Zakharov, Adrian Dmitrievich. Russian architect A

Zakharov Andrey Dmitrievich

Years of life: 1761 - 1811

Architect

Andreyan Dmitrievich Zakharov is one of the most prominent architects in the history of world architecture. His work marks the highest flowering of the Russian national architectural school of the era of classicism.

A. D. Zakharov was born on August 8, 1761 on the remote outskirts of St. Petersburg, near the mouth of the Fontanka River, in a poor family of a small admiralty servant ensign Dmitry Ivanovich Zakharov. April 21, 1767, when Andreyyan was not yet six years old, his father appoints him at public expense as a pupil at the art school at the Academy of Arts. Since that time, the whole life of the future architect is closely connected with the Academy.

On September 13, 1778, two years after transferring to the architectural class, Zakharov received a small silver medal for the project of a country house, and on September 29, 1780 he was awarded a large silver medal for "an architectural composition representing the house of princes."

Closer to the end of the Academy of Arts, on November 1, 1781, Zakharov was given a program - to develop a project for a "faxal" (station) intended for recreation and entertainment. For this project, at the final exam in 1782, Zakharov received a large gold medal, which gave the right to a pensioner's trip abroad to improve the knowledge gained at the Academy of Arts.

Zakharov goes to Paris. Here he enters the workshop of one of the leading French architects, J. F. Chalgrin.

Since 1787 he has been teaching at the Academy of Arts.

By 1792, the first graphic work of the architect known to date dates back - a sketch of a solemn decoration on the occasion of the conclusion of peace in Iasi in December 1791, which marked the victory of the Russian army and navy over Turkey.

In 1794 Zakharov was appointed architect of all academic buildings.

At the end of 1799, at the behest of Paul I, he became the architect of the city of Gatchina.

The architect designed a number of structures in the Gatchina park. The most significant of them is the monastery of St. Charlampia.

St. Andrew's Cathedral in Kronstadt is the most significant building of all the religious buildings of the architect. It was conceived as a monument of Russian military glory to commemorate the victory of the Russian fleet over the Swedes.

In accordance with the exemplary projects of Zakharov, numerous buildings for various purposes are being built in Poltava, Chernigov, Kazan, Simbirsk and other cities of Russia. They are worthy of special study.

In 1806, the architect was asked to consider the designs of the newly established Admiralty in Astrakhan for the Caspian Flotilla and two hospitals in Kazan and Arkhangelsk. The rather weak drafts drawn up on the ground by Zakharov were thoroughly revised and, in essence, drafted new ones.

In 1811, Zakharov proposed a project for the restructuring of the food "shops" with their main facades facing the Neva. He significantly improved their proportions both in general and in individual parts, introduced a number of simple but expressive architectural details. If this project were implemented, St. Petersburg would be enriched with another highly artistic work.

A more significant work of the architect than the Admiralty barracks was the restructuring of the Naval Hospital on the Vyborg side (Vyborgskaya embankment, 1-3, - Clinical street, 2-4), where the Hospital Sloboda arose already in the time of Peter the Great.

Having assumed the position of chief architect in 1805, Zakharov first of all completed the work begun by Cameron and built a separate kitchen wing with a bakery from the side of the eastern building.

From the entire architectural ensemble of the Marine Hospital, which once occupied a vast territory, buildings rebuilt in the second half of the 19th and early 20th centuries have been preserved, and from Zakharov - only a small fragment along Clinical Street.

Built in 1807-1811, the Artillery Laboratory lasted a little over ten years. During the great flood of 1824, all its buildings were destroyed.

In addition to designing and building, Zakharov carried out a lot of repair work in St. Petersburg in New Holland (103 Moika River Embankment), at the St. Nicholas Naval Cathedral, the School of Naval Architecture, at the Admiralty Printing House on Vasilevsky Island, at the Invalid House on Kamenny Island and various other buildings , which were predominantly under the jurisdiction of the Naval Ministry.

The new building of the Admiralty was the pinnacle of Zakharov's creative genius, a masterpiece of Russian architecture of all time.

The Admiralty plays an extremely important role both in the architecture of St. Petersburg and in Russian history as a whole.

Summing up, it should first of all be noted that Zakharov lived a relatively short, but bright creative life. In the year of his death, he had just turned fifty years old, and all the main projects were developed by him in the last ten years. He devoted himself entirely to architecture, he did not have his own house and family - the architect lived in a bachelor government apartment provided to him by the Academy.

To achieve unprecedented heights of architectural creativity, the future great architect followed the path of long everyday work. He knew no rest. Despite the fact that the student works and the earliest projects of Zakharov have not been preserved, it is possible to outline the main stages of his creative path. First of all, these are the years of study (1767-1786), which played a fundamental role in shaping his professional skills.

1787-1800 - the next stage of Zakharov's creativity. It is typical for him to master the practical side of the activity of an architect and builder. And for the formation of one's own architectural style, the next stage is very important - 1800-1805. After a short fascination with romanticism while working as the chief architect of the city of Gatchina, Zakharov returns to strict classicism at its transitional stage to high classicism. At this stage, the influence on Zakharov of the work of his older contemporary, the architect F.I. It was a significant step on the way from strict to high classicism.

And finally, the most important and most striking stage of the architect's creative biography is 1805-1811, when he was the chief architect of the Admiralty and carried out urban planning policy in all port cities of the Russian Empire. At this stage, the work of Zakharov, the urban planner, unfolded to its full extent. Unfortunately, not all architectural and engineering ideas of the architect, which were far ahead of the era of classicism, could be realized, but they contributed to the further progressive development of human thought.

Zakharov at the beginning of the 19th century. becomes the pioneer of the era of the highest development of Russian classicism, associated with the solution of a number of urban problems, and above all the problem of creating a single urban ensemble in the system of already existing streets and squares. This is the main historical merit and greatness of Andrey Zakharov.

Andreyan Dmitrievich Zakharov (1761-1811)

The architect Andrey Dmitrievich Zakharov, a renowned architect of Russian Empire classicism, immortalized himself by building a unique Admiralty building in Leningrad. A. D. Zakharov entered Russian architecture as one of its most gifted representatives, as a talented urban architect who boldly solved the most difficult architectural problems of his time. He paid great attention to the organization of construction, the planning of individual settlements, the reconstruction of previously built structures, the architecturally complete solution of small, utilitarian buildings, etc. It is difficult to overestimate the importance of A. D. Zakharov for Russian architecture at the turn of the 18th and 19th centuries. With the Admiralty he created, he summed up a significant stage in the development of Russian architecture and urban planning and determined their further development for decades.

Andreyan Dmitrievich Zakharov was born on August 19, 1761 in the family of a small employee of the Admiralty College, ensign Dmitry Ivanovich Zakharov. For six years he was sent to the school at the Academy of Arts. Thus, his further path to art and architecture was, as it were, predetermined. After graduating from college, he moved to the "architectural classes" of the Academy, where he continued his education. Awards for successful course projects, testifying to his great talent, follow one after another.

In 1778, for the project "Country House" he received a second silver medal, and two years later, in 1780, for the project "House of Princes" - the first silver. In the fall of the following year, he graduated from the Academy with a big gold medal. She was received by him for his thesis, depicting the "House of Pleasure" (Fokzal). This difference gave A. D. Zakharov the right to retire abroad.

Following the established tradition, in the fall of the same year, A. D. Zakharov left for France along with other students of the Academy who distinguished themselves in the final exams.

Arriving in Paris, A. D. Zakharov tried to get into the workshop of the famous French architect de Valli, who once taught Bazhenov. “I was introduced to him,” Zakharov wrote to the Academy, “but he couldn’t take me as his student, ... he didn’t have a place, but allowed me to bring his work, which he never refused to anyone ...”.

A. D. Zakharov had to look for another leader who could complete his education with his advice and instructions. After working for six months with the little-known architect Belikar, A. D. Zakharov, not satisfied with him, moved to Chalgrain, under whose leadership he worked until the end of his retirement.

A. D. Zakharov regularly informed the Academy about his studies: “I continue to go to the Royal Academy for lectures,” he wrote, “I take the program when they ask at this Academy, I copy time from master works” (report dated December 27, 1783) . In July of the following year, 1784, he reports that one of his projects was sent to St. Petersburg: "I compiled and drew a program for it, which was set by Mr. Chalgrain ... under whose supervision I worked on it."

Despite the complete satisfaction with his leader and his advice, A. D. Zakharov, however, sought to go to Italy, this promised country of all people of art in the 18th century. A visit to the famous monuments of Rome and northern Italy, their study and sketching, as it were, completed the course of study. On April 20, 1785, he officially informed the Academy of his "intolerant and cruel" desire to visit Italy with its artistic and architectural treasures. “No matter how glorious are the masters in the architectural school in France,” wrote Zakharov, “however, the assistance that an artist can have is always very excellent for those that Italy will give him, where art has been elevated to the highest degree of perfection.” The Academy of Arts did not object to the trip of A. D. Zakharov to Italy, but did not release money for it. The young architect did not have his own means, and his ardent desire remained unfulfilled. In May 1786, A. D. Zakharov returned to his homeland.

In the same year, on December 1, A. D. Zakharov was recognized as "appointed" for the title of academician. He was offered a theme: "A house for public entertainment." As you can see, public buildings more and more won their place in the competitive tests of the Academy of Arts. A. D. Zakharov completed the project on the proposed topic only eight years later - in 1794, when he was awarded the title of academician. Such a long delay in the execution of the project was caused by a lot of pedagogical work, to which a young architect was invited. He began this work at the Academy of Arts already in 1787 and did not interrupt it until his death. He led it both during the years of the most intensive work on the project, and during the construction of the Admiralty, when this colossal building absorbed all his attention and strength.

The first work known to us by A. D. Zakharov should be considered a project of a solemn decoration in connection with the conclusion of peace with Turkey in Iasi in December 1791. This early architectural work by A. D. Zakharov was made in the typical manner of the 18 allegories. The “explanation of the drawing” of the author himself has been preserved, which figuratively reveals to us the thoughts that formed the basis of this project: “The temple of Russian well-being is depicted in a solemn decoration. In the middle of the temple there is an altar with a flame lit on it ... In the middle of the entrance to the temple, land and sea trophies, signifying the victories of the last war... Two obelisks were erected at the ends of the entrance, on which the coats of arms of the Russian provinces. To one of the Genii they add a medallion with the inscription: Ochakov and along the Dniester... The temple and monuments are based on a stone mountain. The mountain marks firmness and steadfastness ".

In this architectural scenery, much has not yet found a final solution, an excessive abundance of all kinds of architectural forms, not to mention some inconsistency in the scale of individual parts of the composition. But even in this early project of A. D. Zakharov, we find those techniques and that monumentalism that will be later developed by the master in his subsequent works.

The practical activity of A. D. Zakharov as an architect began only in the last years of the 18th century. In 1800 he was appointed architect of the city of Gatchina. Here he works on the palace, draws up, according to the extravagant thought of Emperor Paul, a project for the Kharlampy monastery, which was supposed to be built near the palace, and builds a number of park pavilions. Of these works, the most interesting is the building of the "poultry house" or "pheasant house". The building is made, like the palace, from local, natural stone. The central part is especially attractive. Its columns and pilasters, covered with longitudinal flutes, stand out especially favorably against the background of the shaded walls of the loggia (a kind of indentation in the massif of the building). The central part is crowned with a balustrade of heavy bollards with balls and beautiful figured balusters. The windows of the second floor under the loggia and the side wings end with arches. This technique, like the hewn seams between the stones, enhances the significance of the material - the stone from which the building is made. Round towers on the side facades are no less monumental than the central part.

In this early construction by A. D. Zakharov, those characteristic features of the master’s architecture are already guessed, which later will become the leitmotifs of his works. Strict simplicity and monumentality of forms - that's what attracts A. D. Zakharov, what he strives for and what he achieves with such perfection.

After Pavel's death, work in Gatchina was interrupted. A.D. Zakharov was sent to a number of provincial cities, where he had to choose places for the construction of buildings for military schools. At the same time, he drafted a church at the Alexander Manufactory, which was built in 1804. Despite the fact that the traditions of architecture of the 18th century. here you can still see quite distinctly, yet separate parts of the building, like the columned portico, the processing of the walls of the temple, etc., make it possible to see in this work the features of the new architecture, which later received the name of the Empire style. The construction of this temple, as well as the drafting of standard buildings for state institutions for provincial and district cities, was, as it were, preparation for that huge work that was supposed to absorb all the forces of the architect.

May 25, 1805 A. D. Zakharov was appointed "Architect of the Chief Admiralties". This date is significant in the life of the architect. He embarks on a path of intensive architectural activity, the result of which is the construction of a new building of the Admiralty, which brought him world fame.

Even during the time of Peter the Great, the architect Korobov, on his orders, built a wooden building of the first Admiralty. It served not only as a place where the headquarters of the Russian fleet was located, but was mainly intended for the repair and construction of Russian warships. Long low buildings, surrounded by ditches and earthen bastions in case of military danger, formed a figure in plan that resembled a large, somewhat elongated letter P. Only in the center of these buildings did a hundred-meter tower topped with a spire with a ship at the top, this symbol of the Admiralty, rise. Initially, this building had almost nothing to do with the architectural landscape of the new capital, especially since the central part of the city, with all the palaces and government buildings, was supposed to be located on Vasilyevsky Island. The rest of the city was supposed to be located on the opposite, right, bank of the Neva. Only a high tower with a spire, as it were, echoed the slender bell tower of the Peter and Paul Fortress Cathedral, crowned with the same spire - a needle.

But over time, the position of the Admiralty in the city has changed dramatically. From a building that stood on the edge of the city, it turned into almost its main building. In any case, by the time of A. D. Zakharov, it played, even in its unpretentious form, the most prominent role in the city. Through the efforts of Russian architects - Zakharov, Eropkin and Obukhov - in the middle of the XVIII century. the layout of Petersburg was streamlined. Three avenues, which were the main streets of the capital, decorated with wonderful palaces, private houses, churches and buildings of state institutions, converged to the base of the Admiralty tower. Contrary to the original plan, the city began to be built on the left bank of the Neva, on the so-called Admiralty side. The best and most important buildings of the city were concentrated here. Thanks to this, the Admiralty has taken a very special place in the city and its architecture. From a practical, industrial structure, it turned into a building that played a huge architectural and organizing role in the city.

But by the beginning of the 19th century, when Petersburg was adorned with buildings of exceptional craftsmanship and beauty, the old Korobov Admiralty could no longer meet the role that it was now endowed with the efforts of many architects of the 18th century. Naturally, the building had to be radically rebuilt according to the new position it occupied in the city. This difficult but honorable task fell to the lot of A. D. Zakharov.

A. D. Zakharov approached its resolution primarily as an architect-urban planner. He realized that he had to build not a separate beautiful building, but the main building of the capital of Russia. And he built this building. The great plans of Bazhenov, who dreamed of rebuilding the center of Moscow in the form of one grandiose building, came to life again in the projects of A. D. Zakharov in St. Petersburg.

One of the great merits of A. D. Zakharov was that he preserved the tower with the Korobov spire, dressing it only in a new outfit that was appropriate for her. Thus, continuity was maintained with the building that was once erected at the behest of Peter. But A. D. Zakharov gave his building a much greater significance than it had before. His Admiralty has become a monument to the great act of founding St. Petersburg as a capital, as a port, as a "window to Europe." The Admiralty became the symbol of the city.

A. D. Zakharov retained the scheme of the previous plan in the form of the letter P. The tower, as before, was the node of the entire architectural composition. The architect put all his talent into it. The tower became the personification of the strength of the Russian fleet. The bottom of the tower is a mighty cube in the form of a single array. In its thickness, arched gates leading to the inner courtyard of the Admiralty are cut. The rows of keystones above the double arch indicate its load. Trumpeting "glories" on its sides, a bas-relief "for the establishment of a fleet in Russia" and graces carrying the earthly sphere complete the decoration of this part of the tower. At the same time, these sculptures, with their composition, their main lines, echoed the architectural lines, thanks to which a deep unity was created that connected sculpture with architecture. In addition, the theme of the sculptures revealed the meaning of the greatest deeds of Peter.

A light tower rises above this heavy, mighty foundation, framed like a wreath by a colonnade and decorated with numerous sculptures. A golden spire with a golden boat at the top easily and swiftly ascends into the sky, completing the dome of this majestic structure. Given the usually cloudy sky over the capital, A. D. Zakharov used not only gold (spire), but also painted the entire building yellow and white. Therefore, even on the darkest days of bad weather, the Admiralty always seems joyful, bright, bright, shining, as if bathed in the rays of the bright sun.

It was much more difficult to solve the hulls stretched out on both sides of the tower. In total, they form a facade that is up to 400 meters long. Such a length of the facade threatened that the building could visually easily fall apart into separate, almost unrelated parts or look boring, "state-owned". But AD Zakharov overcame this difficulty as well. Skillfully placing columned porticos or individual ledges of the building, alternating them with the laconically processed walls of the main buildings and skillfully subordinating them to the tower, he avoided possible shortcomings. The building of the Admiralty does not fall apart into its individual parts, on the contrary, it looks like a single, mighty array, occupying a huge quarter of the city. The general unity and grandiose scale secured for him the role and importance in the architecture of the city that the architect gave him.

No less brilliantly completed side buildings from the side of the Neva. Both of them end with paired pavilions. In the center of these pavilions are arches that once blocked the canal that led to the courtyard of the Admiralty. Through this channel, small ships entered for repairs in the workshops of the Admiralty. Crossed anchors are fixed on the sides of the arches on pedestals - these are the symbols of the fleet. The pavilions are crowned with low cylinders, on which flagpoles are fixed in the twisted tails of dolphin sculptures. On both sides of the central parts of the pavilions with their arches, columned porticos were placed, architecturally connecting these parts of the building with the rest of the Admiralty building.

The Admiralty, like no other building of that era, is richly decorated with sculptures and bas-reliefs made by the best Russian sculptors of that time. Decorative stucco, figured bas-reliefs, pediments, individual sculptures adorn the work of A. D. Zakharov in exceptional abundance. Due to this, despite the severity of architectural forms and lines, the building as a whole looks exceptionally plastic, devoid of dryness and monotony.

Despite the fact that the Admiralty was completed after the death of its author, despite the fact that it has undergone a number of, sometimes even significant, changes, it still makes a strong impression on the viewer. The Admiralty personifies the city, and it is not for nothing that its image is engraved on a medal dedicated to the great defense of the city from the fascist hordes who dreamed of capturing it in 1941-1942. It stands among the greatest architectural works of the world. One can be amazed at how the architect could not only design this colossal structure within six years, but also complete all its main details. Despite this enormous work, A. D. Zakharov also performed a number of other works related to his position as an architect of the Naval Department. So, simultaneously with the implementation of the first version of the Admiralty, he designs and builds a cathedral in Kronstadt, many details and parts of which are very close to the corresponding parts of the Admiralty.

Among these works stands out the project "Sea Provision Stores", where the master's style, which attracts us so much in the Admiralty, seems to have had an even greater completeness. The building of enormous length is solved in calm, laconic and monumental forms. Not a single column, so beloved by the Empire architects, decorates the building of the "shops". Nevertheless, it attracts us with the elegance and nobility of its forms, the measured rhythm of windows and entrances. Only in some places placed sculptural bas-reliefs modestly adorn this monumental structure.

In addition to this project, A. D. Zakharov created a project for a hospital built in Kherson, the Gatchina educational village, etc. But all these works, no matter how interesting they may be, cannot be compared with the Admiralty, which is a genuine unsurpassed jewel of the architecture of Russian classicism -Empire.

The Academy of Arts noted this sudden and such a heavy loss. In the report for 1811, we read: “This year the Academy lost its member, professor of architecture, State Councilor Zakharov, what a loss, according to his information and talents, is very sensitive for the Academy. Experiences of his talents and the right taste in buildings the building of the Admiralty, which is currently under construction, is distinguished by its splendor and beauty.

About A. D. Zakharov: Grabar I., History of Russian art, vol. III; Historical exhibition of architecture in 1911, St. Petersburg, 1912; Lanceray N., Zakharov and his Admiralty, "Old Years", St. Petersburg, 1912; His own, the Main Admiralty and the history of its creation, "Marine Collection", L., 1926, No. 8-9; Grimm G. G., Architect Andrey Zakharov. Life and creativity, M., 1940.

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

Biography

Born on August 8, 1761 in the family of a minor employee of the Admiralty College. At an early age, he was sent by his father to an art school at the St. Petersburg Academy of Arts, where he studied until 1782. His teachers were A.F. Kokorinov, I.E. Starov and Yu.M. Felten. In 1778 Andreyan Zakharov received a silver medal for the project of a country house, in 1780 - a large silver medal for "an architectural composition representing the house of princes." Upon graduating from college, he received a large gold medal and the right to a pensioner's trip abroad to continue his education. He continued to study in Paris from 1782 to 1786 with J. F. Chalgrin.

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

After that, he worked in St. Petersburg, reached the rank of chief architect of the Maritime Department.

1803-1804. Architectural plan of the Nizhny Novgorod fair

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

1805-1811 Work on the Admiralty building

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

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

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

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

Other works in St. Petersburg and suburbs

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

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

AD Zakharov was buried at the Smolensk Orthodox Cemetery. In 1936, the ashes and gravestone of A.D. Zakharov and his parents were transferred to the Lazarevsky cemetery of the Alexander Nevsky Lavra

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Notes

Literature

• Grimm G. G. Architect Andrey Zakharov. Life and work / G. G. Grimm. - M.: State. Archite. Publishing house Acad. Archite. USSR, 1940. - 68 p. + 106 ill. - (Masters of architecture of Russian classicism).
• Arkin D. Zakharov and Voronikhin. - M.: State publishing house for construction and architecture, 1953. - 78 p., ill. (A cycle of lectures "Masters of Russian Architecture").
• Pilyavsky V. I. Architect Zakharov / V. I. Pilyavsky, N. Ya. Leiboshits. - L .: Knowledge, 1963. - 60 p., ill.
• Shuisky V. K. Andreyan Zakharov / V. K. Shuisky. - St. Petersburg: Stroyizdat, 1995. - 220 p.
• Mikhalova M. B. Unknown autograph A. D. Zakharova// Architectural heritage. - No. 49 / Ed. I. A. Bondarenko. - M.: URSS, 2008. - ISBN 978-5-484-01055-4 - S.219-222.
• Rodionova T. F. Gatchina: Pages of history. - 2nd ed., corrected. and additional - Gatchina: Ed. STsDB, 2006. - 240 p. - 3000 copies. - ISBN 5-943-31111-4.

An excerpt characterizing Zakharov, Andrey Dmitrievich

- I! I! .. - as if unpleasantly waking up, said the prince, not taking his eyes off the plan of construction.
- It is quite possible that the theater of war will come so close to us ...
– Ha ha ha! Theater of War! - said the prince. - I said and I say that the theater of war is Poland, and the enemy will never penetrate further than the Neman.
Desalles looked with surprise at the prince, who was talking about the Neman, when the enemy was already at the Dnieper; but Princess Mary, who had forgotten the geographical location of the Neman, thought that what her father was saying was true.
- When the snow grows, they will drown in the swamps of Poland. They just can’t see,” the prince said, apparently thinking about the campaign of 1807, which, as it seemed, was so recent. - Benigsen should have entered Prussia earlier, things would have taken a different turn ...
“But, prince,” Desalles said timidly, “the letter speaks of Vitebsk…
“Ah, in a letter, yes ...” the prince said displeasedly, “yes ... yes ...” His face suddenly assumed a gloomy expression. He paused. - Yes, he writes, the French are defeated, at what river is this?
Dessal lowered his eyes.
“The prince does not write anything about this,” he said quietly.
- Doesn't he write? Well, I didn't invent it myself. Everyone was silent for a long time.
“Yes ... yes ... Well, Mikhail Ivanovich,” he suddenly said, raising his head and pointing to the construction plan, “tell me how you want to remake it ...
Mikhail Ivanovich approached the plan, and the prince, after talking with him about the plan for a new building, glancing angrily at Princess Marya and Desalle, went to his room.
Princess Mary saw Dessal's embarrassed and surprised look fixed on her father, noticed his silence and was amazed that the father had forgotten his son's letter on the table in the living room; but she was afraid not only to speak and question Dessalles about the reason for his embarrassment and silence, but she was afraid to even think about it.
In the evening, Mikhail Ivanovich, sent from the prince, came to Princess Mary for a letter from Prince Andrei, which had been forgotten in the drawing room. Princess Mary submitted a letter. Although it was unpleasant for her, she allowed herself to ask Mikhail Ivanovich what her father was doing.
“Everyone is busy,” Mikhail Ivanovich said with a respectfully mocking smile that made Princess Marya turn pale. “They are very worried about the new building. We read a little, and now,” said Mikhail Ivanovich, lowering his voice, “at the bureau, they must have taken care of the will. (Recently, one of the prince's favorite activities was to work on papers that were supposed to remain after his death and which he called a will.)
- And Alpatych is sent to Smolensk? asked Princess Mary.
- How about, he has been waiting for a long time.

When Mikhail Ivanovich returned with the letter to his study, the prince, wearing spectacles, with a lampshade over his eyes and a candle, was sitting by the open bureau, with papers in his hand held far back, and in a somewhat solemn pose read his papers (remarks, as he called them), which were to be delivered to the sovereign after his death.
When Mikhail Ivanovich entered, he had tears in his eyes of recollection of the time when he wrote what he was reading now. He took the letter from Mikhail Ivanovich's hands, put it in his pocket, packed the papers and called Alpatych, who had been waiting for a long time.
On a piece of paper he had written down what was needed in Smolensk, and he, walking around the room past Alpatych, who was waiting at the door, began to give orders.
- First, postal paper, you hear, eight ten, here's the model; gold-edged ... a sample, so that it would certainly be according to it; varnish, sealing wax - according to a note from Mikhail Ivanych.
He walked around the room and looked at the memo.
- Then the governor personally give a letter about the record.
Later, latches were needed for the doors of the new building, certainly of such a style that the prince himself invented. Then a binding box had to be ordered for laying the will.
Giving orders to Alpatych lasted more than two hours. The prince did not let him go. He sat down, thought, and, closing his eyes, dozed off. Alpatych stirred.
- Well, go, go; If you need anything, I'll send it.
Alpatych left. The prince again went up to the bureau, looked into it, touched his papers with his hand, locked them again, and sat down at the table to write a letter to the governor.
It was already late when he got up, sealing the letter. He wanted to sleep, but he knew that he would not sleep and that the worst thoughts came to him in bed. He called Tikhon and went with him through the rooms to tell him where to make the bed for that night. He walked, trying on every corner.
Everywhere he felt bad, but worst of all was the familiar sofa in the office. This sofa was terrible to him, probably because of the heavy thoughts that he changed his mind while lying on it. It was not good anywhere, but all the same, the corner in the sofa room behind the piano was best of all: he had never slept here before.
Tikhon brought a bed with the waiter and began to set.
- Not like that, not like that! the prince shouted, and he himself moved a quarter away from the corner, and then again closer.
“Well, I’ve finally redone everything, now I’ll rest,” the prince thought, and left Tikhon to undress himself.
Wincing annoyedly at the effort that had to be made to take off his caftan and trousers, the prince undressed, sank heavily onto the bed, and seemed to be lost in thought, looking contemptuously at his yellow, withered legs. He did not think, but he hesitated before the work ahead of him to raise these legs and move on the bed. “Oh, how hard! Oh, if only as soon as possible, these works would end quickly, and you would let me go! he thought. He made this effort for the twentieth time, pursing his lips, and lay down. But as soon as he lay down, all of a sudden the whole bed moved evenly back and forth under him, as if breathing heavily and pushing. It happened to him almost every night. He opened his eyes that had been closed.
"No rest, damned ones!" he grumbled with anger at someone. “Yes, yes, there was something else important, something very important, I saved myself for the night in bed. Gate valves? No, he talked about it. No, something like that was in the living room. Princess Mary was lying about something. Dessal something - this fool - said. Something in my pocket, I don't remember.
- Silence! What did they talk about at dinner?
- About the prince, Mikhail ...
- Shut up, shut up. The prince slammed his hand on the table. - Yes! I know, a letter from Prince Andrei. Princess Mary was reading. Desal said something about Vitebsk. Now I will read.
He ordered the letter to be taken out of his pocket and a table with lemonade and a vitushka, a wax candle, to be moved to the bed, and, putting on his glasses, he began to read. It was only then, in the stillness of the night, in the faint light from under the green cap, that he, having read the letter, for the first time for a moment understood its meaning.
“The French are in Vitebsk, after four crossings they can be at Smolensk; maybe they're already there."
- Silence! Tikhon jumped up. - No, no, no, no! he shouted.
He hid the letter under the candlestick and closed his eyes. And he imagined the Danube, a bright afternoon, reeds, a Russian camp, and he enters, he, a young general, without a single wrinkle on his face, cheerful, cheerful, ruddy, into the painted tent of Potemkin, and a burning feeling of envy for his favorite, just as strong, as then, worries him. And he recalls all those words that were said then at the first meeting with Potemkin. And he imagines with yellowness in her fat face a short, fat woman - Mother Empress, her smiles, words, when she received him for the first time, kindly, and he recalls her own face on the hearse and the collision with Zubov, which was then with her coffin for the right to approach her hand.
“Oh, hurry back to that time, and so that everything now ends quickly, quickly, so that they leave me alone!”

Bald Mountains, the estate of Prince Nikolai Andreevich Bolkonsky, was sixty miles from Smolensk, behind it, and three miles from the Moscow road.
On the same evening, as the prince gave orders to Alpatych, Desalle, having demanded a meeting with Princess Mary, told her that since the prince was not completely healthy and was not taking any measures for his safety, and according to the letter of Prince Andrei, it was clear that his stay in the Bald Mountains unsafe, he respectfully advises her to write with Alpatych a letter to the head of the province in Smolensk with a request to notify her of the state of affairs and the degree of danger to which the Bald Mountains are exposed. Desalles wrote a letter for Princess Marya to the governor, which she signed, and this letter was given to Alpatych with an order to submit it to the governor and, in case of danger, to return as soon as possible.
Having received all the orders, Alpatych, escorted by his family, in a white downy hat (a princely gift), with a stick, just like the prince, went out to sit in a leather wagon laid by a trio of well-fed savras.
The bell was tied up, and the bells were stuffed with pieces of paper. The prince did not allow anyone to ride in the Bald Mountains with a bell. But Alpatych loved bells and bells on a long journey. The courtiers of Alpatych, the zemstvo, the clerk, the cook - black, white, two old women, a Cossack boy, coachmen and various courtyards saw him off.
The daughter laid chintz down pillows behind her back and under it. The old woman's sister-in-law slipped the bundle secretly. One of the coachmen put him under the arm.
- Well, well, women's fees! Grandmas, women! - puffing, Alpatych spoke in a patter exactly as the prince said, and sat down in the kibitochka. Having given the last orders on the work of the zemstvo, and in this no longer imitating the prince, Alpatych took off his hat from his bald head and crossed himself three times.
- You, if anything ... you will return, Yakov Alpatych; for the sake of Christ, have pity on us, ”his wife shouted to him, hinting at rumors of war and the enemy.
“Women, women, women’s fees,” Alpatych said to himself and drove off, looking around the fields, where with yellowed rye, where with thick, still green oats, where there are still black ones that were just starting to double. Alpatych rode, admiring the rare harvest of spring crops this year, looking at the strips of rye peli, on which in some places they began to sting, and made his economic considerations about sowing and harvesting and whether any princely order had been forgotten.
Having fed twice on the road, by the evening of August 4, Alpatych arrived in the city.
On the way, Alpatych met and overtook the carts and troops. Approaching Smolensk, he heard distant shots, but these sounds did not strike him. He was most struck by the fact that, approaching Smolensk, he saw a beautiful field of oats, which some soldiers were obviously mowing for food and along which they camped; this circumstance struck Alpatych, but he soon forgot it, thinking about his own business.
All the interests of Alpatych's life for more than thirty years were limited by one will of the prince, and he never left this circle. Everything that did not concern the execution of the orders of the prince, not only did not interest him, but did not exist for Alpatych.

Date of Birth Date of death

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

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

Vasilievsky island development project

Andreyan Dmitrievich Zakharov at Wikimedia Commons

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

Biography

Born on August 8, 1761 in the family of a minor employee of the Admiralty College. At an early age (he was not yet six years old) he was sent by his father to an art school at the St. Petersburg Academy of Arts, where he studied until 1782. His teachers were A.F. Kokorinov, I.E. Starov and Yu.M. Felten. In 1778 Andrey Zakharov received a silver medal for the design of a country house, in 1780 - a large silver medal for "an architectural composition representing the house of princes." . Upon graduating from college, he received a large gold medal and the right to a pensioner's trip abroad to continue his education. He continued to study in Paris from 1782 to 1786 with J. F. Chalgrin.

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

1803-1804. Architectural plan of the Nizhny Novgorod fair

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

Alexander Garden and Admiralty

1805-1823 Work on the Admiralty building

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

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

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

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

Other works in St. Petersburg and suburbs

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

Main article: Provision Island

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

Literature

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

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

Notes

Chief architects of Imperial Gatchina

Categories:

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

Wikimedia Foundation. 2010 .

The talented Russian architect Andreyan (Adrian) Dmitrievich Zakharov was born on August 8 (19), 1761 in St. Petersburg in the family of a petty official of the Admiralty College, ensign Dmitry Ivanovich Zakharov. And although the family was not rich, Zakharov the father still managed to give his two sons a good education. Both of them later became professors and academicians. At the same time, Yakov Zakharov became famous as a major scientist in the field of chemistry and mechanics, and his younger brother Andreyan became famous as a brilliant architect.

On April 21, 1767, when Andreyyan was not yet 6 years old, his father appointed him at the state expense as a pupil at the art school at the Academy of Arts. Since that time, the whole life of the future architect is closely connected with the Academy. After graduating from the preparatory school, Andreyan Zakharov moved to the Academy and studied there with outstanding Russian architects of that time: professors A.F. Kokorinova, A.A. Ivanov and I.E. Starov. On September 13, 1778, two years after transferring to the architectural class, Zakharov received a small silver medal for the project of a country house, and on September 29, 1780 he was awarded a large silver medal for "an architectural composition representing the house of princes." In November 1781, Zakharov was given a graduation program - to develop a project for a "faxal" (train station), intended for recreation and entertainment. For this project, at the final exam in 1782, Zakharov received a large gold medal, which gave him the right to travel abroad to improve the knowledge gained at the Academy.

In 1782, after graduating from the St. Petersburg Academy of Arts, Zakharov went to Paris. Here he enters the workshop of one of the leading French architects, J.F. Schalgren. Here is how Schalgren wrote about his student in a review sent by him to the Academy of Arts: “At present, Zakharov is working under my leadership, whose abilities and behavior I cannot praise enough. Such people always give a high idea of ​​\u200b\u200bthe school that they brought up, and allow to highly appreciate the institution that provides such a brilliant promotion of the arts... My intention was to make him practice big tasks that require all the effort of talent in order to develop the wonderful talent that this young man received from nature. After four years of work in France in the summer of 1786, A.D. Zakharov returned to St. Petersburg, and from the next year, 1787, he himself taught architecture at the Academy of Arts. His teaching activity was not interrupted until the end of his life. Almost simultaneously with teaching, Zakharov took up design. So, for example, it is known that in 1789 he developed a project for a school for the village of Lyubuchi in the Ryazan governorate.

By 1792, the first of the well-known graphic works of the architect dates back - a sketch of a solemn decoration on the occasion of the conclusion of peace in Iasi in December 1791, which marked the victory of the Russian army and navy over Turkey. In 1794 A.D. Zakharov becomes an academician of the St. Petersburg Academy of Arts. Then he was appointed architect of all academic buildings. Over the next five years (1794-1799), Zakharov designed interior decoration, arranged new apartments for the president of the Academy of Arts, and supervised the current repair work.

At the end of 1799, by order of Paul I, A.D. Zakharov, retaining the position of professor at the Academy of Arts, becomes the architect of the city of Gatchina, where the emperor's country residence was located. It is known that initially they planned to take Vincenzo Brenna to the post of Gatchina architect, but in 1799 he was busy building the Mikhailovsky Castle in St. Petersburg, so Zakharov was sent to Gatchina. In fact, he becomes a court architect, taking an active part in the reconstruction of the Gatchina Palace, the design and construction of numerous city and palace and park structures. Since 1800, A.N. worked for him as an assistant. Voronikhin, who subsequently created such outstanding works of Russian architecture as the Kazan Cathedral and the building of the Mining Institute. Zakharov worked in Gatchina for almost two years. He completed the superstructure of the Kitchen Square, developed a project for a new palace church in place of the old one and built it. Under his leadership, the construction of the Palace stables according to the project of V. Brenna was completed. A number of structures were designed by Zakharov for the park. The most significant was the monastery of St. Harlampy. In the autumn of 1800, work began on its construction, but after the death of Paul I, work was stopped. Zakharov was allowed to complete only those structures that were nearing completion. He managed to create the best bridge in the park - the Humpback Bridge, reminiscent of Venetian bridges, as well as the Lion's Bridge, the Farm and Poultry pavilions.

In 1801-1802, at the direction of Alexander I, A.D. Zakharov made trips to various provinces to develop projects for military schools on the ground, draw up projects and estimates for their construction. This trip played a big role in shaping Zakharov's own architectural style. In 1803, after returning to St. Petersburg, he presented a series of exemplary, or typical, buildings for provincial towns. Among the drawings drawn up by the architect were the projects of the houses of the governor-general, the civil governor, the vice-governor, the buildings of government offices, prisons, wine and salt warehouses for provincial cities. In accordance with the exemplary designs of Zakharov, numerous buildings for various purposes are being built in Poltava, Chernigov, Kazan, Simbirsk, Arkhangelsk and many other cities of Russia.

Since 1797 he was a professor, and since 1803 - the leading (senior) professor of the architectural class of the Academy of Arts. At the same time, Zakharov carried out a project for the development of Vasilevsky Island in St. Petersburg with the restructuring of the building of the Academy of Sciences (1803-1804), made in the tradition of the French urban planning school. At the same time, Zakharov was preparing a draft architectural plan for the Nizhny Novgorod Fair. HELL. Zakharov was intensively engaged in drafting projects, but, despite being dismissed from the post of academic architect, he was repeatedly involved in construction work, already as an expert and designer. Among the most significant of these works is the completed project of the Foundry at the Academy of Arts (1805, not preserved).

In the same 1805, Zakharov was appointed chief architect of the Main Admiralty in St. Petersburg instead of C. Cameron, who served in this position from 1802 to 1805. In mid-July 1805, Zakharov took over all cases from Cameron, including drawings and estimates. From that time until the last days of his life, he directed and directed all construction work. To cope with the huge amount of work, the architect needed a whole staff of assistants, whom he constantly lacked. Because of this, Zakharov was forced to spend a lot of time on rough work that did not require high qualifications.

The Admiralty building (1806-1823) in St. Petersburg is the greatest monument, a masterpiece of Russian architecture. The old building of the Admiralty was built in 1727-1728 by the architect I.K. Korobov. A hundred years later, it was decided to start work on its reconstruction. A.D. was instructed to prepare the project and put it into practice. Zakharov, "Main Admiralties to the Architect". Having received the task of overhauling the Korobov Admiralty, Zakharov set to work with great enthusiasm and energy. The project drawn up by him was approved by the emperor, and on May 25, 1806, construction work began again at the Admiralty Yard. The task facing Zakharov was extremely difficult. He had to not only remake the facades, but also redevelop hundreds of rooms. The fact is that the shipyard itself needed a radical reconstruction. And besides, new premises were required for the newly established Ministry of Naval Forces, which included both the Admiralty Board and the newly created Admiralty Department. The Admiralty was still supposed to remain not only the residence of the maritime department "with its library, museum and other accessories," but also a manufacturing enterprise with storerooms and forges. Combining an existing shipyard with a building that plays a major role in the architectural ensemble was a very unusual task, almost without precedent in the history of world architecture. In addition, Zakharov was constrained by the plan of the old Admiralty, which he studied in the most careful way and which he decided not to destroy as far as possible. The architect treated the creation of his predecessor with exceptional care.

Zakharov himself set the order of the upcoming work, dividing them into several stages. The first is the construction of a building in front of the Winter Palace; the second - the wings of the main building to the tower; the third - the tower, etc. However, construction progressed more slowly than it was envisaged by the plans and estimates. By the way, according to the estimate compiled by Zakharov, the cost of construction was determined at 654,232 rubles ("... if you make columns, cornices and other decorations from Pudozh stone, then you still need to add 110,000 rubles"). In fact, 2.5 million rubles were spent. There were several reasons for this. First, sometimes there was a shortage of labor at the construction site. Secondly, the emperor’s personal intervention, which was far from always reasonable and timely, also slowed down the work. The construction of the first-priority, eastern building began in 1806. By the autumn of that year, part of the walls had been erected. The following year, the building was roofed, and a year later, Alexander I demanded that its length be shortened (so that the building would not come close to the Neva), in connection with which it was necessary to break down part of the already erected building, redo the project and start construction again. In 1811, work on the decoration of the eastern part of the Admiralty, including the Nevsky Pavilion, was basically completed, but the building as a whole was still far from finished. The struggle for every detail of the Admiralty, the struggle against the bureaucratic routine and the resistance of officials endlessly exhausted the forces. The architect was in dire need of a good workshop, able to save him from rough work, to increase the number of assistants. In one of his reports, Zakharov wrote that his employees were overworked and "from exorbitant labor to the point of being so exhausted that they incessantly fall into obvious illnesses."

Having retained the configuration of the plan of the already existing building, Zakharov created a new, grandiose structure, giving it a majestic architectural appearance and emphasizing its central position in the city (the main highways converge to it with three beams). The architect's predecessors did not have to create such extended facades as the Admiralty has (the main facade is 407 m, and each of the side ones is about 172 m). In the center of the building is a monumental stepped tower with a spire - the famous Admiralty Needle (72.5 m high), which has become a symbol of the city. The best Russian sculptors of that time (F.F. Shchedrin, I.I. Terebenev, S.S. Pimenov, V.I. Demut-Malinovsky and others) were involved in creating the sculptural decoration. The construction of the Admiralty was the pinnacle of Zakharov's creative genius, a masterpiece of Russian architecture.

The architect worked without sparing himself, not knowing rest. He literally burned out at work. Andreyan Zakharov died in St. Petersburg on August 27 (September 8), 1811, without having had time to complete his great creation, which was destined to become an outstanding work not only in the work of the architect himself, but in the entire world architecture. He was buried at the Smolensk Orthodox cemetery, next to his parents - D.V. Zakharov (1732-1810) and E.V. Zakharova (1740-1830). In 1936, their ashes and monument were transferred to the Necropolis of the 18th century (the Lazarevsky cemetery of the Alexander Nevsky Lavra). Only the grave of his brother Yakov Dmitrievich (1765-1836), chemist, academician, founder of scientific aeronautics, remained at the Smolensk cemetery.

Andreyan Zakharov lived a relatively short but bright creative life. He devoted himself entirely to architecture, he did not have his own house and family - the architect lived in a bachelor government apartment provided to him by the Academy. In the year of his death, he had just turned 50 years old, and all the main projects were developed by him over the past ten years. At the beginning of the XIX century. Zakharov became the pioneer of the era of the highest development of Russian classicism, associated with the solution of a number of urban planning problems, and above all the problem of creating a single urban ensemble in the system of already existing streets and squares. This is the main historical merit and greatness of Andrey Zakharov.

"This year the Academy lost its member, Professor of Architecture, State Councilor Zakharov, which loss, according to his information and talents, is very sensitive for the Academy. The experience of his talents and the right taste in the structure can be sufficiently represented by one building of the Admiralty currently under construction, which is distinguished by its magnificence and beauty."

(From the minutes of the meeting of the Academy of Arts in 1811)