karamzin as a text// Native and universal: images of terrain, transgression and heterotopia in Russian and world literature (XIX - beginning of XXI cc.): Sat. scientific tr. / USTU; resp. ed. A. A. Dyrdin. - Ulyanovsk: UlGTU, 2015. - S. 139-144.
Trofimov Zh. A. Karamzin, historian of the Russian state// Monuments of the Fatherland. - M., 1998. - Issue. 41 (5/6): Century above the Crown. - S. 10-20.
Trofimov Zh. A. Nikolay Karamzin and Simbirsk: searches, finds, researches.- Ulyanovsk: Master Studio, 2013. - 303 p.: ill.
Trofimov Zh. A. About the monument to N. M. Karamzin: (some new materials)// Simbirsk and Simbirians: historical and literary searches. - Ulyanovsk, 1997. - S. 138-146.
Trofimov Zh. A. Simbirsk monument to N. M. Karamzin: known and unknown. - M.: Young Russia, 1992. - 39 p. : ill.
Publications in periodicals:
Great countryman-historian: Based on the research materials of Zh. A. Trofimov and Yu. V. Kozlov / prepared. N. Lipatova // Monomakh. - 1998. - No. 2. - S. 10: photo.
Gauz N. S. "... That glorious monument, Decorating the Fatherland, tells posterity about it ..."// Business Review. - 2015. - No. 8. - S. 54-56: photo.
Marinin O. “We set out to erect a monument to him in the city of Simbirsk”// Monomakh. - 2011. - No. 4. - S. 6-7: photo. - (Return of memory).
be born under lucky star // Monomakh. - 2005. - No. 3. - S. 57.
Monument to N. M. Karamzin in Simbirsk-Ulyanovsk and a monument to G. R. Derzhavin in Kazan.
Sapchenko L. A. Poem in bronze// Monomakh. - 2006. - No. 2. - S. 8-11: photo.
One of the attractions of the Ulyanovsk region - Karamzinsky Square, which is a kind of green corner of old Simbirsk. The square itself is a monument to the famous historian and literary figure N.M. Karamzin, surrounded by plantations, some of which date back to the second half of the 19th century, and occupying an area of just over one hectare.
In 1836, according to the decree of Tsar Nicholas I, a foundation was laid in Simbirsk Town Square, and a year later it was decided to install in the center new square monument to N.M. Karamzin. The project of the monument was developed by the sculptor S.I. Galberg and the architect A.A. Ton. The main part of the monument and the sculptural image of the muse of history Klipso were cast in St. Petersburg in the workshops of the Academy of Arts under the supervision of the famous architect PK Klodt. In the summer of 1844, the monument and the statue of Klipso were brought from St. Petersburg to Simbirsk. Work on the preparation of the foundation and installation of the monument ended in 1845. August 23 Grand opening monument, and since then the square has become known as Karamzinskaya.
In 1864, a major fire broke out in Simbirsk, causing significant damage to all the green spaces of the city. After the completion of the main work to eliminate the consequences of the fire, the need for city gardens and squares became obvious. And in the spring of 1866 on Karamzinskaya Square According to the project of the Simbirsk architect N.A. Lyubimov, work began on the creation of a city square, the main part of which was successfully completed in the same year. You can judge how Karamzinsky Square looked in the first year of its opening from the surviving photographs of that time, in which you can see about 40 trees, among which birch, elm and linden predominate, as well as a living yellow hedge of acacia along the perimeter of the square.
The following year, after laying the square, N.A. Lyubimov also developed a project for a protective lattice, which was made in the workshops of the artisan I.V. Golubkov. In 1868, a cast-iron fence was installed on a plinth made of chalk stone, mined near Orenburg and known as the “Tashlin stone”. So by 1869 creation of Karamzinsky Square was finished. In subsequent years, only individual trees were planted here.
The main element of the monument erected in Karamzinsky Square is the statue of the patroness of history, Muse Klipso, made of red granite. On the front of the pedestal in a rounded niche is bust of N.M. Karamzin. A little lower is a gilded inscription: “To N.M. Karamzin, historian of the Russian state, by order of Emperor Nicholas I, 1844.” Around the monument in 1854, the daughter-in-law of the great historian - Aurora, a lattice was installed. On the sides of the pedestal are two high reliefs. On the right - Karamzin is depicted on his deathbed, surrounded by members of his family. On the left is Karamzin, reading his "History" to Tsar Nicholas I. The height of the entire monument is more than 10 and a half meters.
Currently, about 300 trees and shrubs of 17 species grow in Karamzinsky Square. Probably half of all plantations are common lilac - Karamzin's favorite shrub. The paths of the square are paved, and in the central part they are covered with red chips, which gives the garden an additional originality. Today's Karamzinsky Square- one of the favorite places in the city for walks and recreation for residents and guests of Ulyanovsk.
Photos of Karamzinsky Square in Ulyanovsk
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In 1845, a monument to N.M. was erected in Simbirsk. Karamzin. The main ideas of the monument embodied in bronze, created according to the project of S.I. Galberg, also acquired a verbal form under the pen of poets who glorified the Karamzin monument. In the poems of Russian poets, the poetics of the Horatian ode is resurrected.
It is known that Samuil Ivanovich Galberg was one of the most talented Russian sculptors. After Pushkin's death in 1837, Galberg, who had removed the mask from the face of the recently deceased poet, sculpted his sculptural portrait, which struck his contemporaries with "the similarity, truth, simplicity and decoration of the bust." Shortly before this, in 1835, in collaboration with Professor A. Ton, Galberg completed work on the monument to Derzhavin in Kazan (installed in 1847). The poet is depicted, according to N.P. Zagoskin, “sitting on a stool, with his head uncovered, dressed in a toga and shod in sandals, which are inevitable at the same time. The poet raised his right hand, armed with style, with his left hand supports the lyre. Derzhavin's eyes are turned to the sky: he sings his famous ode to God. The quadrangular cast-iron pedestal, on which the statue of the poet is erected, is decorated with high reliefs on three sides.
In 1836, Galberg submitted drawings of sketches and a description of the project for the monument to Karamzin to the Council of the Academy of Arts. “Since every monument of Glory is determined, – he writes, – solely to perpetuate great and useful deeds, then this initial or main idea should indicate to posterity those feats or labors by which the poet or hero acquired the right to a monument ... It would be decent and in accordance with the requirements of the elegant to place the muse of history Clio as a monument on a rich pedestal, who, having an emblematic sign of her trumpet in her left hand, lays the tablets of the Russian State on the altar of immortality with her right hand, thus consecrating them to immortality.
Halberg then describes the content of the bas-reliefs that will decorate the side walls of the pedestal. One shows Karamzin reading “On the glorious dangers and exploits of his ancestor Dmitry Ioannovich Donskoy” to Alexander I in 1811; history. The history you have written is worthy of the Russian people”, should be clearly visible”, – emphasizes Galberg.
A second project was also proposed, where it was supposed to present a statue of Karamzin himself, who “stands, resting the tablets of his history on a column – emblem of indestructibility.
Sculptural image of N.M. Karamzin, in principle, could have been decided differently, in accordance with Pushkin's definition: "The first historian and the last chronicler" – suppose, in the guise of Nestor. However, in the perception of his first readers, he was more often associated with the names of ancient historians: Tacitus, Livy, Herodotus. Therefore, Galberg's project, which was criticized by N.M., was not so ridiculous. Yazykov (he, as you know, wrote abroad to N.V. Gogol in 1844: “I can’t find words to express my annoyance to you that this age-old nonsense is erected in honor of such a person!” And F.M. Dostoevsky, who noted in 1875- 76 years: "... In Simbirsk, on the monument to Karamzin, one of the bas-reliefs depicts Karamzin reading his History to Alexander I, both in ancient costumes, i.e. naked, at least 9/10."
The fact is that overall composition monument to Karamzin, created according to the first project of Halberg, is fundamentally correlated with the thematic composition of poetic texts, united by the idea of the monument “To Melpomene” by Horace, “Monument” by Derzhavin). The "spatial composition" sculptural creation embodies the same motive complex that forms poetic works: the placement of the bust of Karamzin in a niche and the ascension to the pedestal of the muse of the history of Clio, based on the tablets of the "History of the Russian State" and holding the trumpet of glory in his hand, highlights the idea of the immortality of the creator in his works . All the necessary components of a motive complex dating back to antiquity: immortality, its justification (merits), appeal to the muse and conclusion about well-deserved fame – presented in the memorial.
In the poems of Horace and Derzhavin, in addition, the “territory of glory” is also indicated, outlined by riverbeds and seas: Aufid, Davn – near Horace, Volga, Don, Neva, Ural, White and Black waters – at Derzhavin. The image of the river symbolizes the flow of time. The Volga, near which a monument to Karamzin was erected, can also be perceived as an element spatial composition as "the river of time in its striving".
According to N. Ramazanov's observation in Russkiy Vestnik, "some of experienced artists Galberg was condemned, why did he put Clio on a pedestal, and not Karamzin himself, ”however, such a decision was in the highest degree significant, because it, despite its ancient forms, departed from the Horatian-Derzhavin tradition of personal glory and approached the Pushkin-Gogol assessment of Karamzin, to the idea of high service and selflessness. Raised on a pedestal, the majestic and beautiful statue of Clio turns out to be head above (both in direct and in symbolic sense) not only the king, but also the historian himself, placed on a pedestal. The muse in the composition of the monument appears, therefore, as obedient only to "the command of God."
In the northern high relief, Karamzin reads the pages of The History of the Russian State to Emperor Alexander during his stay in Tver in 1811 (March 17). But it is well known that in the evening of the same day Alexander got acquainted with Karamzin's treatise "On the ancient and new Russia in its political and civil relations"(Known as "Note on Ancient and New Russia"). It was a review of Russian history, where Karamzin emphasized the excessively violent nature of the reforms of Peter I, condemned Catherine II for immoralism, elevated to the rank public policy, called the reign of Paul "pathetic delusions" and, after giving a merciless analysis of modernity, concluded exclusively sharp criticism throughout the foreign and domestic policy of Alexander I. Having shown personal courage and nobility, Karamzin assessed his reform plans more realistically than many liberal historians of subsequent eras: he saw in them “not answers to the fundamental questions of Russian life, but armchair administrative-bureaucratic creativity, which satisfies only the ambition of the bureaucrats" – from biographical dictionary"Russian Writers".
In the southern high relief, Karamzin, already lying on his deathbed, with his hand rejects the generous gifts pouring from the cornucopia, leaving everything to posterity.
Having learned about the award to him and his family of the "royal" pension by Nicholas I (50 thousand rubles), he said: "This is too much." Always fearful of dependence, he politely thanked the emperor, but expressed the same thought: "Blessing is excessive: my modest desires never extended so far." Karamzin always perceived both cooling and awards with stoic calmness. Remembering your performance in Russian Academy Sciences, Karamzin wrote to P.A. Vyazemsky: “When the kind Shishkov handed me gold medal and the best Russian public, according to its own internal movement, stood up at the thunder of applause, contrary to the academic regulations, I was cold: is an explanation needed? Enemies and friends! You will not make me worse or better - no less, no more. If this is not humility, then it is not pride, but the love of independence, which I love to love ... ".
In Russian literature, there are many poetic texts dedicated to Karamzin. When the poets turned not directly to Karamzin, but to his monument, the motifs of Derzhavin's "Monument" began to sound in their works, going back to an ancient source (Horace's ode "To Melpomene"), and the poem itself acquired style features solemn ode – combination of narrative and lyrical principles, civic content, three-part structure, historical examples, mythological characters, images of nature, techniques public speaking, exclamations, high vocabulary, iambic rhythms.
***
The problem of the "monument" in Karamzin's legacy is of interest. According to Karamzin, monuments have the ability to awaken high feelings in descendants and incline them to heroic deeds. It is no coincidence that D.P. Oznobishin at the opening of the monument to Karamzin in Simbirsk read his poem, in which he expressed the hope that ...
... a Russian youth, now walking by,
Looking at this face shining in copper,
Love for the fatherland, this unquenchable fire
Feel in the chest.
The poems were recited twice: on the square at the time of the opening of the monument and at the request of those present in the hall of the gymnasium after the speech of M.P. Pogodin. In the construction of the works, the main logical parts of the ode are visible: premise, reasoning, conclusion, repeating the key points of the Horatian ode “To Melpomene”. The poems clearly contain signs of the odic style: Church Slavonicisms, exclamations, rhetorical devices.
Oznobishinsky's "In Memory of Karamzin" does not directly correlate with the genre of the ode, but the signs of the genre are present in the poem. The theme of the river as an organizing moment also naturally appears. art space and at the same time as a concrete biographical image:
And you, on whose banks the sound of damask steel fell silent,
Two kingdoms u1087 fallen washed by a wave,
You, peacefully pouring abundance and gold,
Rejoice: he is your nursery!
Yes, Volga, he is your son!
The image of the Russian river acquires a conceptual meaning in the light of the last three stanzas, where one more necessary component of the considered motive complex is presented: merit. Karamzin is the one
“Who is the time of the Terrible, impassive and free,
He passed on dark acts to posterity:
For the first time, the common language was revealed to us;
Rus' showed the world!
Who generously sought, dreamed of days in the sunset
About the glory of the motherland, when the language was dumb!
Over whom the monarch mourned, and in the loss made
Orphaned with Russia.
Here, the motive of merit is given a strong patriotic sound, but along with this, the theme of independence, the freedom of the writer (historian) from earthly rulers, arises. Let us turn to the poem by N.M. Yazykov “Poems for the announcement of the monument to the historiographer N.M. Karamzin" (1845). N.M. Yazykov quoted Derzhavin, in the very first lines openly declaring his belonging to the Horatian-Derzhavin tradition:
He erected a wonderful, eternal monument to himself,
Worthy of righteous praise
And more beautiful than an idol or a stone-cutting pillar,
And harder than cast metal!
That glorious monument, decorating the homeland,
Tells posterity about him
And he will speak as long as Rus' is holy
She won't change herself.
***
Academician M.P. Alekseev writes in his book "Pushkin and world literature", that after the 1850s the very idea of \u200b\u200bthe "Monument" disappears in poetry "in its real and figuratively- How good memory about the deeds of a person; this representation is now alien to poetics. However, this is not entirely fair.
Oznobishinsky's "Poems uttered at the 100th anniversary of the Russian historiographer Nikolai Mikhailovich Karamzin in Simbirsk, December 1, 1866" do not seem to be addressed to the monument itself, they are dedicated to the 100th anniversary of the writer and historiographer, however, here it is easy to detect the same motives, which create a thematic composition of bronze and poetic monuments. Both in terms of the title and in terms of its genre and style features, it is quite consistent with the ode.
The poem begins with a mention of a solemn event – the opening of the monument to Karamzin (at the same time, the traditional “space of glory” is also indicated with a characteristic landmark – river):
Solemnly Volga country
She opened her monument in Simbirsk,
Russian gift – in praise of Karamzin!
Next comes the theme of immortality in people's memory. Establishing a connection between two events - the opening of the monument to the historiographer and the coming anniversary, the poet speaks of the continuity of traditions, of the unfading love of the people for Karamzin. Resurrecting the historian with the power of artistic imagination, D.P. Oznobishin is trying to look at the recent past (the abolition of serfdom) and his own present (the assassination attempt on the emperor, etc.), at the Simbirsk events that happened (fire) with the eyes of Karamzin.
Speaking of Karamzin as a patriotic historian, Oznobishin embodies the theme of merit and, in accordance not only with the theme, but also with the architectonics of the ode (“for”), concludes with a final thought about immortal glory worthy of deeds, also pointing to its temporary limits, more precisely, its infinity:
He heartily sympathized with the people's glory
And the glorified people will exalt him,
And his name will live in Russia forever,
How long does love for the Fatherland live in the hearts!
The manuscript department of the Pushkin House contains another version of the poem in question, which differs significantly from the published one. However, the highlighted motifs are visibly traced here as well, and even more clearly, probably due to the brevity and orderliness of the text, divided into stanzas (four eight lines). These four stanzas are like the edges of a pedestal on which it is easy to imagine the muse of history.
The first stanza refers to a recent event. – grand opening of the monument to Karamzin. According to tradition and in accordance with the odic style, the descent of one of the “mountain muses” is mentioned, the space of glory is outlined – Russia. The second one is dedicated to the idea of immortality, imperishable memory among nations, overcoming death. The third stanza deals with current events – an attempt on the life of the emperor and the grief of the Poet, "if the story would lead to a crime." In the final fourth stanza, in full accordance with tradition, a conclusion is made about a well-deserved unfading crown of laurels, about eternal life"in the mouth of the people" and, confirming the expectation, is the image of the river as a symbol of space and time. Thus, the Simbirsk monument to Karamzin can truly be called a poem in bronze.
Created on the basis of an authoritative and impressive tradition (Horace, Derzhavin), the monument to Karamzin in its ideological and compositional decision in many ways anticipates Pushkin's "I erected a monument to myself not made by hands ...". Karamzin, without fear of resentment, without demanding a crown, accepting praise and slander with indifference, appears as a servant of the muse, obedient only to the command of God, as a fellow poet.
Lyubov Sapchenko
170 years ago, on August 23, 1845, the country's first monument to Nikolai Mikhailovich Karamzin, the Historian of the Russian State, was unveiled in Simbirsk. About the significance of this event in history national culture its organizers, creators and participants testify.
“He cleansed the Russian language, freed it from classical influence, showed it its current course, processed the style, enriched Literature, presented works in all kinds: letters, news, reasoning, words of praise, conversations; encouraged participation in writing famous writers, introduced foreign writers, translated many exemplary works from all new languages, set literature in motion, spread the desire for reading, knew how to arouse a love for knowledge, touched on all modern issues, taught to reason politically, finally, began to arouse interest in Russian antiquity and introduced to the ancients foreign travelers”, - this is how Academician Mikhail Petrovich Pogodin began the “Historical Praise to Karamzin”. Professor of the Imperial Moscow University, historian, writer, publisher of the magazine "Moskvityanin" arrived in Simbirsk to participate in the celebrations at the urgent invitation of the Yazykov brothers.
His two-hour "Eulogy" is an in-depth analysis creative heritage Karamzin: “He reviewed and researched all known before him historical sources, and many new ones, discovered by him; not a single copy of the annals was left unread, not revised, and traces of his hand shine on everyone ... Let the monument, now erected here, inspire your children and all subsequent generations in a noble striving for high purpose Karamzin! May he remain forever the ideal of a Russian writer, a Russian citizen, a Russian person.”
Initially, the opening was scheduled for August 22 - it was timed to coincide with the anniversary of the coronation of Emperor Alexander I. But for a number of reasons, they started a day later. On the morning of 23 August cathedral worship took place. The first persons of the province, the nobility, merchants, students of the gymnasium and the seminary were present, the cathedral was surrounded by many citizens. Archbishop Theodosius served a memorial service for the dead. After the memorial service, all those present marched to the square, where the monument was unveiled. First, the veil was removed from the bust of Karamzin and the high reliefs. His Grace Theodosius sprinkled the monument with holy water. They sang many years to the emperor and the reigning house. The deacon declared eternal memory Historiographer Nikolai Mikhailovich Karamzin”, as well as “many years to the Simbirsk nobility and all admirers of the memory of the Historiographer”.
famous poet, translator, public figure Simbirsk province Dmitry Petrovich Oznobishin read the poem "In Memory of Karamzin":
So Russian youth
now passing by
Looking at this face
shining in copper
Love for the Fatherland, -
this fire is inextinguishable,
Feel in the chest.
The celebrations continued in the gymnasium. The day ended with a solemn dinner in the hall of the Noble Assembly. Pogodin’s wish was sounded there: “May Simbirsk prosper and come from here continuously,
to the glory of the Fatherland, the successors of the Karamzins, Turgenevs, Yazykovs!
The opening of the monument to the Historiographer is a landmark event in history and literature Russia XIX century. For the Simbirians in particular: the entire 19th century was spent with Karamzin.
From chronicle
1797. December 23**. I think that you have already returned to Simbirsk to our relatives. Often I feel very sorry that I live far from you ...
1798. 28 January. Reading your letter
I mentally imagine the Trans-Volga blizzards and snowstorms ...
1809. April 21. For the Simbirsk club, I subscribed to two more magazines:
to the Senate Vedomosti and to the St. Petersburg magazine of Astafiev ...
These are lines from the letters of Nikolai Mikhailovich Karamzin to his brother Vasily. He never broke ties with Simbirsk. On November 3, 1836, Alexander Turgenev informed Pyotr Vyazemsky: “Do you know what I am reading now? 19 bundles of original letters from N.M. Karamzin to his brother V.M. Letters start from the end XVIII century and continue until his death. How many familiar names will you meet! How dearly he loved his own. These letters passed through the hands of Yazykov.
1833. 25 April. N.M. Yazykov informs Academician M.P. Pogodin about the intention of the Simbirsk nobles to perpetuate the memory of Karamzin. He asks for assistance in raising funds: "by the power of your word to act on the public."
1833. June 13. Governor A.M. Zagryazhsky sent a petition of 38 Simbirsk nobles to the capital in order to receive highest resolution to open an all-imperial subscription to raise funds for the monument to Karamzin.
1833. July 6th. Emperor's consent received. The governor was asked to create a fundraising committee in Simbirsk. The initiators of the construction of the monument and the first donors were Alexander and Petr Yazykov, General P. Ivashev, P. Bestuzhev,
A. Valuev.
1833. July 21. Message in the journal "Northern Bee": at a dinner in honor of the poet-fabulist I.I. Dmitriev, a friend of Karamzin. Writers, among whom were A.S. Pushkin, I.A. Krylov, D.V. Davydov,
P.A. Pletnev, collected by subscription
4523 rubles.
1833. Designed by the architect
I.I. Lizogub. It is proposed to create a complex of buildings, including a library, classrooms, residential buildings for staff. In subsequent years, many options for the installation of the monument were considered.
1836. August 22. Nicholas I arrived in Simbirsk. Among the reconstructions and reconstructions prescribed by him in the central part of Simbirsk were orders: new house Assembly of the Nobility and, having freed from private buildings, arrange a square adjoining the Governor's House from the west.
It was decided to erect a monument to Karamzin in the center of the new square.
1838. June 1st. The highest order is to conclude with the professor of the Academy of Arts Samuil Galberg "a contract for the making of a monument with bas-reliefs within three years according to the aforementioned project."
1839-1843. According to the sketches and drawings of Galberg, his students A. Ivanov, P. Stavasser, N. Ramazanov, K. Klimchenko completed work on the monument. The statue of the muse Clio, the bust of Karamzin and the high reliefs were cast in the workshop of Pyotr Klodt. Baron Klodt is not only a sculptor, but also an outstanding foundry master. The statue and high reliefs were brought along the Volga to Simbirsk.
1844. A pedestal made of red Finnish granite and a bronze bust of N.M. were delivered to Simbirsk. Karamzin.
1845. 23 August. The opening ceremony of the monument took place. But it was not the end, but the beginning of the next, no less significant assertion of Karamzin's traditions.
1848. April 18. “The opening of the Karamzin public library took place in Simbirsk. The celebration is as memorable in the history of the city as the day of the opening of the monument to the Russian historiographer N.M. Karamzin. It marked the beginning of constant reading for all classes of the city ... ”(“ Moskovskie Vedomosti ”).
As we see, rational solution, adopted in 1836 by Nicholas I, who had a good engineering education, made it possible to implement both options for perpetuating the memory of the historian - both the monument and the library.
1855. A small fence was installed. Cast at the Nizhny Tagil plant according to the drawings of the Simbirsk architect N.A. Lyubimov. This is a gift from Aurora Karlovna Karamzina in memory of the husband and son of the historian Andrei, who died heroically on May 16, 1854 in the Crimean War.
1866. 100 years since the birth
N.M. Karamzin. The memory of the “Russian writer, citizen, person who inspires all subsequent generations to a lofty goal” was celebrated by all of Russia. Celebrations were held in 18 cities. Simbirsk severely damaged by fire
1864, celebrated the anniversary of the great countryman. In the spring, work began on the beautification of Karamzinskaya Square.
1867. Architect N.A. Lyubimov developed a project for the lattice of the outer fence of the square. cast iron fence cast
in the workshops of I.V. Golubkov. Installed on a parapet of Tashlin stone around the entire perimeter by the end of 1868. A year later, all works on the improvement of the square were completed.
Thus, in the historical place of Simbirsk, the creation of a single architectural ensemble, including four monuments, was completed. The main one is a monument on a pedestal. The second is a small fence. Third -
outer fence. The fourth is the square itself.
1898. Simbirsk is 250 years old. The Karamzin Library is exactly half a century old. Both significant dates were worthily celebrated by the Simbirians.
2014. April 12. Current state historical place became the subject of consideration round table VOOPIK "Karamzinsky Square: History, Preservation, Restoration". As a result of the discussion, an "Action Plan (road map) for 2014-16" was developed.
The monument to Karamzin in Ulyanovsk was erected in honor of the Russian writer and historian. The author of the monument is Galberg Samuil Ivanovich, a talented sculptor. The memory of the great writer in the form of a monument was left at the request of the poet's brothers. Karamzin often lived in Simbirsk from autumn to spring in a private mansion located on the Old Crown. The writer made an invaluable contribution to Russian literature.
The history of the creation of the monument
The history of the monument to Karamzin in Ulyanovsk dates back to 1833, when on the thirteenth of June, Governor Zagryazhsky petitioned Tsar Nicholas I to create a monument to the writer. The document was signed by 38 Simbirsk nobles.
The emperor granted the request. Funds were needed to build the monument. The first contributions were made by the brothers and nobles who signed the petition. Soon all the money was collected, but the question arose about the appearance of the monument.
Creation of a monument
The end of the disputes was put by the king. Nicholas I arrived in Simbirsk in August 1836. The emperor personally indicated the place and named the person who would be involved in the creation of the monument. So, the monument to Karamzin in Ulyanovsk (at that time the city was called Simbirsk) was entrusted to Professor Galberg.
The monument was to be installed between the city magistrate and the gymnasium, next to the fence of the Spassky Monastery. Halberg had three years to work. According to the plans, the monument was to be surrounded by golden bas-reliefs.
Funds for many materials were allocated from the treasury. But the professor began to work only after two years. He died in May 1839, never having completed his masterpiece. The professor's students had to complete the monument.
Description
The monument to Karamzin in Ulyanovsk was created in the spirit of those times, made in the style of classicism. On a pedestal stands a statue of Clio, the muse of history. IN right hand she has the tablets, the altar of immortality. This main book Karamzin. In the left hand of the muse is a pipe, with which she broadcasts about Russian life.
A small niche is hollowed out in the monument, in which the bust of the writer is located. The pedestal of the monument is decorated with high reliefs. The northern one depicts N. M. Karamzin himself, reading an excerpt from his work in the presence of the emperor and his sister. In another high relief, the writer is depicted on his deathbed, which is surrounded by the poet's family.
All figures are depicted in antique clothes. On the pedestal, an inscription was cast in copper letters about who the monument is dedicated to. Its height is 8.52 meters, at the pedestal - 4.97 m, at the statue of Clio - 3.55 m. The pedestal of the monument is made of red granite brought from Finland. This part of the monument was made in St. Petersburg by the sculptor Anisimov.
The bust of Karamzin, the high reliefs and the statue of Clio were cast in bronze at the Academy of Arts. Professor Klodt supervised the work. All the details of the monument were brought to Simbirsk in 1844 with great difficulty, and the following spring, preparatory work took place.
At the opening of the monument on August 28, 1945, the nobility, merchants, students of the theological seminary and gymnasium gathered in the cathedral. Many citizens came. After the memorial service, all of them went to the square, where the monument was erected and unveiled. The writer himself did not even imagine that he would be immortalized for his works.
Karamzin was very fond of the novels of Walter Scott. The writer really wanted to erect a monument to him in the garden own house. It turned out that Karamzin himself became no less beloved writer.
Further arrangement and description of the monument to Karamzin in Ulyanovsk
At first, as soon as the monument was installed, it was surrounded by a wooden lattice. In 1855, the widow of Karamzin's eldest son, Avrora Karpovna, took up the arrangement of the monument.
At her request, the wooden lattice was removed and a metal one, richly decorated with gilded copper endings, was installed. In 1866 in Simbirsk there was big fire, and the area around the monument after the restoration began to please the eye with a green square. A new cast-iron grate appeared on the stone foundation.
The second life of the monument
In 1931, the monument to Karamzin in Ulyanovsk was nearly demolished. The monument has already lost its originality. The gilded tips on the fence were knocked off, pieces of chasing granite were chipped off and the inscription was destroyed. An enterprising city dweller even tried to sell a copper statue through a newspaper.
The monument was defended by Grechkin, director historical museum, and Volsov, a local architect. In 1944, letters were recast from copper for the inscription. The monument to Karamzin acquired a second life after a major restoration carried out in 1967. The inscription, however, turned out to be somewhat distorted. In the original version, the word year was cast with a "ъ" sign at the end. IN modern version this letter does not exist.
N. M. Karamzin died in May 1826. The writer was buried at the Tikhvin cemetery in St. Petersburg. On the grave of Karamzin there is a monument made of white marble. It is made in the form of a rectangular sarcophagus, decorated with a gilded bronze wreath.
