Matvey Fedorovich Kazakov short biography. Direction "Russian Gothic"

Portrait of R.R. Kazakov (?)

My article about him, published under the title "Known only to specialists" (for which special thanks to the editors!) In the newspaper "History" (publishing house "First of September"). 2007. No. 24. http://his.1september.ru/2007/24/20.htm
It was written, of course, not for them, but for the academic herald of the history of literature and art. I have not yet singled out the newspaper itself, so I am giving the text in the version in which it was sent to it, except for the links, they will be in the newspaper version, but they were killed in the live version. The same with the pictures: for sure, not all of them were included in the newspaper version. In Vestnik, the old black and white pictures will be in the article itself, and the color ones on the inserts.

"The name of the outstanding architect Rodion Kazakov is known mainly only to specialists in the history of architecture. The glory of his great teacher and senior comrade Matvey Kazakov is incomparably greater, although Rodion Kazakov turned out to be worthy of his teacher. Having started his creative way As an architectural student of the "Expedition of the Kremlin Building", he, studying with Vasily Bazhenov and Matvey Kazakov, successfully continued their activities, and then headed the Moscow architectural school, which raised many masters of classicism. Because of his last name (in the Soviet architectural "pantheon" there could not be two Kazakovs at once), R.R. Kazakov turned out to be less known and his work was not studied in such detail, although, of course, he was an architect of the first plan, a very bright and talented master, who had his own creative personality, created buildings that for a long time determined the image of Moscow.

The bibliography about R.R. Kazakov is very scarce. Although P.V. Panukhin’s dissertation “Creativity of Rodion Kazakov and his place in the architecture of Moscow classicism” was defended on his work, but, unfortunately, it was never published in the form of a monograph. Even a reliable portrait of R.R. Kazakov has not survived to us. A copy of the image, located in the Museum of Russian estate culture in Kuzminki, and what is presented as a portrait of R.R. Kazakov is hardly such ...
Rodion Rodionovich Kazakov (1758–1803), who was born twenty years later than Matvey Kazakov and died nine years earlier, was a hereditary Muscovite. He came from the family of a small-scale nobleman ensign of architecture in the “architect team” of Prince D.V. Ukhtomsky. From his father, R.R. Kazakov received his initial knowledge of architecture. The childhood and youth of R.R. Kazakov passed in parental home not far from the Kremlin in Starovagankovsky Lane (later own house was in the German settlement on the Gorokhove field).
In 1770, at the age of sixteen, R.R. Kazakov passed the exams and entered the Architectural School of the Expedition of the Kremlin Building of the Moscow Department of the Senate, which at that time was led by V.I. Bazhenov, participated in the creation of a model of the Grand Kremlin Palace, designed by V.I. Bazhenov. In 1774 he was sent as a student (gezel) to M.F. Kazakov; under his leadership, as part of an architectural team, he was engaged in dismantling the dilapidated buildings of the Kremlin, compiling their measured drawings in 1770-1773. As a sculptor, R.R. Kazakov worked on the construction of the Prechistensky Palace of Catherine II in Moscow, designed by M.F. Kazakov, and for this work he received the rank of sergeant.
In 1776 he created his first independent architectural project the classicist Novovorobevsky Palace - the palace of the Empress on Sparrow Hills, built using logs from the Prechistensky Palace. For this project, which brought him fame, R.R. Kazakov received the title of architect, and became one of the recognized Moscow architects.
Since that time, he began to receive many orders: in 1781-1782. took part in the construction Catherine Palace in Lefortovo (at first it was built by the architect Prince P.V. Makulov, but due to miscalculations during construction it had to be started anew, except for R.R. 1780s D. Quarenghi, who created a portico from the side of the garden and the famous multi-column loggia on the facade).

Lefortovo Palace. Photo con. 19-beginning 20 in Private collection (Moscow)

In Moscow and the Moscow region, according to the projects of R.R. Kazakov, intensive construction of private mansions was carried out. In 1782-1792. Together with other architects of the Expedition of the Kremlin Building, R.R. Kazakov worked on orders from the governor of the Novorossiysk Territory and favorite of Catherine II, Prince G.A. Potemkin (it is assumed that R.R. Kazakov was invited to design them and build the gates of the fortress in Kherson). Religious architecture also occupies a special place in the work of R.R. Kazakov. All religious buildings designed by him are decorative and have pronounced secular features. Their typical elements are the Belvedere rotunda and the use of the Doric order. In almost all of his works, R.R. Kazakov appears as a talented representative of the mature (“strict”) Moscow classicism. A major stage in the life of R.R. Kazakov was his long work in 1778-1803. in the estate of Princess A.A. Golitsyna Kuzminka near Moscow, now located in the city for a long time. Having replaced I.P. Zherebtsov as the architect of Kuzminok, without basically changing the already established layout of Kuzminok, R.R. Kazakov gave her new life rearranging some of its elements. During his work in Kuzminki, R.R. Kazakov reconstructed the manor house and outbuildings, the church, Slobodka - a complex for courtyard people, another economic complex was built - Horticulture with greenhouses and houses for gardeners and the Chinese (Pike) pond, a canal was dug, connecting the Chinese Pond with the Lower or Mill Pond (now Nizhny Kuzminsky) arranged on the Churilikha (Goledyanka) River.

The master's house in the Kuzminki estate (above the north facade, below the south). Photo of the beginning 20th century (from ed.: Poretsky N.A. The village of Vlakhernskoe, the estate of Prince S. M. Golitsyn. M., 1913).

The abundance of work required the involvement of other architects, in 1783 R.R. Kazakov, busy with other architectural orders, attracted his sister's husband, architect Ivan Vasilievich Egotov (1756-1814), who at first carried out the functions construction supervision (immediately he was entrusted with the supervision of the restructuring master's house) , i.e. engaged in the implementation of Kazakov's projects. Subsequently, I.V. Egotov had to finish a lot of things started or designed in Kuzminki by R.R. Kazakov, but only after his death I.V. Egotov began independent activity in Kuzminki. Despite the significant scale of activities of R.R. Kazakov in Kuzminki, this part of his architectural heritage was not lucky. During the restoration of the estate after the Patriotic War of 1812, many buildings constructed by him were replaced by new ones according to the project of D.I. and A.O. Gilardi. In 1916, a fire destroyed the manor house Kuzminok, reconstructed in 1783-1789. according to the project of R.R.Kazakov (architectural supervision was conducted by I.V.Egotov). Then it was built on the mezzanine floors, front rooms: a bedroom, an office, a hall were decorated with paintings, and other rooms were remade. At the same time, the outbuildings were also reconstructed, which then were not two as they are now, but four - small one-story wooden buildings, designed in classic forms.
It is quite difficult to judge the work of R.R. Kazakov even by the old images of this ensemble that has not survived to this day, the earliest of them date back to 1828 and 1841, and after the death of R.R. Kazakov, the house was rebuilt in 1804-1808. I.V. Egotov, at the same time reconstructing the wing and planning the territory of the Front Yard. The ensemble was rebuilt later. After the Patriotic War of 1812, the manor house Kuzminok was restored and refurbished, but the outbuildings, which had deteriorated by that time, were replaced by new ones built in 1814-1815. according to the project of D.I. Gilardi. In 1830-1835. the manor house, outbuildings and galleries were reconstructed, but the changes mainly affected the internal layouts of these structures. These works were started by D.I. Gilardi, and after her departure abroad, continued by his cousin A.O. Gilardi. Thus, the appearance was finally formed, according to Yu.I. Shamurin's definition, of this most rustic of all the landowner houses near Moscow. In its place, according to the project of S.A. Toropov, in 1927 a new main building of the Institute of Experimental Veterinary Medicine was built, significantly exceeding it in size, but simpler in silhouette.
Currently, the only architectural monument in Kuzminki associated with the name of R.R. Kazakov is the Church of the Blachernae Icon of the Mother of God, which relatively recently returned to its former dominant role in the ensemble of the estate. It was built in two stages. In 1759-1762. were built: a church building, which originally had a baroque decor (finally finished and consecrated only in 1774), as well as a separate wooden bell tower. Based on indirect data, it can be assumed that the authorship of the church project belonged to the St. Petersburg architect S.I. Chevakinsky, according to the project of which the construction of the Prechistensky House by M.M. Golitsyn (now Volkhonka, 14) was underway at that time. I.P. Zherebtsov was the author of the project of the bell tower, completed in the spring of 1760. Although the name of R.R. Kazakov is not directly indicated in the documents, the authorship of the church project undoubtedly belongs to him: at that time he was the only major design architect in the estate, and I.V. Egotov's functions were of a technical nature. The church was reconstructed in 1784-1785. in the forms of mature classicism. A new bell tower was also built to replace the old one. During the reconstruction, the church received a new completion - a round drum with lucarnes, crowned with a cupola. Porticos and porches were added on four sides. In front of the church, a stone two-tier bell tower, round in plan, was erected with an order segmentation of the facades. It is curious that V.I. Bazhenov took some part in these works: his name is listed in the estimate drawn up for the purchase of the necessary building material.

Church of Blachernae Icon Mother of God in the estate of Kuzminki. At the top of the photo is the beginning. 20th century (from ed.: Poretsky N.A. The village of Vlakhernskoe, the estate of Prince S. M. Golitsyn. M., 1913), below is a photo by M.Yu.KOrobko 2005

Unfortunately, this most interesting monument was badly damaged in Soviet time. The church was closed in 1929 and beheaded, and in 1936-1938. As a result of restructuring into a Rest House of the Central Committee of the Automotive Industry Trade Union (probably designed by S.A. Toropov), it lost its former stylistic features, turning into a three-story residential building. Only in 1994-1995. According to the project of the architect E.A. Vorontsova, a complex of works was carried out to restore the church: during the restoration, the late third floor was dismantled, the former system of arches and vaults was recreated, the bell tower was erected on a monolithic reinforced concrete foundation in place of the old remains identified as a result archaeological sites; carried out a large amount of work on repairing the brickwork and recreating the white stone and stucco decoration of the facades; made roof structures with copper coating, domes and crosses with gilding.
In parallel with his activities in Kuzminki, R.R. Kazakov carried out a number of no less important and responsible orders, among which a special place is occupied by the development of the Andronievskaya Square area in Moscow. According to his designs, the Church of Martin the Confessor was built in Alekseevskaya Novaya Sloboda, the former estate of the Andronikov Monastery (Bolshaya Kommunisticheskaya Street, 15/2), which dominates the panorama of Zayauzia, a private public school located nearby, and the grandiose four-tier gate bell tower of the Andronikov Monastery, which became the second highest in Moscow after the Kremlin Ivan the Great (height 79 m). Built in 1795-1803. the bell tower, having created a new image of the main entrance to the monastery, became its dominant (this most interesting monument of classicism was destroyed in 1929-1932). Next to the bell tower, the estate of the mayor P. Khryashchev was built. Thus, the classicistic image of Andronievskaya Square was formed, which has been fragmentarily preserved to this day.

Bell tower of the Andronikov Monastery. Photo of 1882 from the album of N.A. Naydenov. GNIMA them. A.V. Shchuseva

The Church of Martin the Confessor is a large powerful five-domed temple, built in 1791-1806. at the expense of one of the richest Moscow merchants V.Ya. Zhigarev, who later became the mayor (the building of a private public school was built in 1798 also at the expense of V.Ya. Zhigarev). The church consists of a double-height four-pillar quadrangle with a large semicircular apse, a vestibule adjoining it from the west (it repeats the shape of the apse) and a high three-tiered bell tower connected to it by a short passage. The emphasized monumentality of the building, uncharacteristic of the Moscow architectural tradition, gave rise to the legend that R.R. Kazakov repeated the Cathedral of St. Peter in Rome (one of the reasons for the construction of the temple was a visit to Moscow by Holy Roman Emperor Joseph II). After the Patriotic War of 1812, the church, which was damaged by fire, was restored in 1813-1821: then the iron coverings and facing of the building were put in order. During one of the repairs, a previously open passage between the temple and the bell tower was laid, restored during the restoration of the building (the church was closed in 1931 and became operational again only in 1991).

Church of Martin the Confessor. Photo of 1882 from the album of N.A. Naydenov. GNIMA them. A.V. Shchuseva

Another well-known cult building, designed by R.R. Kazakov and being a good example of mature classicism, is the one-domed church of Varvara on Varvarka - the first from the Kremlin in the famous chain of temples and chambers of Zaryadye (Varvarka, 2). Small, but placed at the very beginning of the street, it still defines its image (initially, it fixed the corner of the block at the intersection of Varvarka Street and the Zaryadinsky Lane, which has not been preserved). The church is single-domed, completed with a domed rotunda with a drum and a dome, cruciform in plan; due to the low relief of the area, it is placed on a high basement, it faces the street with its eastern facade, therefore the altar is not separated into an independent apse volume, but is decorated with a powerful Corinthian portico, as well as other facades of the building. The two-tiered bell tower, built according to the project of A.G. Grigoriev in the 1820s, was demolished in the Soviet era, but restored during the restoration of 1967 (now the church is functioning). The building was built in 1796-1804. at the expense of Major I.I. Baryshnikov and Moscow merchant N.A. Smagin. In 2006, under the Church of Barbara, a perfectly preserved white stone basement of an older church was discovered, erected on this site in 1514 by the architect Aleviz Novy, the author of the Archangel Cathedral in the Moscow Kremlin. The building of R.R. Kazakov, large in area, has turned into a kind of case for the remains of the Alevizov building, and, thanks to this, it has been perfectly preserved.

Church of Barbara on Varvarka. Photo of 1882 from the album of N.A. Naydenov. GNIMA them. A.V. Shchuseva

The name of R.R. Kazakov is associated with the one built in 1798-1802. a huge city estate of the owner of ironworks I.R. Batashev, (since 1878 the Yauzskaya hospital, now the City Clinical Hospital No. 23, Yauzskaya St. 9-11). Unfortunately, the authorship of R.R. Kazakov has no exact documentary evidence, however, the artistic merits of the monument and the nature of drawing many of its details of the house give reason to assume that R.R. Kazakov took part in its creation. The project was implemented by the Batashev fortress architect M. Kiselnikov, apparently the one who built the Batashev family nest at the estate of Vyksa.
The estate of I.R. Batashev with the manor house and outbuildings that form the ensemble of the front yard is an outstanding monument of the era of classicism, its order and stucco decoration is one of the best in Moscow buildings early XIX in. (at one time this complex was even attributed to V.I. Bazhenov). Initially, the manor's house had a decorative loggia and a gallery from which a view of the park towards the Yauza was opened. The manor was seriously renovated after the fire of 1812, and after the organization of the Yauza hospital here, it was partially rebuilt: the open galleries of the front yard and loggia stairs were laid; in 1899 a church was built. Part of the interiors, however, was lost, but main facade preserved.

The manor house of the estate of I.R. Batashev in Moscow. Photo of the beginning 20th century Private collection (Moscow)

In parallel with the estate of I.R. Batashov, designed by R.R. Kazakov in 1799-1801. the reconstruction of the city estate of the Vice-Chancellor Prince A.B. Kurakin, who at that time headed the Collegium of Foreign Affairs of Russia (Staraya Basmannaya St., 21), was reconstructed. The main house became two-storey, having received a portico of the Corinthian order. An extension was made to a separate "semicircular" service building - a corridor 1 m. 60 cm wide, i.e. one of the outer walls of the building turned into a partition inside the building. The enfilade layout was replaced by a series of isolated rooms and a hall with a combined corridor along the outer wall of the building (in 1836-1838, the architect E.D. Tyurin added a second floor to the building and connected it to the main house).
In 1790-1800. R.R. Kazakov together with his teacher M.F. Kazakov worked on the creation of the "Album of particular buildings of the city of Moscow" - a kind of catalog of buildings of Moscow classicism, the so-called "Kazakov's albums" (there are six in total). Albums includes descriptions of 103 Moscow mansions, more than 360 drawings and plans. R.R. Kazakov was the creator of most of the visual material for them. The drawings were kept in the "Drawing Room" at the Armory Chamber of the Moscow Kremlin, of which R.R. Kazakov became director in 1801. In the same year, he worked "to correct" the Kremlin Palace, and in 1802 examined the "dilapidated" in the Kremlin.
The name of any major master, as a rule, is also associated with false attributions: numerous and often unreasoned attempts to see his hand in unattributed monuments. In this case, R.R. Kazakov is no exception. His surname contributes to false attributions, there is a great temptation to attribute many of his works to the more famous M.F. Kazakov. Unfortunately, some attributions of the monuments to R.R. Kazakov are frankly fantastic. The significant scope of R.R. Kazakov’s activities in Kuzminki led to the fact that some works carried out in this estate, but having nothing to do with it, began to be mistakenly associated with his name. According to the reference book "Architects of Moscow during the Baroque and Classicism (1700-1820s)" from the activities of R.R. Kazakov in Kuzminki "... only a slightly modified main house of Slobodka on Poplar Alley has been preserved." However, Slobodka in Kuzminki does not have, and never had, any "main house". Apparently, the author of the article in the reference book had in mind a hospital or a hospital wing, built in 1808-1809, according to the project of I.D. Zhilardi - a wooden one-story building with a mezzanine and two risalits protruding along the edges. Indeed, in the specialized literature, R.R. Kazakov and I.V. Egotov are usually called its builders, forgetting or not knowing that none of them is mentioned in any of the documents on the construction of the hospital in Kuzminki (R.R. Kazakov died five years prior to the commencement of its construction).
The House of the Gardener (Grey Dacha) on Gardening in Kuzminki, built in 1829-1831, apparently, according to the project of D.I. Because of the emergency state, part of the walls that survived the fire was dismantled, in 1975 there was a complete collapse of the wooden part of the building, which prevented additional research on it, in 1976-1979 the house was recreated according to the project of the architect I.V. e. a remake was erected on its foundation).
R.R. Kazakov really designed the Gardener's House for Kuzminki, built in 1797, but it was a completely different building, occupying a different site. It is known that in 1829, having concluded a contract with the new gardener Andrei Ivanovich Gokh, the owner of Kuzminok, Prince S.M. Golitsyn, ordered to build a new outbuilding for him "... choosing for this a decent place behind the greenhouses, so that it was not visible from home and from the garden ... The old wing, where the former gardener lived, should be left for the placement of garden students ", i.e. Kazakov's Gardener's House existed for some time even after the construction of a new one, but was subsequently dismantled (in the passport for the Gray Dacha, the year of its construction is erroneously indicated as 1797, a security plaque with the same date hangs at the Gray Dacha itself).
Usually, R.R. Kazakov is also credited with the device of the “Star” - the French, that is, the regular part of the Kuzminok park, consisting of 12 alleys radiating from one center (it is also the “Twelve-beam glade”, “Grove of 12 prospects” or “Clock "). However, we managed to establish that Zvezda was created even before R.R. Kazakov was involved in the work in Kuzminki. Its author was the gardener I.D. Schreider (Schneider), under whose leadership in the spring and summer of 1765 "pre-species" were cut in the forest adjacent to the estate, one of which opened a view of the church from the Vykhinsky field. At the same time, apparently at the request of the husband of the owner of the estate, M.M. Golitsyn, the question arose of moving one of the pavilions - the "gallery", which I. Schreider proposed to put "directly opposite the prospect of the new one at the end of the pond" ("The Star" in Kuzminki was one of the first domestic parks that had such a layout, and as it turned out, it was created earlier than a similar park in the famous Pavlovsk near St. Petersburg, which was previously considered a model for it).
At the same time, with a high degree of certainty, the construction of a manor house in the suburban estate of foreman N.A. Durasov, Lyublino, located next to Kuzminki (now within Moscow) can be associated with the name of R.R. Kazakov. It is believed that already in 1801 the current manor house was built there, having, in plan, the shape of a cross, the ends of which are connected by colonnades (although, most likely, this is only the date the construction began). Such an unusual composition gave rise to a legend that the house was allegedly built in the form of the Order of St. Anne, which its owner was very proud of. True, there is no real evidence of this, as well as a document confirming the awarding of N.A. Durasov with this order. However, this legend is interesting in itself, as an example of a folk semi-naive explanation of how a building could have appeared that differed from the standard accepted at that time for country estates.

Lublin. Fragment of an engraving based on a drawing unknown artist. Ser. 19th century GIM.

The master's house in the Lyublino estate. Photo of the beginning 20th century Private collection (Moscow)

In reality, the forms of the manor house in Lublin go back to the projects of the “famous Nefforge” - the theoretician of French classicism Jean-Francois Neffforge, which had well-deserved popularity in the 2nd half of the 18th century. Among them there is one that can rightfully be recognized as the prototype of the house in Lublin: the so-called “Project of a centric building”, dated 1757-1778. Of course, during its implementation, it was significantly reworked, but the main idea of ​​J. Neffforge, expressed in the creation of a centric mansion, was preserved. It is possible that, at the heart of just such a composition of the building is Masonic symbolism. There is a strong tradition that, on the basis of literary data, ascribes the authorship of the master's house of the Lyublino estate to the architect I.V. Egotov, but the grounds for this are very doubtful. In addition, I.V. Egotov himself did not create, and did not even design anything that could be placed next to Lublin. The anonymous author of one of the first articles about Lublin, published in the journal “Picturesque Review” in 1838, judging by the text, was close to the then owners of Lublin Pisarev, who were relatives of N.A. Durasov, without mentioning I.V. Egotov, said that N.A.Durasov “... entrusted the construction of the manor house to the excellent architect Kazakov, and, apparently, he demanded not so much amenities for himself as space and luxurious accommodation for his guests” . Of course, this refers to R.R. Kazakov, under whose leadership I.V. Egotov worked in Kuzminki. This publication draws the role of R.R. Kazakov in a new way: obviously, R.R. Kazakov owned the project of the Lublin house, and I.V. Egotov directly supervised the construction. This is how this tandem worked in Kuzminki, and there is no reason to believe that this order could be violated in Lublin.

Master's house in Lublin (fragments). Photo by M.Yu.Korobko. 2007

Simultaneously with the manor house in Lublin, other manor buildings were erected or reconstructed, mostly built of brick, unlike most of the estates near Moscow of that time (among them there was a large complex of theater buildings) and R.R. Kazakov’s participation in these works.
A documentary study of architectural monuments can expand the range of works by R.R. Kazakov, making our understanding of him and his work much more complete. The search for R.R.Kazakov's works is possible both in Moscow and in the provinces. In particular, the circle of his works of R.R. Kazakov usually includes the two-bell church of the Holy Spirit, built in the village of Shkin near Moscow (now the Kolomna district of the Moscow region) - an outstanding monument of classicism. The church in Shkini was built between 1794 and 1798. by order of Major General G.I. Bibikov, who was also the owner of the famous Grebnevo estate near Moscow, although recently the authorship of this monument has been associated with the work of N. Legrand, which is not indisputable (the architect I.A. Selekhov, apparently, oversaw the construction) . In our opinion, the involvement of R.R. Kazakov in the design of a huge white-stone church in Gus-Zhelezny Batashevs is not ruled out. It is quite possible that the Cossack authorship of the projects of churches belonging to the Batashev villages around Vyksa: Doschatoe and Vilya. Perhaps, the monument, built according to the project of R.R. Kazakov, is the church of Simeon the Stylite beyond the Yauza.
Not all attempts to discover new Kazakov's works are indisputable: there is an opinion that R.R. Kazakov was involved in the development of the concept of the estate near Moscow of Prince A.V. city ​​estate of the Urusovs. However, in our opinion, this is unlikely: the wings with towers in Ostashov, allegedly designed by Kazakov, give the impression of outbuildings, due to a misunderstanding, placed by an inexperienced architect in the front yard of the estate instead of an outbuilding (we note that very similar buildings are part of the horse yard in the estate of the Princes Menshikovs Cheryomushki or Cheryomushki-Znamenskoye, now within the boundaries of Moscow). Traditionally, R.R. Kazakov is credited with the construction of a suburban dacha on the banks of the Yauza River (now Volochaevskaya Street, 38). Theoretically, through the Golitsyns, the owners of Kuzminok, R.R. Kazakov could receive such an order (the Stroganovs were their relatives). However, there is no documented basis for such an attribution. Nevertheless, the search for Kazakov's works should be continued, since R.R. Kazakov is a major, but undeservedly forgotten architect, who, in terms of his contribution to Moscow architecture, is on a par with his teachers V.I. Bazhenov and M.F. Kazakov.
Author Mikhail Korobko

APD: "Serious" version of the article with all references published in:
Korobko M.Yu. Rodion Rodionovich Kazakov // Bulletin of History, Literature, Art. T. 6. M., 2009.

The architecture of Russia in the 18th century is associated with the formation of the era of classicism, which is characterized by conciseness, simplicity, adherence to traditions and lightness. The previous baroque style, whose main manifestations were exclusivity and pomp, required enormous costs. Therefore, it was necessary to change the direction of architecture to a more budgetary and democratic one.

background

At the beginning of the 18th century, the culture of the Russian Empire continued to reach the European level. There was an opportunity to invite foreign masters to Russia and travel outside the country to Germany, England, Italy.

The creation of a new direction in architecture was necessary in order to emphasize the individuality of the country and its greatness. The best architects were engaged in the restructuring of cities. In Moscow, one of the architects was Matvey Fedorovich Kazakov.

Biography of the architect

M. F. Kazakov was born in 1738 in Moscow. The architect's father was a serf who, by a great chance, was sent to work in a branch in the Admiralty. This circumstance allowed the family to live in the center of Moscow and get out of peasant captivity.

The father of the future architect died when the boy was only eleven years old. After that, the mother decided to send Matvey to the school of architects. Nine years of study were not in vain for the boy - by the age of twenty he had a good and rich experience, because the main school time was busy in the repair of obsolete buildings of the Kremlin.

Since 1768, the architect Kazakov began to work with the great Russian master Vasily Bazhenov. For more than seven years they worked together on the project of the Kremlin Palace. As a result of a misunderstanding, the project failed, but the invaluable experience was preserved for many years.

First independent work was the construction of the Prechistensky Palace. After the project was approved by the empress, a pile of proposals rained down on the architect Kazakov. The architect was awarded the title of city architect, and he began to work on the Travel Palace in St. Petersburg. In parallel, Matvey Fedorovich took up the design of the Senate building. It was the building of the Senate in the Moscow Kremlin that became the first monument of classicism.

The architect's favorite form of buildings is the rotunda - a cylindrical building topped with a dome. A characteristic technique of the master is a bright contrast in the strict facade of the building and the magnificent rich decoration of the halls inside.

Then the architect Kazakov is engaged in the design of the Prechistensky Palace, which, after the invasion of Napoleon's troops, was on fire and was rebuilt. At the end of the 18th century, the architect Kazakov erected the building of the Golitsyn Hospital in Moscow.

Matvey's main project is participation in 1782 in the construction of the first building of Moscow University, which was built over thirty years and rebuilt many times. In every district of the capital of Russia there is at least one estate built under the leadership of Kazakov.

In connection with the events taking place in the country at the beginning of the 19th century, his relatives took him away from Moscow. The news of the fire dealt a severe blow to the architect. The thought that the masterpieces he had created was forever destroyed was very disappointing to him. In October 1812, the great architect of Russia died in Ryazan.

Projects of an outstanding master

Many monuments were damaged during the fire of 1812 and were reconstructed. Among them:

• Prechistensky Cathedral in Moscow.
• Church of Metropolitan Phillip.
• The old building of Moscow State University.
• Noble assembly.
• Temple of the Ascension.
• Pavlovsk and Golitsyn hospitals.
• House-estates of Gubin, Demidov and Baryshnikov.

Senate Palace

The construction of the Senate building in the Moscow Kremlin began by decree of Empress Catherine in 1776.

The palace is a triangle with a small courtyard inside, which is divided into three parts. Corridors were built along the perimeter of the courtyard, connecting all parts of the premises with each other. The corners of the building are cut off and decorated with neat balconies. The palace consists of three floors, standing on a high wide plinth. The first floor is lined with rusticated stone, the second and third are separated by pilasters. The arch, which opens the entrance to the inner part of the courtyard, rests on stable columns, decorated with a four-wheeled marble portico.

At the top isosceles triangle Catherine's Hall with a huge dome is located. Its diameter is 24 m. There is a legend that claims that in order to prove the strength of such a wide round dome, the architect Kazakov had to climb to the top and stand dancing for more than thirty minutes. Inside, the hall is decorated with plaster and bas-relief portraits of the great Russian princes and rulers, sculptural panels on allegorical scenes from the life of Empress Catherine. The height of the hall to the top of the dome is about 30 m. The dome was decorated with a zinc sculpture of George the Victorious, which was destroyed by Napoleonic troops.

The construction of the palace was carried out until 1787. Initially, it was assumed that the building would be the residence of the Senate - the Supreme authority of the Russian Empire. During the reign of V. I. Lenin, his office was located here. Currently, the palace is the working residence of V.V. Putin.

Construction of the Prechistensky Palace

It began in 1774 on the occasion of the arrival of Catherine II in Moscow to celebrate the victory over Turkey. The empress did not like to settle in the Kremlin, considering it unsuitable for life. Having received the news in the autumn that Catherine would visit Moscow with all her retinue, Prince Golitsyn raised a fuss. The architect Matvey Kazakov was instructed to transform the house for the dear guest.

The Golitsyns' house at the corner of Volkhonka was taken as the basis for Catherine's chambers; they decided to add the houses of the Lopukhins and the Dolgoruky princes to it. Combining three buildings into one is not an easy task. Unfortunately, the cunning plan failed - the empress was dissatisfied with the construction. Cold cramped rooms, round-the-clock smell from the stables, long corridors did not delight anyone. Catherine lived in the palace for about five months.

In 1860, the Golitsyn Museum was located here, later the People's Museum of Culture of the City of Moscow was opened. The Prechistensky Palace is currently located at 1/14 Znamensky Lane.

Temple of Philip, Metropolitan of Moscow

In 1777, Matvey Fedorovich took up the extensive reconstruction of the stone building. The construction took ten years. The temple is currently located at St. Gilyarovsky, house 35.

After the revolution of 1917, the church had to be closed; services resumed only in the early 1990s. Luckily, appearance The church was not damaged and is currently a unique example of classicism in architecture.

University on Mokhovaya in Moscow

This is the old building of the Moscow state university. It was built by decree of Empress Catherine II. The design was undertaken by the architect Kazakov in 1782; construction lasted until 1793.

The architecture of the building fits perfectly into the picture of the center of Moscow in the 18th century. Matvey Fedorovich achieved both majesty and simplicity, recreating the project in the style of classicism. Columns with porticos were erected, huge halls with high domes were created, and rustication was used.

Unfortunately, the body of the building has not retained its original appearance. For almost 250 years of existence, the building has been rebuilt many times. Currently, students are also studying in it.

Noble Assembly

Built by order of Prince Dolgoruky in 1787 in the very center of Moscow.

A two-story building, decorated with a portico with columns resting on a plinth and connected by an elegant arch. The main attraction of the project is the Column Hall. Unfortunately, in 1812 the building of the Noble Assembly was waiting for the fate of many buildings in the capital - it also burned. There were no restorations. The last one was carried out at the beginning of the 20th century: the third floor was built on, but the Great Hall remained untouched. In this form, the building has survived to this day.

The architect Kazakov paid the main attention to the interior decoration: large crystal chandeliers, monumental columns along the snow-white walls. At first, the walls and ceiling were decorated with canvases. famous artists but after the fire they were not restored.

The noble assembly served not only as a meeting place for princes and those close to the court. Balls were also held here, which at one time attracted Pushkin, Lermontov, Yusupov.

Temple of the Ascension

It was built at the beginning of the 17th century, and in 1793 it was reconstructed by Matvey Fedorovich. It is one of the monuments of Russian early classicism. A voluminous round hall surrounded by columns, a wide overhanging dome with a spire - everything that is typical for the works of the architect Kazakov.

Two aisles were consecrated in the refectory: Nicholas the Wonderworker and in the name of Moses the God-seer. The latter appeared as a result of the use of materials from the destroyed Moiseevsky Monastery (located on the site of Manezhnaya Square).

After the revolution, the temple was closed and began work only in the early 1990s.

Golitsyn Hospital

It was opened at the beginning of the 19th century. It was built at the expense of Prince Golitsyn by the outstanding Russian architect Kazakov Matvey Fedorovich.

In the 19th century, it was included in the list of the best hospitals in Europe. The hospital housed the clinical base of the Medical University of Moscow.

The hospital building, like the rest of the creations of the architect Matvey Kazakov, is an outstanding monument of Moscow architecture of the classicism era. The portico, organized from six large columns, creates a kind of front entrance to the hospital. A wide dome with a towering belvedere allows you to see the building from afar.

Currently part of the City Hospital of Moscow.

Baryshnikov's estate

It was built by Kazakov in 1802. Currently located on Myasnitskaya street.

The owner of the mansion - Ivan Baryshnikov - was a great connoisseur of architecture and art. The house had a large collection of paintings by famous artists. The merchant devoted time to self-education, on his initiative educational institutions were built in the cities of Russia. The house miraculously survived the fire, but was looted.

The estate was built by the architect Kazakov in the shape of the letter P, which allowed the owners to consider their house a real palace. The portico retracting forward, which was widely used in the era of classicism, visually increases the area of ​​​​the courtyard. Columns standing on a high plinth add solemnity to the facade of the building.

Now the mansion houses the office of the Russian newspaper Arguments and Facts.

Kazakov Matvey Fedorovich (1738-1812), architect.

Born in Moscow in the family of a small employee. At the age of 13 he entered the architectural workshop of D. V. Ukhtomsky. Upon completion of his studies, a capable young man was assigned to the workshop of the architect P. R. Nikitin. In restoration work after the fire of 1763 in Tver, Kazakov became Nikitin's assistant. The first independent buildings of Kazakov are also associated with this city: the Bishop's House (1763-1767, later turned into the Travel Palace) and many residential buildings.

In 1767, he was called to Moscow to design a palace in the Kremlin, where he was the main assistant to the architect V.I. Bazhenov. The second joint work of Bazhenov and Kazakov was the entertainment buildings on the Khodynka field in Moscow, erected in 1775 for the festivities in connection with the end of the Russian-Turkish war of 1768-1774.

In 1775-1782. Kazakov built the Petrovsky Palace (now Air Force Academy). One of the most significant buildings of the architect is the Senate (Public places) in the Moscow Kremlin (1776-1787). He also built the Church of Philip the Metropolitan in Moscow (1777-1788).

Kazakov designed a typical building for Moscow University educational institution(1786-1793). Among the estates near Moscow built by the architect, a prominent place belongs to the Demidovs' house in Petrovsky-Alabin (1776-1780). In Moscow, among the Cossack buildings, the house of I. I. Demidov in Gorokhovsky Lane (1789-1791) and the house of M. P. Gubin on Petrovka (90s of the XVIII century) are noteworthy.

In the mid 80s. Kazakov created the Hall of the Noble Assembly in Moscow (now the Column Hall of the House of Unions). One of the later works of the architect is the Golitsyn Hospital (1796-1801; now the 1st Gradskaya Hospital), located between the Kaluga Road (now Leninsky Prospekt) and the Moskva River embankment.

In 1801, Matvey Fedorovich retired and began collecting drawings - his own structures and buildings of contemporary architects in Moscow. These sheets formed famous series so-called Kazakov's albums.

Kazakov Matvey Fedorovich - an outstanding architect of the 18th century, one of the first who began to build buildings in Moscow in the style of Russian classicism. During the reign of Catherine II, he rebuilt almost the entire city center in the "Palladian" style - one of early forms classicism based on the works of the Italian Andrea Palladio. Kazakov went down in history as the most prolific Russian architect, who left behind an incredible number of buildings. The life of the architect was also long, and he worked for more than 50 years. Another great merit of Kazakov is that he created an extensive archive of graphics, which depicts samples of Moscow architecture from the period before 1812 - practically only from these drawings one can now get an idea of ​​\u200b\u200bwhat Moscow looked like before the big fire. It was thanks to Matvey Kazakova that Moscow turned from a "big village" into a beautiful city with remarkable architecture. Moreover, the work of the architect was complicated by the fact that the development had to be carried out in an already formed city, and not built from scratch, as was the case, for example, with St. Petersburg.

Matvey Fedorovich Kazakov was born on October 28, 1738. His father, Fyodor Kazakov, was a serf in the past. For some reason, the landowner gave Fyodor Kazakov as a sailor, and by a lucky chance, the young man remained to serve as a copyist at the Admiralty office. So the father of the future famous architect became a free man, and his diligence helped his son in the future. The Kazakov family did not live well, their house was located in Sadovniki, near the Kremlin and the Borovitsky bridge. Fyodor Kazakov died early, and little Matvey was taught to read and write by a deacon in the Cosmodamian Church.

When Matvey was 13 years old, his mother filed a petition to assign the boy to the service. In the Senate decree that followed this petition, it was said: "To teach the architecture of the Main Commissariat of the deceased under-clerk Kazakov, the son of Matvey ... to determine with the award of salaries against junior students at a ruble per month." It is likely that a positive decision was made taking into account the impeccable service of his father, Fyodor Kazakov. In the future, Matvey was helped by M.M. Izmailov, who was then the head of the Commissariat. He noticed that the boy was constantly making sketches at the construction site, and helped him get a job at the first architectural school of Prince D.V. Ukhtomsky, the chief architect of Moscow. It was a young educational institution that opened only two years earlier - in 1749. Pupils of the Ukhtomsky school not only drew and drew, but also actively participated in the practice: they were taught to control construction, instructed to draw up reports on identified errors. The future architects studied the theory according to the treatises of the architects of the past and their famous creations. At the same time, they did not forget about ancient Russian architecture, instilling in students respect and love for national architectural traditions.

For almost ten years, Matvey Kazakov mastered the theory and practice of construction and architecture: he measured ancient buildings, restored the dilapidated buildings of the Kremlin, made estimates and drawings, and worked on construction. By the end of his studies, Kazakov became a junior assistant to Ukhtomsky, and under his leadership he took part in the construction of the Kuznetsk bridge across the Neglinnaya River, completed the Arsenal, rebuilt the buildings allocated for the opened Moscow University, and this is not a complete list of what Matvey did.

In 1760, Dmitry Vasilyevich Ukhtomsky retired, and Pyotr Romanovich Nikitin, his deputy, took his place. Having become the head of the school, Nikitin offered to take the place of his deputy Kazakov, who had just graduated and received the rank of "ensign architecture". Matvey Kazakov had the opportunity to carry out the first serious business in 1763, when Tver was almost completely burned out by a fire, and Nikitin's workshop was entrusted with restoring the city. The fact that the fire left almost nothing of Tver left an impression on the whole of Russia, and especially on those who were responsible for urban planning. The fact is that many cities developed in the old fashioned way. Crowding of buildings, crooked and narrow streets and lanes - all this led to serious consequences in the event of a fire. It became clear that there was a need to plan the construction in a new way.

Nikitan himself developed a master plan for the development of Tver, and Kazakov was entrusted with detailing it and creating plans for the facades. For Tver, Kazakov designed the trading office of N.A. Demidov, grocery stores, facades of government buildings on the main square, public and residential buildings, including standard projects designed for various social strata. Since Tver was large locality, which stood on the road between St. Petersburg and Moscow, Empress Catherine II instructed Matvey Kazakov to build a new palace on the site of the burnt bishop's house. So one of the most important and beautiful buildings appeared in Tver - the empress's travel palace or the Tver Palace. Nikitsky and his team of architects rebuilt Tver in just two and a half years, which was a record low for those times. It was a valuable experience, and Kazakov was talked about as a talented architect who knew how to build in a new style. The young architect began to receive private orders. P.F. Nashchokin ordered Matvey Kazakov to design a church for his estate near Moscow. The next customer was I.I. Betskoy, who planned to build an Orphanage in Moscow. For this institution, Matvey Fedorovich developed not only a facade project, but also planned out the landscape of the entire site.

A great influence on Kazakov had a collaboration with. Kazakov received his specialty in Russia, and Bazhenov studied at the St. Petersburg Academy of Arts, as well as in recognized European art centers: Paris, Rome, Florence. Matvey Kazakov had a lot to learn from his mentor, and in some of his later works you can see the techniques inherent in Bazhenov.

In 1768, Bazhenov invited Kazakov to work on the "Expedition for the Construction of the Kremlin Palace". This cooperation lasted seven years, and its fruit was to be one of the iconic buildings in Moscow - the Grand Kremlin Palace. True, it was not possible to bring this construction to the end. Treasury revenues fell, and the project turned out to be too costly, and in 1774 construction was stopped.

In 1775, Matvey Fedorovich Kazakov was approved as an independent architect, but he continued to work with Bazhenov in the Expedition until the mid-1780s. During this period, the architects developed a design project for the Khodynka field, where they were going to arrange mass celebrations in honor of the end Russian-Turkish war 1768-1774, and the conclusion of the Kyuchuk-Kainarji peace treaty. Kazakov produced a series of etchings depicting the "Khodyn entertainment buildings". Opposite the pavilions, on behalf of Catherine II, Kazakov was to build a new Petrovsky Travel Palace. The construction of this architectural ensemble made Kazakov one of the most significant representatives of neo-Gothic or, as it was also called, Russian or false Gothic. From that moment on, success and recognition did not leave Kazakov. In 1776-1787, Matvey Fedorovich created one of his most famous and significant works - the Senate building on the territory of the Kremlin. The Senate was also built on the instructions of Catherine II, the building is made in the classical style.

A distinctive feature of the talent of Mikhail Fedorovich Kazakov was versatility. Whatever he undertook, whether it was estates, palaces, government buildings or churches, everything turned out equally successful. Kazakov came up with the idea of ​​using the classical form of the rotunda for the construction of temples. An example is its rotunda churches of the Ascension on the Gorokhove field, Saints Cosmas and Damian on Maroseyka, as well as the church of St. Philip, Metropolitan of Moscow.

The main part of Kazakov's projects was of great urban importance. This is especially true of government and private buildings, which have become best examples Russian classicism. In 1782, Kazakov began the construction of the building of Moscow University on Mokhovaya. This large-scale project was divided into three stages, and was carried out for 10 years. The architect chose a simple and majestic style for the building, devoid of complex decorative elements and pretentiousness. As a result, the building harmoniously blended into the surrounding buildings, and outwardly resembled a rich city estate.

By 1786, Bazhenov finally fell out of favor with Catherine II, who was dissatisfied with the construction of palaces in Tsaritsyn. There are also versions about the political background of the cooling of the empress, and they also said that Bazhenov's temper was quite complex. Be that as it may, in 1786 Bazhenov resigned as head of the "Kremlin Expedition", and Kazakov replaced him in this post. In fact, this meant that Matvey Fedorovich became the chief architect of Moscow, since the "Espedition" was engaged in all the main state construction work.

Matvey Fedorovich also had a pedagogical talent. He opened an architectural school, from which came such famous architects as Egotov, Bakarev, Karin, Mironovsky, Tamansky, Selekhov, Rodion Kazakov, the Polivanov brothers and others. Among the students of the Kazakov school were the sons of the architect: Vasily, Matvey and Pavel. Vasily studied at school for 10 years, but at the age of 33 he asked for his resignation due to poor health - he suffered from consumption, as tuberculosis was then called. Pavel and Matvey applied for enrollment on the same day, while Pavel was only 13, and Peter was 15 years old. A year later, both brothers received a salary of 100 rubles a year, and at that time it was a lot. In 1800, the father and sons worked on drawing up the "facade plan of Moscow". But as far as Kazakov was successful in his professional activities, his family life was so difficult. All sons did not live long. Pavel died at the age of 25 in 1810. A little earlier, tuberculosis brought Vasily to the grave, and Matvey, also a famous Moscow architect, died at 39 years old.

An important merit of Kazakov is the planned arrangement of the streets and squares of Moscow. Thanks to Kazakov, the only Moscow street in the 18th century appeared in Moscow, the buildings on which stood in a continuous facade line in compliance with the height - it was. On this street stood the house of the merchants Kalinin and Pavlov (not preserved to our time). It was one of the first houses to combine residential and commercial functions. - one of the central streets of the city, almost all of it was built up with palaces of the nobility. After almost all the wooden buildings on Tverskaya Street burned down during the fire of 1773, and the stone ones were damaged, it became possible to build up the street in a single architectural style. For almost 20 years, Kazakov rebuilt all the most important houses, and then developed and implemented a design plan for Tverskaya Square. In the development of Tverskaya, Kazakov's desire for the maximum regularity of development and the observance of the same number of storeys was most clearly seen.

Kazakov also created a new classic type of urban estate. These were palaces with facades extended to the red line of the street. Outbuildings and household services of the palaces were placed either on the sides or moved inside the courtyard. Such palaces were the house of Golitsyn on Lubyanka, the houses of Prozorovsky and Kozitskaya on Tverskaya, Demidov in Gorokhovsky Lane and Gubin on Petrovka. Kazakov built both large apartment buildings and compact mansions, which at that time were just beginning to appear in Moscow. great attention the architect also paid attention to interiors. He used columns, cornices, pilasters and murals as decor. The interiors of the "Golden Rooms" in Demidov's house, the Senate building, the Hall of Columns in the Noble Assembly house have survived to this day.

In 1799, the Academy of Arts, at the suggestion of its vice-president Bazhenov, issued a decree on the publication of books "Russian Architecture", including drawings with plans, facades and sections of completed buildings and unrealized projects that deserved the attention of specialists. Kazakov compiled albums of state-owned and particular (private) buildings for publication. In addition, Kazakov was engaged in drawing up an axonometric plan of Moscow, which made it possible to evaluate the buildings "from a bird's eye view", and also surveyed the general plan of the city, displaying all the buildings. From these drawings, you can find out how the buildings that have survived to this day looked like, as well as how Moscow looked before the fire of 1812.

When the Napoleonic army was approaching Moscow in 1812, Kazakov's relatives took him to Ryazan. Matvey Fedorovich's health was very weak, and, having learned that most of his creations had perished in the fire, he could not bear the shock and died. It happened on November 7, 1812. Matthew Fedorovich Kazakov was buried in the Trinity Monastery.

History reference:

October 28, 1738 - Matvei Fedorovich Kazakov was born
1751 - Kazakov entered the first architectural school of Prince D. V. Ukhtomsky
1775 - Matvey Fedorovich Kazakov was approved as an independent architect
1776-1787 - Matvey Fedorovich built the Senate building on the territory of the Kremlin
1782 - Kazakov began the construction of the building of Moscow University on Mokhovaya
1786 - Kazakov led the "Kremlin Expedition"
November 7, 1812 - Kazakov Matvey Fedorovich died

The image of a characteristic Russian estate, sung by Russian literature, is almost always classic. It was in the "houses with columns" that Pushkin's, Lermontov's, Turgenev's characters lived. The formation of classicism in Russia is associated with the name of one of our most famous architects, Matvey Fedorovich Kazakov (1738-1812). His biography is enchanting even by the standards of the brilliant 18th century.

The architect, who was one of the founders of classicism in Russian architecture, was born into a peasant family. His father was a serf, sent by a landowner to the navy and, thanks to his talents, remained in Moscow at the Admiralty office as a copyist, i.e. scribe. Only this happy coincidence saved the Kazakov family from the usual fate of serfs.

M.F.Kazakov. Engraving by G. Afanasiev

Matvey Kazakov received his architectural education in Russia, beyond which he never traveled. In 1751, after the death of his father, his mother assigned him, aged 12, to the architectural school of the famous Moscow architect Prince D.V. Ukhtomsky, whose students were mainly engaged in the repair and restoration of the Moscow Kremlin. Matvey Kazakov worked for Ukhtomsky until 1760, when he was transferred with the rank of “ensign architecture” (that is, already an officer) to the workshop of P.R. Nikitin, who was a “city architect”. Practice in the architectural school, accompanied by careful measurements of dilapidated buildings, drawing up drawings and estimates, became main school Kazakov, giving him the first experience of architectural activity. No wonder art historians consider him a pragmatist, with a usually sober view of things.

In the XVIII century. the duties of an architect included a lot - he was literally "everything". In addition to creating a project, the architect had to be able to negotiate with contractors, organize the delivery of bricks, and even its production, delve into a bunch of technical details. M.F. Kazakov learned this, but his friend and colleague V.I. Bazhenov, who was basically a “paper architect”, did not. As a result, Bazhenov remained unrecognized genius, while Kazakov became a successful practicing architect.

Imperial estates.
City and country palaces

The first major work of M.V. Kazakov was connected with the restoration of Tver after the fire of 1763 - he participated in drawing up the city plan, designed and built the Travel Palace for Catherine II (1763-1767) - the main building of the city. It had to be erected in extreme haste, since in the winter of 1767 the empress was going to pass through Tver to Moscow to open the Commission for the new Code and use it during a short stop.

In 1768, an event occurred that determined the further creative fate of Kazakov - he began working with Bazhenov on the Expedition for the Construction of the Kremlin Palace (in the rank of architect, i.e. assistant architect) on the construction of "the most famous building in the world" - the Grand Kremlin Palace according to the project the last one. This work helped Matvey Kazakov to deeply understand and master the principles of applying classical forms in architecture, which influenced all his future activities. Bazhenov himself highly appreciated the activities of Kazakov, who presented him for production as a second major already at the end of the same 1768: “In the argument that he (M.F. Kazakov. - Auth.) by his knowledge of architecture, he acquired so much that not only at the beginning of the structure, but henceforth he is capable of great things, and moreover, in the case his illness, Bazhenov, he can send his very position on him! . Indeed, Kazakov had to “send” this post, but a little later, during construction in Tsaritsyn, which could not but worsen relations between colleagues. In the meantime, they became co-authors of the design project for the Khodynka field for the celebration of the Kyuchuk-Kainarji peace with Turkey, concluded by General Prince N.V. Repnin in 1775.

The first significant independent Moscow work of Matvey Kazakov, the Prechistensky Palace, also dates back to this time, testifying to the recognition of his talent and experience. It was for him that Kazakov received the rank of architect.

Before the celebration of the Kyuchuk-Kainarji peace, the Moscow authorities had a problem - where to settle Catherine II with the heir and their court? By that time, the royal chambers in the Kremlin were very dilapidated, so M.F. Kazakov was entrusted with the project of uniting three private houses into a single palace (called Prechistensky), connected by temporary halls and passages. The house of the princes Golitsyns at the corner of Volkhonka and Maly Znamensky lane (No. 14/1) was intended for the empress, for the heir - Grand Duke Pavel Petrovich - the house of the princes Dolgoruky (Volkhonka, no. allotted to the "cavaliers on duty", in fact - to Prince Grigory Potemkin. The halls and passages between them were built on piles, and not on foundations, in late autumn and winter, which testified to their temporary purpose. Three years later, all the private houses that made up the palace were returned to their owners, and the passages and halls between them were transferred to Sparrow Hills as independent structures.

The Empress did not like the palace. In a letter to Baron Grimm in Paris, she wrote: “Do you want to have a plan for my house? I'll send it to you, but it's not easy to recognize yourself in this labyrinth. I've been here for two hours and couldn't find the door of my office without error, it's a triumph of confusion. I have never seen so many doors in my life! I have already ordered half a dozen to be destroyed, and yet there are twice as many as required ... ". Of course, the forced use of buildings of different architecture did not allow the architect to create a true masterpiece, although experts who are accustomed to bow before the work of M.F. Kazakov usually positively evaluate the Prechistensky Palace.

One must think that Catherine II perfectly understood the difficult conditions in which M.F. Kazakov was placed, and gave him the opportunity to realize the idea of ​​\u200b\u200bthe royal palace, starting from the zero cycle. She entrusted him with the construction of the Petrovsky entrance palace (so named because this territory previously belonged to the Petrovsky (Vysokopetrovsky) Moscow monastery) - the famous "Petrovsky Castle", the decree on the construction of which the Empress signed on December 14, 1775. Soon it was approved by the Senate, and construction began . It went quickly, despite the limited funds and materials. Already by 1777 the main building was erected. By the autumn of the next year, the master Johann Just completed the sculptural decoration of the palace, made of ceramics. By 1779, outbuildings were built, outwardly looking like fortifications, kitchens, carriage houses, cellars for storing food. Finishing work was carried out until 1783.

Unlike the Prechistensky Palace, Catherine II was very pleased with the built Petrovsky and stayed there more than once during her visits to Moscow (the last time - on the way from the Crimea in 1787). On ordinary days the palace was open for inspection.

A significant milestone in the biography of M.F. Kazakov was the work in Tsaritsyn, the estate of Catherine II near Moscow. It is believed that after the empress, who arrived in Tsaritsyno in 1775, did not like the former palace built by Bazhenov, Kazakov replaced former colleague. However, the documents show that Bazhenov was given an attempt to correct his work. The Moscow commander-in-chief M.M. Izmailov ordered both architects "... to make plans separately, in which way it is possible to correct what has been done there." V.I. Bazhenov completed the task first, but the Empress preferred the Cossack vision of Tsaritsyn. By her order, in 1776, Kazakov replaced Bazhenov and became the only architect of such a great object. In Tsaritsyn, he erected a new building of the palace, using the existing buildings of Bazhenov.

The architecture of the Petrovsky Palace and the Grand Palace in Tsaritsyn - an imitation of Gothic family castles, a kind of free fantasy on the then fashionable "memorial-triumphal" theme of medieval European chivalry - gave rise to a wave of imitations. In this way, as the former chairman of the Society for the Study of the Russian Estate A.N. Grech figuratively put it in 1932: “A merchant who had definitely penetrated into the nobility, buying a country castle and portraits of his “ancestors”, tried random nobles and temporary workers, and after them representatives of the boyars who has lost his wooden mansion, to strengthen, only outwardly, symbolically, the roots of his imaginary family tree. Pseudo-Gothic and Old Russian elements were used in the decoration of the facades. In general, when creating the palaces, a brilliant artistic idea was realized, already embodied once on the Khodynka field - they, as if surrounded by a fortress wall with towers, were symbolically likened to the ancient capital - Moscow. These buildings put forward M.F. Kazakov in the first row of architects of that time.

The last time Matvey Kazakov returned to the theme of the imperial residence was at the turn of the 18th-19th centuries. Then he had to rebuild the Sloboda Palace (now the Bauman Moscow Higher Technical School) for Emperor Paul I.

Kazakovskaya Moscow

The name of M.F. Kazakov is strongly associated with classic Moscow, because it was his best buildings that created the image of this city of the Catherine's era - aristocratic, "pre-fire". His talent was most revealed in numerous projects of residential buildings and public buildings that organize large urban spaces. They testify not only to the high professional excellence architect, but also about the originality of his artistic language. M.F. Kazakov also developed a new type of “profitable” house for the era, where there were both commercial premises and apartments for rent. M.F.Kazakov also became famous as a brilliant master of the interior. Since 1786, he led the Kremlin Construction Expedition, which carried out the main construction work in Moscow. Far from all architects managed (and manage) to create structures that determine the appearance of the whole city.

The construction of the Petrovsky Palace had just begun, and M.F. Kazakov had already set about designing a huge, triangular in plan, Senate building in the Moscow Kremlin, one of the most significant works of Russian classicism architecture, which became the anthem of the Enlightenment. The rotunda with a dome above the central hall, during the construction of which M.F. Kazakov used for the first time in Russia a dome covering of such a large diameter, became the accent of the transverse axis of Red Square.

Back in 1782, Kazakov began the construction of the Moscow University. The image of this forge of the “enlightened mind” was difficult for him, options were thought out: one, the other, the third ... The building was erected for more than ten years, in parts - in three stages. At the same time, Kazakov improved its architectural appearance: he abandoned complicated elements, an abundance of sculpture, and sought simplicity and majesty. As a result, the completed building, organically included in the ensemble of the center of Moscow, with its architecture resembled a large city estate.

Simultaneously with the construction of the university, M.F. Kazakov was engaged in restructuring former home Prince M.V. Dolgoruky, acquired by the Moscow (later Russian) noble assembly or, as they used to say in the old days, a club in the name of one of its founders - Prince A.B. Golitsyn. After blocking the courtyard of the house and placing magnificent columns of the Corinthian order around the perimeter, M.F. Kazakov turned it into the front Hall of Columns. The main structures of the hall, made of wood, largely contributed to its excellent acoustics (after a fire in 1812, the house was restored and rebuilt by architect A. Bakarev, a student of M.F. Kazakov).

Golitsyn and Pavlovsk hospitals are one of the last major works craftsmen, built at the turn of the XVIII-XIX centuries. Creating extensive hospital complexes near the outposts, on the outskirts of what was then Moscow, he again turns to the universal model of his time - the estate.

The Kazakovskaya city estate is a large, massive, almost devoid of decor building with a columned portico - a kind of “chest house” that dominates the rest of the outbuildings and outbuildings. Usually it was located in the depths of a vast yard, and outbuildings and fences went to the red line of the street. The expressiveness of the interiors was achieved by the picturesque decor and the use of a "large order", as in the Hall of Columns of the Noble Assembly. Often they used sculpture, as was the case in the central hall of the Senate. Such a basic image of a city manor house was picked up and replicated by contemporaries and students. Without exaggeration, he influenced the architecture of country estates throughout Central Russia.

The most famous Cossack estates were the house on Gorokhovaya Street of the wealthy breeder Ivan Demidov, which preserved the magnificent gilded carving of the front interiors, the so-called "golden" rooms (1780s), the house of the breeder M.I. Gubin on Petrovka (1790s .), the Baryshnikov estate on Myasnitskaya (1797-1802), etc.

Holistic plastic architectural forms also prevail in the religious buildings of M.F. Kazakov. His favorite theme in church architecture was the rotunda. He used this architectural form in the churches of St. Philip on Bolshaya Meshchanskaya (1777-1788), Saints Cosmas and Damian on Maroseyka (1791-1803) and others. in the estate of E.A. Radilova (it belongs to the circle of works of the Kazakov school).

It is necessary to make a reservation that the classicism of M.F. Kazakov is entirely borrowed, ugly. He had never been abroad and could use exactly uvrazh - albums of drawings brought from Europe. The talent of the architect just manifested itself in the ability to create his own style from foreign elements, to assemble the “classic constructor” differently than others.

Moscow determined at that time the architectural taste and "fashion" of the entire empire. In Moscow, the whole era in architecture was defined by Kazakov, so that his manner, accordingly, determined the style of Russian architecture - "mature classicism", which is sometimes called strict. He replaced the early classicism that preceded him - French.

School of Kazakov

Almost the only one of major artists of the Enlightenment in Russia, M.F. Kazakov created what can be called an art school. Therefore, with with good reason experts talk about Russian classicism of the Kazakov school. By the way, even his own house in Zlatoustovsky Lane was not just a family home, but also a kind of home university of arts. An architectural school quickly developed here and operated for many years, and the three sons of M.F. Kazakov became his active assistants. In 1805 the school turned into the School of Architecture.

Among the students of M.F. Kazakov, one can name the architects I.V. Egotov, A.N. Bakaryov, I.G. of them it was possible to restore Moscow, which burned down during the Patriotic War of 1812.

Kazakov albums

In 1800-1804, while retired, M.F. Kazakov worked on the creation of the general and "façade" (i.e., bird's eye view) plans of Moscow and a series of architectural albums of Moscow buildings. Work on the "facade plan" was never completed, even its finished parts did not reach us. Most likely they died during the famous Moscow fire. 13 “Architectural albums of M.F. Kazakov” have survived to this day, including plans, facades and sections of 103 “particular buildings”, both the author himself and the best architects of his era. It's kind of architectural encyclopedia Moscow of Catherine's time and the main source of information about the work of the great master. Thanks to the albums, one can trace the evolution of the main types of Moscow residential buildings and estates.

Although M.F. Kazakov himself claimed that the projects of the best “particular houses” were collected in the albums, a study of the albums showed that the selection of buildings was largely random. So, they do not have the famous Pashkov house, the Trubetskoy (Apraksin) house, the Batashov house and other large complexes. “This chance is more important for us than the most careful selection, it introduces an element of statistics into the Albums,” wrote the art historian E.V. Nikolaev. - The weakest point of our knowledge of architecture late XVIII in. is the almost complete absence of materials about ordinary buildings - that sea of ​​\u200b\u200bhouses that made up Moscow. It is not for nothing that in the Albums, in fact, there is not a single ordinary house (as we used to understand it at the beginning of the 19th century) - such a house has not yet become an object of art, it was the greatest achievement of the next era.

Moscow, which M.F. Kazakov captured in his albums, left with him. Before the surrender of Moscow to the French, the relatives evacuated M.F. Kazakov to Ryazan. There he died on October 26, shortly before his death, having learned about the death and fire of the city, the appearance of which he was destined to determine. The great architect was buried on the outskirts of the city in the Trinity Monastery. his grave unfortunately not preserved.

Cossack myth

Many Kazakov attributions, especially in the provinces, must be treated with caution. There was a time when all architectural "Gothic" was attributed (together with most of Moscow classicism) only to M.F. Kazakov and V.I. Bazhenov. Then art historians were taught to “feel with the skin”, and not to analyze archival documents ...

It is sometimes very difficult to understand the real range of the master's work. Only relatively recently did the understanding of the architectural process of the 18th century come. - what was he really like? Then the architect was a very significant figure. There were few major specialists in this field of art, there was a queue for them, the first place in which was occupied by representatives of the imperial family, then came the courtiers, etc. Often the masters were limited to projects. Sent from St. Petersburg to any county town or country estate, the projects were embodied by local serf masters, who, not always being able to read the drawings and linking it to a specific place, introduced their own ideas into the project. own understanding. Often, the customer himself intervened in the construction process, who could demand either to simplify the project for material reasons, or, conversely, to introduce new architectural elements, such as a portico, completely ignoring the general style of the plan. The building created in this way was often the work of several authors ...

However, the architect usually did not design alone. In the XVIII century. the concept of "copyright" in its modern sense did not exist. Architects did not hesitate to use ready-made solutions from various industries. Particularly popular were the albums of the French architect, the famous Neforge (such a device was bought for the Expedition of the Kremlin Building). Many elements of classicist architecture, it must be said, operated with a clearly limited range of elaborate motifs and forms, were taken from such albums and used in a variety of buildings. They also freely used the achievements of their compatriot colleagues - this was in the order of things.

M.F. Kazakov was no exception in this regard. Therefore, the use of "Kazakov's forms" in the building cannot in itself serve as proof of its authorship, and the ephemerality of the attributions of the decades preceding our time, which are purely stylistic in nature, has now become obvious.

It is far from always that archival documents can shed light on the architectural process, it is far from always clear who signed a particular project, the author or the copyist. Not all texts can be interpreted unambiguously. Before the construction of the Grand Kremlin Palace, a plaque with an inscription was installed on the foundation stone, from which it follows: “The project was made for this building and the practice began by the Russian Architect, Muscovite, Vasily Ivanovich Bazhenov ... According to the drafting of the project, the titular Councilor Matvey Kozakov was behind the Architect” 10. On its basis, this palace can be fully attributed to M.F. Kazakov, if other documents showing the role of each of them in the construction of the palace were not preserved.

Unlike V.I. Bazhenov, M.F. Kazakov was “lucky” with his last name. In the XVIII century. there were several Kazakov architects, among them his brilliant student Rodion Kazakov. However, memoirists and writers of everyday life remember only one Kazakov - Matvey Fedorovich, whose genius is given part of the buildings of completely different Kazakovs.

The epoch also left its mark on attribution, especially the first post-war decade. Then in the USSR "unpleasant" foreign surnames were not welcomed. And the history of native architecture was no exception. It is much easier when there are M.F. Kazakov, V.I. Bazhenov and their students, and as for some foreigners, they cannot be called foreigners, they have become so Russified ...

V.I. Bazhenov began to be considered the first Russian architect, therefore Academician I.E. Grabar, who discovered the name of M.F. (already considered a classic of Russian art criticism) easily attributed the architecture of this estate as the work of V.I. Bazhenov. Time put everything in its place, but the authority of I.E. Grabar even in the 1970s. was still indisputable. Then Petrovskoe-Alabino was already officially considered the work of M.F. Kazakov, but it was somehow inconvenient to admit the fallacy of Grabarev's concept. Therefore, it was necessary to write in the “Aesopian language”, without calling Grabar by his last name: “However, a number of architectural and artistic techniques in solving the main group of buildings and the exceptionally rare centric layout of the ensemble found in V.I. Bazhenov served as a formal basis for some researchers to associate Petrovskoye with name of this architect" 12 .

Sometimes researchers considered even conscious false attributions as "holy lies" - in the name of saving specific monuments. And they were guided by the following - it is much easier to protect a building associated with the name of a major architect from demolition than a monument whose creator is unknown. In general, the official underestimation of architecture led to the fact that sometimes researchers deliberately “aged” buildings in order to save them. In fairness, we note that most of these works are in popular literature and guidebooks.

In general, we have two stories of Russian architecture - one is published in reference books and textbooks, the other is discussed only among specialists. Will the time come when the history of architecture will become unified in our country?

Searches and finds of recent years

Moscow monuments associated with the name of Matvey Fedorov are known in principle - all of them are included in the famous "Architectural Albums of M.F. Kazakov". It is believed that reattributions are possible only in forgotten estates and provincial towns. A sensation for all connoisseurs of Russian architecture was the release in 1999 of the third issue of the catalog "Architectural Monuments of the Moscow Region". Having opened it, everyone was amazed to see the architectural history of Kolomna without mentioning the name of Kazakov, which they had long been accustomed to over the previous decades. It turned out that Kazakov had never worked in this city, and absolutely without his participation the famous fences of the Kolomna monasteries were built: Brusensky, Novo-Golutvin and Staro-Golutvin, the architecture of which used decorative motifs of false Gothic and national romanticism. Moreover, these fences, previously considered constructions of the 18th century, even became noticeably younger. From the documents it turned out that these were buildings of the 1820-1830s, i.e. erected after the death of M.F. Kazakov.

However, when studying the capital's monuments, small discoveries periodically occur. Thus, in 2001, art critics I.V. Ryazantsev and O.S. Evangulova published a fragment of a document clarifying the attribution of the house of the nobles Baryshnikovs on Myasnitskaya Street in Moscow. Although the authorship of the mansion “with columns of very beautiful architecture” is quite convincingly attributed to M.F. and M.F. Kazakov is not even mentioned in it.

According to A.I. Baryshnikov, the mansion was “built” by a certain architect Strakhov - a completely unknown name in the history of Russian architecture. Whom to believe: a contemporary, besides the son of the customer of the work, or modern researchers? The truth most likely lies somewhere in the middle. The fact is that for the XVIII century. there is no difference between the concepts of “designer”, which, most likely, was M.F. Kazakov, and “builder”, who actually embodied the architectural project and was perceived by the customer as the author of the entire structure (in the literature, in connection with this house as a builder the name of another architect passes by - Zhdanov, the former serf of the Baryshnikovs) 14.

The name of M.F. Kazakov is traditionally associated with the church-tomb of the Baryshnikovs in their Smolensk estate Nikolo-Pogoreloe, which does not exist now. The famous Soviet art critic M.A. Ilyin, analyzing artistic features of this monument, settled on the fact that its authors are M.F. Kazakov (architecture) and F.I. Shubin (sculpture). According to F.N. Glinka, published by the same I.V. Ryazantsev and O.S. Evangulova, “All these stucco paintings were made by the Russian artist Mr. Polyakov, a graduate of the Academy, which, as they say, sent a member on purpose to examine his work. in this church: glory to the Russian artist!” fifteen . It was possible to establish that Glinka had in mind Boris Ivanovich Polyakov, who was also an architect: in 1775 he oversaw the construction of the Khodynka pavilions, and therefore could not help but be personally acquainted with Kazakov. It cannot be ruled out that Polyakov could have been a co-author of not only the sculptural, but also the architectural designs of the temple-mausoleum in Nikolo-Pogorely. This idea is indirectly confirmed by the testimony of the art historian L.I. Batalov, who examined the church in Nikolo-Pogorely in 1940. “Here it is difficult to speak separately about the interior, such a single organism that it is impossible to separate” 17, he wrote. It is also necessary to take into account the duration of the construction of the temple, which dragged on for 18 years (from 1784 to 1802), but, despite this, it was distinguished by the thoroughness of execution.

Today, the seemingly textbook attribution of the church in the Bykovo estate near Moscow to V.I. Bazhenov, and not to M.F. Kazakov, no longer seems convincing. Yu.Ya.Gerchuk, working in the Russian State Archive of Literature and Art with the archive of the architect I.E. Bondarenko, discovered a document on the transfer in 1939 by the Ramensky District Executive Committee of the contract for the construction of this church to the Museum Department of the Narkompros, and the contract was "written by the contractor - builder Vladimir merchant of the 3rd guild Filat Stepanov Kiryukhin on the architecture of the architect of Russian architecture M.F. Kazakov "18.

The master's house in the Cheryomushki estate (now within the boundaries of Moscow), which was previously considered the work of the "Cossack school" 19, acquired the name of its author. But it turned out to be not a Muscovite, but a graduate of the St. Petersburg Academy of Arts, Francis-Konrad Christopher Wilster. This name is still little known to architectural historians, although it was included in reference books.

The author of these lines managed to clarify how fully Kazakov managed to realize his plan during the construction of the estate in Konkovo, because. So far, there has been no reliable data on this. In the Russian State Archive of Ancient Acts, materials were found about a trip to Konkovo ​​in 1803 by the architect I.V. Egotov. The expedition of the Kremlin building sent him there to find out the state of the Kazakov buildings in Konkovo.

According to I.V. Egotov, by 1803 a palace, a horse yard with a barn and a wooden hut, as well as a “remains of a cellar” and a certain “stone building” were preserved there. Since I.V. Egotov found that the vast majority of buildings did not make sense to restore (with the exception of the “stone building”, which can be restored for the clergy of the local church), the Kremlin Building Expedition sold them for demolition. So M.F. Kazakov, like V.I. Bazhenov before, had to endure the demolition of his own buildings.

The fate of Kazakov's legacy

Despite the revolutionary changes of the last 15 years, it was not possible to solve the problem of protecting monuments in our country, and in other CIS countries as well. It is no coincidence that this time was a period of unfortunate losses, affecting even the brightest Cossack monuments. Here are the most significant ones.

In the 1990s The building of the Senate in the Moscow Kremlin was reconstructed for the residence of the President of Russia. In violation of the requirements of the law was not carried out science project restorations, field studies were not carried out, a semi-circle of cellars and the original white stone porch were destroyed, the layout was partially changed.

The only unspoiled royal palace in Moscow - the Petrovsky Travel Palace - is being reconstructed into a departmental hotel of the Government of Moscow (dated May 19, 1998 No. 392). Moreover, the resolution operates with the term "reconstruction", which is not applicable to the architectural heritage.

Significant danger threatens the Grand Palace in the estate of Tsaritsyno. The Moscow authorities wanted to complete it - under a certain art gallery, which in reality does not exist. As a result, we will lose the original, which will turn into our own copy. Despite public protests, plans to complete the palace are in the works.

The economic building of the estate of the Moscow Governor-General (Voznesensky lane, 22) was completely demolished. This area in the early 1990s. was handed over for the construction of the Business Center of the Government of Moscow. By order of the Mayor of Moscow (No. 1008-RP dated 06/07/94), the monument was dismantled, and the vacant place was built up.

The buildings included in the famous “Albums of Particular Structures” by M.F. Kazakov are also leaving. Tarasov's estate (1/2 Sergiy Radonezhsky St.) was dismantled in 1995 by order of the Mayor of Moscow. Despite the clearly illegal nature of this order, the Moscow prosecutor's office twice refused the All-Russian Society for the Protection of Historical and Cultural Monuments to open a criminal case into the demolition. The refusal is motivated as follows: dismantling is not demolition.

In 1996, by order of the Moscow authorities, a building with a store in the estate of the princes Meshchersky (17 Bolshaya Nikitskaya Street) was demolished, on the site of which a modern house was built. And in 1998, there were no four buildings of the monument of federal significance - the Saltykov estate (Tverskoy Boulevard, 27/10/1), which was previously occupied by the Central City Public Library. Nekrasov. Among the demolished buildings is the only outbuilding that retained the appearance of the Cossack time, overlooking Bolshaya Bronnaya Street 22.

Every year there is less and less of Kazakov's Moscow, and the bright name of one of the founders of Russian classicism is already powerless to save it...

Notes

Cit. on: Bazhenov V.I.. Letters. Explanations for projects. Contemporaneous testimonies. biographical documents. M., 2001. S. 185. Catherine II: "until the time is right to remain as before" S. 274.

Cit. by ed.:

12 Altshuller B.L. and other Monuments of architecture of the Moscow region. T. 2. M., 1975. S. 61.

13 Podyapolskaya E.N., Razumovskaya A.A., Smirnov G.K. Monuments of architecture of the Moscow region. pp. 15-26.

14 Baryshnikovs and their estates (according to family notes) // Russian estate. Collection of the Society for the Study of the Russian Estate. Issue. 7. M., 2001. S. 377-388.

15 Ryazantsev I.V. Evangulova O.S. A contemporary of Pushkin about the church-mausoleum in the "village of P ..." // Russian estate. Collection of the Society for the Study of the Russian Estate. Issue. 6. M., 2000. S. 114.

16 Ryazantsev I.V. Evangulova O.S. A contemporary of Pushkin ... S. 107-116.

17[Batalov L.I.] “Notes on the mausoleum in Nik. Pogorelom" architect L.I. Batalov // Russian estate. Collection of the Society for the Study of the Russian Estate. Issue. 6. M., 2000. S. 118.

18 Cit. on: Bazhenov V.I.. Letters. Explanations for projects. Contemporaneous testimonies. biographical documents. M., 2001. S. 32.

19 Ilyin M.A. Moscow. Artistic monuments cities. M., 1968. S. 286.

20 Perfilieva L.A. Cheryomushki-Znamenskoye // Manor necklace of the South-West of Moscow. M., 1997. S. 29-31.

21 Korobko M.Yu. Palace of Catherine II in the village of Konkovo ​​// Royal and imperial palaces. M., 1997. S. 142-145.

M.K. (Matvei Matveevich Kazakov). About Matvey Fedorovich Kazakov // Russian Bulletin. 1816.
№ 11.

Bondarenko I.E. Architect Matvey Fedorovich Kazakov (1738-1813), M., 1938.

Ilyin M.A. Facade plan of Moscow by M.F. Kazakov // Architectural heritage. [c.] 9. M. - L., 1959.

Ilyin M.A. Kazakov. M., 1955.

Architectural albums by M.F.Kazakov // Preparation for publication, article and comments by E.A.Beletskaya. M., 1956.

Vlasyuk A.I., Kaplun A.I., Kiparisova A.A. Kazakov. M., 1957.

Mikhail KOROBKO,
laureate of the Makariev Prize