Russified name and patronymic Varfolomey Varfolomeevich; (1700-1771) - famous Russian architect of Italian origin, count, holder of the Order of St. Anne and academician of architecture.
Son of a famous sculptor and architect Bartolomeo Carlo Rastrelli(1675-1744), Russified Italian. He received his education in Paris, and also studied with his father, a sculptor. In 1716, he came to Russia with his father as his assistant, and soon began working independently. To continue his education in 1722-30 he visited Italy, Germany and France. Rastrelli was Elizaveta Petrovna’s favorite architect; his best works were created under her. Received the rank of major general. He left behind a school of students and followers. In Moscow and St. Petersburg he built for Anna Ioannovna, in St. Petersburg and its suburbs - for Elizaveta Petrovna, in Courland - for Anna Ioannovna's favorite, Ernst Johann Biron.
By order of Anna Ioannovna, he completed a number of buildings: a small wooden palace, the Winter Annenhof in the Moscow Kremlin and the summer Annenhof in Lefortovo (both have not survived). After the empress moved to St. Petersburg in 1732, work began on a new Winter Palace (the third in a row) on the site of the current one. In 1741, after the ascension of Elizabeth Petrovna to the throne, the time of the brilliant flowering of Rastrelli’s talent began. He receives the largest official orders. The magnificent creations of this time express the face of the Russian Empire, embodying the ideas of glory, power and wealth of Russia.
In 1741-42 on the site of the current Engineering Castle Rastrelli is building a new wooden summer palace, ordered under Anna Leopoldovna and completed under Elizaveta Petrovna. This Summer Palace became the favorite residence of Empress Elizabeth. The master’s mature style is already emerging in the compositional solution of the palace and in the design of its interiors, as well as in another, no less famous in its time, his creation - Ropshinsky palace and park complex.
By order of Empress Elizabeth, Francesco Bartolomeo Rastrelli designed in Ropshe a large ensemble with a palace complex in the center and the Upper and Lower Gardens on its sides. From now on, we can talk about the creation of a palace and park ensemble, and not just a complex of buildings with an accompanying small garden, because both parts of the complex become full-fledged and inseparable. And although the architect, due to the Seven Years' War that began soon, was unable to implement the project in full, he created, based on Golovkin's modest estate house, a new composition of a whole complex of buildings on a vast terrace plateau. The old chambers were connected to the new side buildings by long one-story galleries. Two more buildings are being added to the previous outbuildings.
At the ends of the galleries, a church appeared on one side, and the Hermitage pavilion on the other. The main façade of the building was also redesigned in Rastrelli’s favorite Baroque style. Features of the famous architect's signature style - slender white columns of the Corinthian order - even today proudly bear the triangular classical portico. However, it is difficult to talk about how great Rastrelli’s role was in the development of the estate. The monument changed greatly in subsequent years, although the compositional design of the famous architect was preserved by his followers.
Perhaps the most prominent representative of Russian Baroque. F. B. Rastrelli was the first to combine elements of European Baroque with Russian architectural traditions, which he drew primarily from the Naryshkin style, such as bell towers, roofs, and color schemes.
Rastrelli Varfolomey Varfolomeevich, Russian architect
Rastrelli Varfolomey Varfolomeevich(Rastrelli) (Bartolomeo Francesco) (1700-1771), Russian architect. Italian by birth, son of B.K. Rastrelli. The main representative of the Russian Baroque of the mid-18th century. In 1716 he came with his father to St. Petersburg. Studied abroad (possibly in Italy) between 1725-30. In 1730-63 court architect. Early buildings are close to Russian architecture of the first quarter of the 18th century. (Biron's palaces in Rundale, 1736-40, and Mitava, now Jelgava, 1738-40). In his mature period, the traditions of European Baroque were reinterpreted by Rastrelli under the influence of Russian artistic culture. This was manifested in the desire for the spatial scope of the ensemble, the use of bell towers, domes, porches, thin columns, etc., characteristic of Russian architecture, a passion for the colors of the walls, gilding, and floral motifs in the decor (St. Andrew's Church in Kyiv, project - 1747, built in 1748- 67 by architect I.F. Michurin). In 1747-52, Rastrelli worked on the construction of the Grand Palace in Peterhof (now Petrodvorets). Having preserved the basic composition of the palace of the Peter the Great era, Rastrelli expanded its middle part, added a palace church and a “building under the coat of arms” to its ends, distinguished by graceful proportions and expressive appearance, and re-created all the interiors, which are characterized by bright polychrome and an abundance of decor. In the 50-60s. Rastrelli's buildings acquired even greater plasticity. The relief of architectural forms, the complex rhythm of the placement of colonnades, the spatial scope are combined in them with clarity of volumes, clarity of silhouette, rigor of plans, often rectilinear (Bolshoi, or Catherine, Palace in Tsarskoe Selo, now Pushkin; palaces of M. I. Vorontsov, 1749-57 , and S. G. Stroganov, 1752-54, in St. Petersburg).
The Smolny Monastery and the Winter Palace in St. Petersburg, which Rastrelli conceived as grandiose, self-contained urban ensembles, are imbued with power and grandeur.
Francesco Bartolomeo Rastrelli was born into the family of the court architect and sculptor Bartolomeo Carlo Rastrelli (Rastrelli of Florence) in 1700, in Paris. From an early age he learned his craft from his father and was his apprentice.
Summer Palace of Elizabeth Petrovna Wooden, replaced by the Engineering Castle
After the death of the Sun King Louis XIV, Bartolomeo signs a contract according to which he undertakes to go with his son and students to St. Petersburg to work in the service of His Royal Majesty Peter for 3 years. So this Italian family ended up in Russia in 1716, in a city that in those years surpassed in scope all the greatest cities in Europe.
Projects for framing window, doorways and niches for the Winter Palace (1, 2), windows of a wooden gallery at Monplaisir (3). 1750s
Shafirov Palace (1720)
Here young Francesco helps his father design the Strelninsky Palace and carry out interior decoration in the palaces of Shafirov and Apraksin, which were built by the great Leblon
Palace of Prince Dimitry Kantemir (on the site of house No. 8 on Palace Embankment and house No. 7 on Millionnaya Street). 1721 - 1727, architect F.B. Rastrelli. This building fit into the mainstream of Peter the Great's Baroque and differed little from similar structures. In 1721 - 1727 Francesco Rastrelli performs his first independent work - the Palace of Antioch Cantemir in the style of Northern European architecture.
Gromov's mansion
| Annenhof: Summer Palace A.I. (Moscow) The summer residence next to the Golovinsky Palace on the banks of the Yauza was built according to the design of F.B. Rastrelli in 1731. - a wooden palace on a stone foundation - a huge palace complex, built under the influence of Versailles, with a wide court d'honneur, a large park area - a two-story building, a plan of 4 buildings - horizontally elongated - had several buildings with a reduced volume in contrast to the central part palace - symmetry in the orientation of the palace - together with the side wings of the palace, the wings form a closed courtyard, the so-called courtyard. There was also a Winter Annenhof (wooden) built according to Rastrelli's design in 1730 in the Kremlin and moved to a place next to the Summer Annenhof in 1736. Rebuilt many times. |
Winter Kremlin Palace Replaced by the Grand Kremlin Palace
Anna Ioannovna, the niece of Peter I, who ascended the throne, sought to surround herself with all the most exquisite things. Rastrelli the elder goes with his son to an audience with the young empress, after this meeting he was entrusted with the construction of the empress’s palace in the Kremlin (Annengof), and then to Lefortovo. Rastrelli Sr., being more of a sculptor than an architect, supervised this construction, and Rastrelli Jr. developed the projects.
Traveling Srednerogatsky Palace Distorted by numerous reconstructions
In 1732, the Empress's favorite Biron commissioned Francesco Rastrelli to build an arena between Nevsky Prospekt and Bolshaya Morskaya Street. At the same time, the young architect was designing the Summer and Winter Palaces.
| Winter Palace of A.I. in St. Petersburg Construction began in 1732. Rastrelli created such a large stone structure for the first time: it had four hundred and sixty halls and rooms. The Winter Palace was to become the new residence of the Empress and the most significant building in St. Petersburg. - It was built three-story, taller than all the buildings that stood on the Neva embankment. - The variety of impressions that the Winter Palace produces from different points of view depends to a large extent not only on the arrangement of columns and differences in the composition of the facades, but also on the decorative decoration. - The interior layout of the palace was clear and logical. Rastrelli's plan basically boiled down to the following. Throughout the lower floor there were galleries with arches. Galleries connected all parts of the palace. The interiors were in the Baroque style. enfilade arrangement of the state rooms. In the Winter Palace R, symptomatic new elements appear, in particular, round rusticated columns supporting the balcony of the main floor; the sculpture of the pediment appears, and there is a desire to unite the windows vertically. The throne room, for its design, R uses a fairly developed baroque repertoire. In the interiors of the hall, R appears more actively, in the plastically developed spirit of the baroque, than in the facades. |
Modern Winter Palace
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In the Winter Palace (1754-1764), which was built to replace the previous building, also built by Rastrelli, the architect was faced with a new task: to build a palace that, in terms of its significance and architecture, was to dominate the ensemble of the capital city. Rastrelli designed the palace in the form of a huge rectangular closed block with an internal front courtyard. (he proposed to place a round square in front of the palace, decorated with a perimeter colonnade; in the center of the square a monument should have been installed, which now stands in a different place (an equestrian monument made by Rastrelli’s father).) The powerful architectural mass of the palace was designed according to the role of each of its facades in the city ensemble. Develops one motive, but the rhythmic structures are different. On the Neva side, the side projections were made very wide; in the middle part, the entrance was marked - a three-span columned entrance, thus emphasizing in the facade its longitudinal direction along the river embankment. Widely spaced columns and wide windows => calm rhythmic composition, t.z. from the Neva. On the opposite side, he used the opposite technique: stepwise advancement of the powerful center of the facade, which here corresponded to the dominant significance of the palace facade in the ensemble of the planned square.
The Jordan Staircase is also a creation of Rastrelli The facade from the Admiralty side, formed by the protruding corner parts of the palace and the recessed middle part, emphasizes and shades the length of the two main facades, being an intermediate link between them. The plasticity of the palace facades is richly and strongly developed with a complex rhythm of arrangement of columns, with various forms of window frames and numerous pediments, with many vases and statues placed above the parapet balustrade. The height of the facades is divided into two tiers, treated with composite order columns; Bottom - base. The columns of the second tier unite the second and third floors, corresponding to the location of the main palace premises here. The vertical construction of columns stacked on top of each other is continued by placing the sculpture on the parapet. |
In the same year, Francesco marries, and soon children are born to the young family - the same age Joseph Yakov (1733), Elizabeth Katerina (1734), Eleanor (1735). Two of them, Joseph and Eleanor, die of cholera in 1737 - 1738
Mitavsky Palace
The following two works, done in mid. 30s made for Duke Biron on his Courland estates. Biron built them in his homeland - Mitavsky Palace (1738-42). With the exception of this period, most of P's buildings are documented graphically. Rastrelli's architecture has reached us in good condition. Between us is a large-scale building of three buildings with a front yard that tends to be closed. Fences mark the entrance to the palace space. On the one hand, Rastrelli gravitates towards a closed, self-centered structure, on the other hand, he reveals one dominant element - the elongated central building reveals itself in the composition of the surrounding spaces independently due to its façade.
Rundāle Palace
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Biron's country estate in the town of Rundal (1736) is the second significant gardening work of R (together with Annenhof). The palace is even more characteristic - it has a square-shaped plan of 4 buildings, opposite are the stables. Adjacent to the palace is a developed palace composition; it has features somewhat different from the garden in Annenhof. There is a completely undeveloped part of the territory here, so Rastrelli includes the adjacent forest in the composition of the ensemble, while the entire complex as a whole is created on a completely flat area. The presence of a flat area allows Rastrelli to use the basic techniques of French park construction: he uses a five-ray system of alleys converging at the facade. Regular park parts are inserted into this radial composition. A special feature of the park is the presence of a bypass canal, which is not typical for a French park. The palace complex consists of two main buildings: a square-shaped palace and a rectangular complex of stables with an inner courtyard. R creates developed enfilade compositions - he introduces 2 parallel enfilades into each building. In the central part of the front (end) building, the entrance is located in the center; here is the front vestibule, but the stairs are spaced to the right and left parts of the internal spaces. The lobby allows you to walk through it and exit into the park. Arch language: Rastrelli's buildings are distinguished by the aesthetics of architectural details. The specifics of the façade solution are almost the same as in Mitau; pilasters are used only in the protrusion of the central projection and work with window openings. Rastrelli adheres to the general stylistic direction that is characteristic of Anna’s time as a whole - the architecture is flat, not plastic, restrained in its façade edition. |
In 1738, he became chief architect, he was entitled to a salary of 1,200 rubles a year, a service apartment in the former Winter Palace.
In St. Petersburg, on behalf of the new favorite Minich, the architect began designing a palace for Anna Leopoldovna. He did not have to complete this project; Elizabeth, who came to power, had a dislike for everything German and she did not like Rastrelli’s connection with the Germans Biron and Minich. In 1742, Elizaveta Petrovna ordered not to recognize Rastrelli's countship, to delay the payment of his salary and not to give him any instructions for construction.
Annichkov Palace
But Francesco Rastrelli did not despair, he saw the passion of the new empress and her court for sophistication and luxury and understood that no one but him could meet the demands of the imperial court. And so it happened: soon the Empress already instructs the architect to complete the construction of the Summer Palace, which he began for Anna Leopoldovna, then, in 1744, another construction must be completed. This time we are talking about the Anichkov Palace started by Zemtsov, continued after it by the Dmitrievs, which did not please the taste of the Empress.
Great Peterhof Palace
| For Elizaveta Petrovna, the idea of Peterhof was connected with the idea of a memorial ensemble; this is the only country residence to which Peter gave an official character, his Versailles. The composition of the Peterhof park was quite developed and complex, and the palace was quite small. The dimensions of the Peterhof Palace were absolutely unacceptable for Anna’s time. Peter's Palace in Peterhof - Rastrelli, while reconstructing it, had to preserve Peter's face, the aura of time. Therefore, the architect is faced with the task of modifying, preserving its face, and expanding the palace complex. Rastrelli modified the scale, preserving the iconography: he added side buildings, erected new pavilions (one for the church, the other secular), connected them with galleries, built on the central building and the volumes attached to it with a third floor |
In the same year, after the death of Bartolomeo Rastrelli, Francesco considers it his duty to complete the creation of the equestrian statue of Peter I, begun by his father. In 1746, Elizaveta Petrovna decides to expand the Peterhof Palace and entrusts the work in Peterhof to Rastrelli. One after another, the architect creates reconstruction projects, the final version of which is approved on January 23, 1749, and for three years Francesco Bartolomeo supervises this construction.
Peterhof Church
The architect performs a huge amount of work, but Elizabeth is in no hurry to return the title of chief architect to him, and his salary remains the same. Rastrelli decides on a trick - he announces his departure from Russia, and only after that he regains the desired title and now a salary of 1,500 rubles a year.
Saint-Petersburg, Russia. Vorontsov Palace on Sadovaya.
| Catherine Palace(also known as the Great Tsarskoye Selo Palace, the Great Catherine Palace, the Grand Palace, the Old Palace - the former imperial palace, the official summer residence of three Russian monarchs - Catherine I, Elizabeth Petrovna and Catherine II; the palace is located 26 km south of St. Petersburg in former Tsarskoe Selo (now the city of Pushkin) is included in the list of UNESCO World Heritage Sites. The building was founded in 1717 by order of the Russian Empress Catherine I, after whom it is named; During the 18th century it was rebuilt several times and in its present form is an example of late Baroque. During Soviet times, a museum was opened in the palace. During the Great Patriotic War, the palace was severely damaged. Its restoration took many years and is not yet complete. The restoration is carried out by the Leningrad School of Restorers on a strictly scientific basis. |
Pavilion "Grotto" in Catherine Park of Tsarskoye Selo
Pavilion "Hermitage" in Catherine Park of Tsarskoye Selo
In subsequent years, he created such masterpieces as the Vorontsov Palace (1749 - 1752), the Stroganov Palace (1753 - 1754), the Catherine Palace, perestroika (1752 - 1757), and the Hermitage Pavilion (1748 - 1752 .), grotto (1755 - 1762) in Tsarskoe Selo (Pushkin), palace in Ropsha. The most famous works of Rastrelli of those years are the ensemble of the Smolny Monastery (1748 - 1757) and the Winter Palace (1754 - 1762) with its famous Jordan Staircase.
Little by little, his favorite luxurious style of Russian or Elizabethan baroque begins to become a thing of the past. In 1758, according to Rastrelli’s design, the construction of Gostiny Dvor began, but soon due to the dissatisfaction of merchants, who considered his project too expensive, construction was suspended. The fashion for luxury is passing and there are fewer and fewer orders from Rastrelli.
St. Andrew's Church, Kyiv
Iconostasis of St. Andrew's Church
Mariinsky Palace, Kyiv
Rastrelli's experiments in organizing the sacred interior of Orthodox and Lutheran churches have been relatively little studied. In the 1740s. he designed the altar of the palace chapel in Ruenthal, which was later moved to the Mitau Palace. A sketch of this lost monument is kept in the Vienna Albertina. Based on stylistic considerations, B. R. Wipper attributes to Rastrelli the interior of the Trinity Church in Libau (1742-58) with the ducal box. In 1754, Rastrelli prepared a project for a five-tiered iconostasis and altar canopy for the Transfiguration Cathedral in St. Petersburg. He twice drafted a project for restoring the collapsed tent of the cathedral of the New Jerusalem Monastery, for which he also designed the decoration of the cuvuklia.
House V.V. Engelhardt: Nevsky Prospekt, 30 / Griboyedov Canal embankment, 16, Central District, St. Petersburg
Large guest courtyard
Hermitage Pavilion in Peterhof
Rastrelli Grotto in Lefortovo
On August 10, 1762, Catherine II sent the chief architect on vacation to Italy for a year for treatment. There Rastrelli is trying to find new customers, at the same time he learns that the architect Wallen-Delamot has been commissioned to remodel the inner chambers of the Winter Palace for the new empress. On October 24, 1763, by the highest decree, the architect was dismissed with a pension of 1000 rubles per year. In 1764, Rastrelli and his family left St. Petersburg and went to Courland, where he was engaged in the construction of the Ruenthal and Mitau palaces in Jelgava.
Interiors by Rastrelli
Catherine Palace
Reconstruction of the amber room of the Catherine Palace
Also all interiors of Rundāle Palace
Fountain "Crown".
Summer Garden: Palace Embankment, Central District, St. Petersburg
Memory of Rastrelli
Rastrelli Square in St. Petersburg;
The monument in Tsarskoe Selo was erected next to the Catherine Palace in 1991 according to the design of Maria Litovchenko.
Bust of Rastrelli in the park of Manezhnaya Square in St. Petersburg (sculptor V. E. Gorevoy, 2003).
One of the galleries on the first floor of the Winter Palace is named after the great architect.
They were shot in the sculptural composition "In Memory of the Architects of St. Petersburg" Art. m. "Gorkovskaya", in the park closer to the Arsenal Canal
Sources
Ovsyannikov Yu. M. Francesco Bartolomeo Rastrelli. — L.: Art. Leningr. department, 1982. - 224
Denisov Yu. M., Petrov A. N. Architect Rastrelli. Materials for the study of creativity.. - L.: State. publishing house of literature on construction, architecture and construction. materials, 1963.
History is made by human hands, and the Northern capital owes its beautiful modern appearance to the talent of outstanding masters of past centuries. Francesco Bartolomeo Rastrelli is an architect who created many of the sights of St. Petersburg, emphasizing the austere beauty of this city.
Rastrelli: an outstanding architect and his works in St. Petersburg
The Russian Italian, who came from an Italian family that moved to St. Petersburg, studied with his father, an architect, and did not forget to travel to France and Italy in order to improve the level of his skills. One of his father’s wonderful works is a bust of Peter I. Rastrelli was able to achieve a high resemblance to the face of the emperor using a wax cast taken from the face of Peter I in 1719. You can see this work now at.
At the court of Anna Ioannovna, Francesco Bartolomeo Rastrelli received the position of chief architect, and continued his career under the next empress, Elizabeth. For her, he built a wooden one, which has not survived to this day. At the peak of his fame, Francesco Bartolomeo Rastrelli oversaw several grandiose projects at once: the Grand Palace in, St. Andrew's Cathedral in Kyiv and the reconstruction of the Catherine Palace in. Usually he developed the project, and other craftsmen monitored the progress of the work. Thus, it belongs to the hand of Rastrelli and the architect designed a three-part through arch on the side of the facade and the grandiose Jordan Staircase.
Francesco Rastrelli designed it on the orders of Empress Elizabeth Petrovna - it was there that she planned to retire in her twilight years. After the death of the Empress, Rastrelli's favorite style, Baroque, went out of fashion. The new empress, Catherine II, was disposed towards Antonio Rinaldi, who was well acquainted with the latest fashion trends thanks to his connections in Europe.
Having lost his job, Rastrelli, accustomed to living in grand style, experienced financial difficulties, despite the good pension assigned to him by the Empress.
The architect died in Mitau and was buried next to his wife Maria, who had passed away earlier. The complete collection of his drawings was bought by the Polish count, and now they can be seen in the National Library of Warsaw. And Francesco Rastrelli left sights for St. Petersburg, the exquisite lines of which will be admired by many more generations of residents and guests of the Northern capital.
March 18th, 2018 , 04:49 pm
I invite readers of our magazine to get acquainted with the article by Andrey Chekmarev, published in the Journal of Architectural Heritage - https://arch-heritage.livejournal.com/1745677.html - in December 2013. Author's suggestion " Let's post architectural graphics here - projects, plans, measurements. There is clearly not enough of this material on Russian architecture on the Internet” - I clearly like it. However, I will not quote the entire article, there is a lot of interesting stuff in it.
So - read on:
I'm thinking about what to come back here with. There are now ten photo travelers per megabyte, so everyone has long been gorging themselves on travel reports. I offer those who are a little more interested in architecture a new idea. Let's post architectural graphics here - projects, plans, measurements. There is clearly a lack of this material on Russian architecture on the Internet. Graphics have been published a lot, but not everyone has these particular books, or, better said, there are some, but not others. It would be nice to collect such an online collection of beautiful drawings. In concept, any architecture is always better than its implementation, it is more imaginative and more expensive. And then everything is as usual. depends on the budget. It makes sense to create a visual series of architectural graphics, which would include not only those buildings that have been built, but also those plans that remain on paper. Something here has often been posted on this topic, but in fragments or in addition to photographs of monuments or stories about their history. I propose to introduce a special genre of posts into the community - a selection of architectural graphics on any topic. It can be by author, it can be by building or complex. Or something else. Naturally, they will be shared in hundreds of shares, and that’s good. Let the Internet be filled with high-quality and in-demand content, otherwise there is not a fountain of such materials yet.
Let's start with Francesco Bartolomeo Rastrelli (1700-1771)
. The main figure of the Russian Baroque, the court architect of two empresses, Anna Ioannovna and especially Elizabeth, for whom he built all her luxurious palaces. Rastrelli's drawings are now kept in various collections, and much has been published. Of the Russian collections, the largest are in the Museum of the History of St. Petersburg and the Hermitage. From foreign ones - in the People's Library in Warsaw and the Vienna Albertina. Scans of varying quality from literature about Rastrelli’s work and museum catalogues.
Graphics of the early period of the 1730s.Palace of the Duke of Courland Biron in Rundale, founded in 1736, completed and completed after the Duke returned from exile in 1762. The tower with passage to the inner courtyard was never built.
Plan of the entire palace and park ensemble in Rundale
Second Biron Palace(and in terms of status even the first) since 1738 it was built in the capital of CourlandMitava, present-day Jelgava. The palace was unlucky; it was never finished off with all its pomp, and what was there was repeatedly burned in fires. Now there is an agricultural academy there.
Further drawings wooden Summer Palace of Elizabeth, which was built in 1741-1744 and dismantled by order of Paul I to make way for his Mikhailovsky Castle (in which the emperor was killed).
Moscow Elizabeth Palace, also wooden, in Perov, which then belonged to the Empress’s favorite Alexei Razumovsky. The palace also has not existed for a long time.
Another MoscowImperial Palace, in the village of Pokrovskoye. It has been preserved, although rebuilt beyond recognition as an almshouse, and is located on Gastello Street.
Srednerogatsky Palace of Elizabeth, on the outskirts of St. Petersburg, built in 1751-1754. Recently demolished. in 1971.
One of the early options for restructuring and expansionGreat Peterhof Palace, 1746. 
Below are design drawings for the reconstruction of the Catherine Palace in Tsarskoe Selo. 1749-1756.
And the last of the Elizabethan residences -Winter Palace in St. Petersburg, 1753-1762 
Next are Rastrelli'sinteriors, mainly for the Winter and Catherine Palaces. In general, there are few Rastrelli interiors left, and most of those are restoration remodels after war destruction. In Winter, almost everything was redone under Catherine in classicism, and then burned down in a big fire in 1837 and was partially recreated by Stasov, such as the Jordan Staircase.
Rastrelli's stoves are like independent architectural forms, either church bell towers or park pavilions.
Triumphal niche for Elizabeth's throne.
Hermitage Pavilion in Tsarskoe Selo. 1748 Excellently preserved and recently restored.
The Grotto Pavilion is also for Tsarskoye Selo. 1749-1761. Preserved, but partially lost decoration
Monbijou hunting pavilion in Tsarskoe Selo. 1754, reconstruction of the original building of S.I. Chevakinsky. Then Adam Menelas rebuilt the pavilion again, resulting in it becoming the Arsenal on the edge of the park. Now abandoned, but still standing. First version of the project.
Second final version
Roller coaster in Tsarskoe Selo, built in 1754. Dismantled due to disrepair in 1795.
Orthodox Church in Mitau(Jelgava), rebuilt beyond recognition at the end of the 19th century
Recreation Projectrotunda tent in the New Jerusalem Monasterynear Moscow. The project was implemented under the leadership of Karl Blank. Destroyed during the war, it is now being rebuilt for the second time.
Smolny Resurrection Novodevichy Convent in St. Petersburg.Laid down in 1748. An early project where the corner bell towers of the cathedral are widely spaced, and a completely different bell tower than the one that they ultimately decided to build. This project influenced the appearance of the bell tower of the cathedral complex in Kostroma, built by Vorotilov. And that, in turn, influenced the spread of the characteristic type of bell towers with a recognizable curved ending throughout the Kostroma province and neighboring Volga territories.
Plan for this project option
Side façade of the approved design optionSmolny Cathedral. But during construction, they decided to connect the chapters together, which was done.
Section of the cathedral. You can see how Rastrelli intended the interior. His plan was never fully realized. Elizabeth died, and Catherine was not going to continue the costly construction in accordance with the project. The interior was made much more modest and in a different era, according to Stasov’s design.
Also, the tall 140-meter highBell tower, the top of which transparently hinted at the bell tower of Ivan the Great in the Moscow Kremlin.
Among Rastrelli's projects there is such an original drawingchurchestriangular configuration. The project is close to similar designs for triangular churches (usually dedicated to the Holy Trinity), common in the Italian and German Baroque. It is unknown for which place this particular drawing was intended. It was never implemented.
Rastrelli’s plan was not fully realized either.Gostiny Dvor in St. Petersburgon Nevsky Prospekt, 1757. Due to cost savings, Elizabeth handed over the construction to J.B., who arrived from France. Vallin-Delamot, who greatly expanded Rastrelli's project, abandoning all the magnificent details of the Baroque. The drawing shows how Rastrelli wanted the clock tower above the central entrance to the building to look.
This is how he was, the chief architect of Her Majesty’s Court, Count Rastrelli of the Italian nation...
Rastrelli's projects included in the selection were published in books:
Denisov Yu, Petrov A. Architect Rastrelli. Materials for the study of creativity. L., 1963
Francesco Bartolomeo Rastrelli. Architectural projects from the collection of the State Museum of History of St. Petersburg. Catalog. St. Petersburg, 2000
Three centuries of Russian estate. Painting, graphics, photography. Fine chronicle of the 17th - early 20th centuries. Album catalog. M., 2004
Empress Elizaveta Petrovna and Tsarskoe Selo. St. Petersburg, 2010
Lancmanis Imants. Jelgavas pils. 2006
