[ital. Quarenghi] Giacomo Antonio (20 or 21.09. 1744, modern Rota d "Imagna, province of Bergamo, Italy - 02.18.1817, St. Petersburg), Italian architect, decorator and artist, master of applied art of the era of classicism, who worked Born in an aristocratic artistic family, K. was trained to serve as a priest or practice law (he studied theology, philosophy, and law), but against his parents' will, he decided to devote himself to painting.

He studied in Bergamo with J. Raggi and P. V. Bonomini, followers of J. B. Tiepolo. In 1763, Mr.. K. arrived in Rome, studied painting in the studio of the neoclassicist A. R. Mengs, then - in the studio of S. Pozzi, where, under the influence of the architect. Brenna (probably Vincenzo Brenna, who later worked in Russia) became interested in architecture. In 1767-1769. K. studied architecture at the late Baroque architect. P. Posy, later - in the workshop of the church architect. A. Deriza - the author of the theory of music. proportions in architecture, which was carried away by K.; together with N. Jansimoni, he painted and measured the monuments of ancient Rome. During the studies K. in the workshops of Rome, the theory of church architecture was considered an important part of architectural education. Church architecture provided ample opportunities for designing "ideal" (perfect) centric and pyramidal compositions, i.e. embodying the idea of ​​symmetry that underlay the architectural shaping of the era. The training took place according to the treatises of antiquity (Vitruvius) and the Renaissance (S. Serlio, G. B. da Vignola and V. Scamozzi, see: Kieven. 1999). The source of theoretical information about the ancient prototype is early Christ. basilicas were graphic reconstructions of the basilica built by Vitruvius in Fano (for example, the perspective of its internal view by C. Perrault, 1684). The main properties of the basilica in Fano as an "ideal" project largely determined the development of Europe. church architecture in the 18th century. Staying in the workshop of Deriza, thanks to Krom, K. met with the author of treatises on architecture I. I. Winkelman, allowed him to form a view of architecture as the least subject to changes in taste (fashion) art form. These ideas were most relevant for church architecture, both because of its historical traditionalism and its purpose to be an expression of the idea of ​​time, memory and eternal life. According to K. decisive influence on him had an acquaintance with op. A. Palladio "Four Books on Architecture", after which he became a passionate supporter of Palladianism. (Zemtsov, 1934, p. 64).

The first independent work K. was in the field of church architecture. In 1769, he received an order from the Benedictine monks to rebuild the c. Santa Scolastica in Subiaco near Rome (Pilyavsky, 1981, p. 26, 199). Here the architect was able to solve the difficult task of reconstructing a medieval interior. the buildings. The idea of ​​such a construction was similar to the arguments of the French theorists of church architecture of the Enlightenment about the need to “improve” or “decorate” the interiors of Gothic churches in order to make them perfect not only in terms of spatial and light effects on the viewer, but also in the “details” that followed. adapt to classical order systems, etc. come closer to the ideal appearance of early Christ. basil of antiquity. In many respects, the unrealistic wish “not to touch a single stone of the old” shrine in Subiaco (Zemtsov. 1934. p. 64) K. turned to the benefit of new architectural principles: inside the asymmetrical, irregular shape and disproportionately wide nave, he built a single-nave basilica, covered by a barrel vault . The impression of lightness to the vault is given not only by flat transverse ribs, characteristic of the French. models of ideal temples, but also wide semicircular windows similar to them in demouldings at the base of the vault, illuminating the interior of the nave from above, like the vault of the basilica in Fano (according to Perrot). On the sides of the nave there are 3 exedra chapels. Above the arches of the chapels, encircling the interior and hiding the base of the vault, an entablature stretched. It is supported by Ionic pilasters rather than round columns, which does not correspond to the norms of strict classicism, but continues the tradition of Italian. Renaissance. The pilasters are reminiscent of the interiors of the churches of L. B. Alberti, who also rebuilt the Middle Ages. naves and whose work K. admired (Bogoslovsky, 1955, p. 5). In the interior of c. Santa Scolastica Ionic pilasters look like "images" of columns, "behind" to-rykh "stand" pylons with arches. K. was strictly limited by the size of the central nave of the medieval church; it was impossible to place traditions in it. 3-nave basilica (he left the old narrow side aisles outside his building due to the impossibility of converting them). It was also impossible to use wall round columns, since they would have reduced the church, which was small in width, by another quarter. By placing round columns in the spans of the nave at the entrance, in the transept (at the crossroads) and behind the altar, K. created the impression of their “dominance” in the interior; at the entrance to the church, columns of a smaller order were used, thanks to which the shallow interior space, decorated with a large order, looks more significant. The church in Subiaco (1770-1773) became one of the first Italian. neoclassical churches.

At the same time, K. continued to measure and sketch ancient monuments, the best of which he considered the Pantheon in Rome and the Parthenon in Athens (see K.'s drawing with a reconstruction of the plan of the Parthenon, on which the surviving parts are highlighted - the Academy of Carrara, Bergamo. No. 2170); he owns more than 20 detailed drawings with general views and order details of the Pantheon (Castello Sforzesco, Milan); taking as a basis the drawings of Palladio, K. supplemented them with the data of his own measurements. Unable to travel to Athens, he used the publications of measurements and sketches of ancient Greek. monuments of J. D. Leroy, J. Stuart and N. Revett. According to the architect, he also "measured and sketched all the most outstanding monuments, both ancient and modern, in Rome and its environs" (Zemtsov. 1934, pp. 64-65). The word moderni he used (Piljavski. 1984. P. 223) in the language of the architectural theory of the Enlightenment denoted the entire architectural heritage since the Renaissance, including the works of D. Bramante, Alberti, Palladio, M. Sanmicheli, G. Romano. During his travels in Italy, he visited Naples, Pompeii, Paestum and Sicily, then Florence, Vicenza, Verona, Mantua, Rimini and Assisi (Putyatin, Quarenghi and Lvov, 2008, pp. 17-18).

The work of his idol Palladio, whose "shadow" he was nicknamed, K. studied in Venice (1771-1772), where he became friends with the Palladian architects T. Temanza and J. Selva. He was interested in the work of other neoclassical architects (Ch. de Vailly, K. N. Ledoux, E. L. Bulle, R. Adam). In Venice, K. met with representatives of the English. aristocracy; he completed several projects for the UK, eg. project of the chapel of the castle of Vardur for c. G. Arundella, in which the early Christ reproduced. a type of temple that combined a rotunda in the chancel and a basilica nave. Such a composition, formed in the beginning. 4th century (Basilica of the Nativity of Christ in Bethlehem), was repeatedly reproduced in the late Middle Ages in Western Europe, oriented towards the rotunda of the Holy Sepulcher in Jerusalem. temples built according to the vow of the crusaders. At the same time, the chapel was the embodiment of Palladio's unrealized project for the Venetian church. Il-Redentore (1576-1592), which was conceived as a centric one. During the construction of the chapel at New Wardour Castle, a simpler version was implemented with a square altar part covered by a low Byzantine dome. sail type. Then K. worked in Rome, in the monastery c. Santa Maria in Campitelli, in 1775 created a project for muses. Hall of the Capitoline Palace commissioned by Senator A. Rezzonico (implemented after the departure of the architect to Russia). K. became known in the highest circles of Rome. and the Venetian society, and in 1779, on the recommendation of the correspondent of Catherine II, Baron F. M. Grimm, he was invited to the imp. yard. Based on the landscapes of K. and drawings with views of the buildings of M. Asia, as well as Bakhchisarai, it is believed that during his trip to Russia he examined the ancient monuments of Hellenism and non-classical oriental architecture (Pilyavsky. 1981. P. 40-43). In the winter of 1779/80, K. arrived in St. Petersburg, where he soon became the center of attention of the capital's artistic circle (Ettinger. 1939, p. 77), good music. education brought him closer to the musical-theatrical community.

K.'s invitation to Russia coincided with the implementation in Tsarskoye Selo (since 1808 Tsarskoye Selo, now Pushkin) of the "ancient" building ideas of the empress under the hands of. C. Cameron. Among the first orders made by K., there are 4 churches near Tsarskoye Selo: in B. Pulkovo, Fedorovsky Posad (later the village of Fedorovsky Posad), Moscow Slavyanka and B. Kuzmin (1781-1785). Order imp. Catherine II for the construction of churches in palace villages near the imp. residences should be considered in the context of her passion for the "revival of antiquity", then the unusual for Russians will become clearer. the architecture of the form of these churches, in which K. embodied the image of a small temple, focused on the early Christ. antiquity in the view of the era of classicism (for more details, see: Putyatin. Quarenghi and Lvov. 2008, pp. 19-22). The Churches of the Smolensk Icon of the Mother of God in B. Pulkovo, the Ascension of the Lord in Fedorovsky Posad and the Transfiguration of the Lord in Moscow Slavyanka (all suffered during the Great Patriotic War, destroyed at the turn of the 40s and 50s of the 20th century) were so close between themselves in terms of composition, organization of the internal space and decor of the facades, which researchers differ in the attribution of their projects (V.I. Pilyavsky and A.M. Pavelkina), which have been preserved in several. options.

All churches had simple cubic volumes with a single space covered by a wide barrel vault, and were covered with 4-pitched roofs without domes or spiers, only to the west. side towered 2 symmetrical bell towers. The corners of the buildings were reinforced from the inside with pylons to contain the expansion of the vaults, which made the interior space cruciform. Lateral niches (northern and southern) inside were also covered with cylindrical vaults of the same height as the main longitudinal vault, at their intersection in the center of the temple a cross vault was formed. Such a spatial structure was reminiscent of the Roman church designed by Michelangelo. Santa Maria degli Angeli (1561-1566) in the central hall of the tepidarium of Diocletian's baths or a reconstruction of the cruciform in terms of "temple" from Serlio's "Third Book of Architecture" (also by Abbot B. de Montfaucon, P. Ligorio) - the tombs of the Tserzenniev family (Cherchenniev) Christ. era (for details, see: Ibid., pp. 23-24). In the Pulkovo Church, as well as in the Michelangelo Church, the interior was illuminated from above through 3-part thermal windows in the lunettes of the vaults. K. did not hamper the relatively small interiors with added columns: they stood only in the span of the pre-altar arch, forming an altar barrier. On the drawing of the Preobrazhenskaya c. in Moscow Slavyanka (1783-1787) a Corinthian colonnade of the iconostasis of 3 spans (2 columns and 2 semi-columns each at the side pylons) is shown, carrying an entablature-templon, which encircles the church from the inside and a semicircular apse at the level of the base of the vaults.

In one of the first versions of the Smolensk c. in B. Pulkovo, complicated by 4 towers in the corners, the same "Byzantine" iconostasis was Ionic. On his "templon", like the altar barrier of the Cathedral of San Marco in Venice, it was supposed to place statues in accordance with the number of columns. Since there were 2 columns, K. proposed to place above them on the entablature the figures of 2 angels - heralds of the Resurrection of Christ (Lk 24.1-4; Jn 20.11-12), whether this plan was carried out is unknown. On the drawings c. Ascension in Fedorovsky Posad, the iconostasis is not shown; it can be assumed that it was conceived in the form of a light wooden “wall”-frame with icons, as in the church of the Alexander Palace in Tsarskoye Selo, also built according to the project of K. (see, for example: Yakovlev. 1927). The device of the iconostasis in the form of a low altar barrier, Byzantine colonnade. type could remind of the classical monument of the early Christ. era in Rome - the papal chapel in the catacombs of St. Callista of the time of the Pope ssmch. Sixtus II (257-258), where 2 Corinthian columns with spiral flutes supported "one marble beam, on which a lamp burned and to which a curtain was attached at the back" (see: Porfiry (Uspensky). 1996. C. 152).

The facades of these churches were remarkable. In the original version of the church in B. Pulkovo (according to Pilyavsky's attribution), there were 4 bell towers at the corners of the building, so that a “four-tower” composition was obtained such as the Basilica of San Lorenzo Maggiore in Milan, to the west. on the facade between them it was supposed to arrange a 2-column Doric loggia. Such a composition, going back to the tomb of St. James, brother of the Lord, ep. Jerusalem, in the Josaphat (Kedron) Valley near Jerusalem (Jerusalem in 1857, 2007. S. 56-57) also had a Paris church known for “paper architecture” - in the notebooks of J. F. de Neffforge (1757). Saint-Philip-du-Roulle (1774-1778, architect J.F. Chalgrin).

In K.'s project, the dominance of this modest porch was emphasized by the absence of architectural elements on the walls of the lower tier of the towers, the windows of which were turned to the side facades. It is noteworthy that the design of the pillars of the porticos of the K. project and the tomb of ap. James: with 3 spans, 2 round columns correspond on the sides to 2 attic pillars (square columns), as if growing out of the wall. In B. Pulkovo, this portico was abandoned, but it was implemented in the Preobrazhenskaya Ts. in Moscow Slavyanka, according to the drawing of a longitudinal section (GMI St. Petersburg). The four-tower scheme, apparently due to the high cost, was rejected by the customer, and only 2 bell towers were left from the original project (see on an amateur pictorial image: Nestor (Kumysh). 2003). The “Greek” theme was more clearly manifested in the building, since it was believed that it was the Greeks (for example, in the monasteries of Athos, according to V. G. Grigorovich-Barsky) who placed the bells “on the sides of the porch” for better sound propagation. Despite the current perception of this composition as "Catholic", its direct connection with the Greek. Church architecture is indicated by numerous modern Greek churches (Putyatin, “For the Benefit of True Enlightenment,” 2008, pp. 204-206). In the Preobrazhenskaya in Moscow Slavyanka, cylindrical towers with a round base rose from the eaves (the bell towers of the Pulkovo church should have had the same appearance on the design drawing - GMIS. I-A-377-i, see: Giacomo Quarenghi. 1999. p. 72) , had arched ringing openings (on the cardinal points) and double Ionic columns on diagonal axes. K. could study and measure some of the surviving ancient Romans. mausoleums with similar turrets (Putyatin, 2007). In the implemented form, the Pulkovo church, judging by the photographs of the beginning. XX century, received a more modest version of the bell towers, which were also intended for the church in Fedorovsky Posad (a project with a facade, a plan and a section - in the City Library named after A. Mai in Bergamo, see: Pilyavsky. 1981. C . 156): 8-sided, without columns, smaller diagonal faces were enlivened by 2 tiers of niches. The covering of these bell towers was 8-tray in accordance with their 8-sided plan. Probably, their forms are associated with specific ancient monuments, as well as with projects of church buildings in Serlio's Fifth Book of Architecture.

The origin of the “simple longitudinal” composition of the early churches of K. could be associated with antique samples not only of Rome, but also of Venice and Terraferma, where from the 17th century. small chapels (oratorios) prevailed in manor construction, which were often located next to the palace (Tamble. 1999) - an oblong “house” of a modest appearance, sometimes with a portal in the west (or with a canopy above the door) and 2 semicircular windows on the side walls under the eaves. This type of church building connected contemporary architecture with the legacy of Palladio (Ibid. P. 58, 64, 76, 84) and recalled the burial chapels of antiquity, for example, in the catacombs under the c. St. Sebastian on the Appian Way, where in one of the burial chambers of such a tomb ( Porfiry (Uspensky). 1996. S. 196-197) the relics of the apostles Peter and Paul were temporarily kept (Palladio A. Descritione de le chiese, stationi, idulgenze e reliquie di corpi sancti, qui sonno in la citta de Roma. R., 1554. P. -. Vicenza, 2000r). Venetian examples of such church buildings had domes: Tempietto Barbaro - a 2-bell tower mausoleum in a villa in Mazer, the church of the Jesuit college Dzitelle, as well as Orthodox. c. San Giorgio dei Greci in Venice, which at that time was attributed to J. Sansovino and Palladio ( Porfiry (Uspensky). 1996, p. 60). K. used the Palladian type of a manor chapel in the vicinity of Tsarskoe Selo, the main estate of the empire, having managed to give it the size and significance of a monumental structure and create so. the first Russian churches. empire.

Round turrets, "mausoleums" K. reproduced in the c. Annunciation in B. Kuzmin and in the hospital c. St. Mary Magdalene in Pavlovsk, where such a turret appeared above the pediment of the entrance 4-column portico after the construction of the building (Putyatin. Quarenghi and Lvov. 2008. p. 30). Pilyavsky published the author's drawing of the facade of an unknown church (Pilyavsky. 1981. p. 120), indicating that this is a project for a church in B. Kuzmin, but in Italian. publications (e.g.: Piljavski. 1984. P. 293. Ill. 407-409) it is called a chapel (oratorio), the son of C. Giulio also identified it in the publication of his father's works (Fabbriche e disegni. 1843. P. 7) . Photographs from the 1930s 20th century the church in B. Kuzmin looks different, so the project can be attributed to one of the 2 Nikolsky chapels assigned to it (Pylyaev. 1996, p. 404). The church in B. Kuzmin (Neva Orthodox Land, 2000, p. 37, no. 133) was erected in 1783-1785. in place of a wooden one (1748), next to it, by decree of the imp. Elizabeth arranged a cemetery (Pylyaev. 1996, p. 404). In the project of Blagoveshchensk in B. Kuzmin K. turned to the theme of the ancient tower-shaped mausoleum: to the west. on the facade - a semicircular ledge-porch surrounded by Doric columns (such "western apses" were traditionally associated with the funeral theme, see: Putyatin. 2007. p. 109), above it is a bell tower in the form of a small mausoleum. Both tiers of the church, united by extremely plastic ring colonnades and a cylindrical shape, which was emphasized by the introduction of a massive intermediate cylindrical attic, formed a similarity to an ancient Roman memorial tomb. The cubic volume of the church itself with an almost smooth massive apse was covered with a wide low "Byzantine" dome (as in the "Greek" cathedrals of Cameron and N.A. Lvov in Tsarskoye Selo Sofia and Mogilev). The impression was that a Byzantine temple, similar to the pillarless burial aisles of the late Byzantine era (for example, the southern aisle of the church of the Chora monastery in K-field), was attached to a mausoleum monument, similar to those that were erected in the best times of ancient Roman architecture.

In c. St. Mary Magdalene of the Mariinsky Hospital in Pavlovsk, the belfry-"mausoleum" over the portico did not appear immediately, it is not yet on the author's drawings of 1781. This church began to be erected earlier than others, in a sense it was supposed to be "experimental". The unusual composition of the main elongated single-nave volume, which is covered with a simple four-pitched roof, which is characteristic of the early churches of K., has already fully formed in it. Large thermal windows stood out on the side facades, illuminating the church hall from above, to which low hospital buildings adjoined on 2 sides. The same arrangement of windows was in the churches in B. Pulkovo (side windows are visible in the photo of the beginning of the 20th century) and in Fedorovsky Posad (according to the project). These temples do not have porticos: K. only put forward to the west. on the facade there is a risalit, inside of which a porch-narthex was formed, covered by a smaller cylindrical vault than the main one. Thanks to the symmetrical bell towers on the sides of the west. facade opened the possibility of building a 3rd thermal window in the west. lunette of this longitudinal vault. On the façade, the architect placed these windows in a specially allocated upper tier of walls, which in terms of order was a frieze that grew to the height of a floor, encircling the building along the perimeter in accordance with the height of the inner vault. Above the frieze, a Doric cornice with rectangular modulons began, which made it possible to achieve consistency and even interpenetration of facades and interior. In the resulting field of the frieze, symmetrical large solar-type rosettes, borrowed from ancient tombstones, were placed, possibly symbols of the "morning" and "evening" stars of Venus - the beginning and end of human life (Richer J. Iconologie et tradition: Symboles cosmiques dans l "art chrétien. P., 1984. P. 18, Russian translation: Richet J. Iconology and Tradition: Cosmic Symbols in Christian Art / Foreword, translation and commentary: I. E. Putyatin // Art History, 2007. No. 3 /4, pp. 223, 246. In Byzantine and Old Russian iconography, such rosettes were associated with the theme of the “darkening” of the luminaries at the Crucifixion and at the Last Judgment (Acts 2.20; Rev. 6.12, see: Pokrovsky N. V. Gospel in monuments of iconography, mainly Byzantine and Russian, M., 2001, p. 459).

The image of centric antique funerary monuments K. reproduced in the c. Kazan Icon of the Mother of God - the mausoleum of A. D. Lansky in Tsarskoye Selo (1785-1790 or from 1784, see: Neva Orthodox Land. 2000. P. 34. No. 115; consecrated in 1796, see: Giacomo Quarenghi. 1999. S. 67). The sudden death of the young favorite was the reason why the empress decided to build a church "at the Sofia cemetery, for the burial of the most excellent subjects of the court in it", which K. mentioned in a letter to L. Marchesi (Zemtsov. 1934. p. 65; Piljavski. 1984 225). Burials were supposed to be in an underground crypt-rotunda, where 27 more persons were later buried. A cemetery was organized near the walls of the church, around which K. also built a fence with a bell tower and service premises (the drawings of the bell tower are kept in the Castello Sforzesco in Milan, see: Pilyavsky. 1981. P. 157). The researchers considered the composition of the Kazan mausoleum church to be unique (Ibid.), however, it had prototypes: for example, the famous among the admirers of Rome. of antiquities, a funerary building, the ruins of which were located one and a half miles from the Porta Maggiore gate (the remains of the main domed hall with large semicircular niches on diagonal axes are depicted in an engraving in Piranesi's Roman Antiquities (Piranesi G. B. Le antichità romane. R., 1756. Vol. 2. N LX), posthumously republished in 1784 (Ficacci L., ed. Giovanni Battistà Piranesi: Selected Etchings. Köln; L., 2001. P. 48-50, 74)), or building on Appian Way, the plan and perspective section of which Serlio placed in the "Third Book of Architecture" (Serlio. 1540. P. XXXIII). In the XVIII century. this mausoleum of the Christian era - the tomb of the Kalventii (c. middle of the 3rd or 4th century) - was badly destroyed, so its reconstruction with a ribbed dome (or a 6-sided vault, see: Mikhailova M. B. Funeral structures of the Roman Empire // General History of Architecture, M., 1973, V. 2: Architecture of the Ancient World (Greece and Rome, pp. 657-658), made by Ligorio, differs from Serlio's engraving, where the interior looked like a rotunda with a crown of chapels-conchs.

Conch chapels placed in the Kazanskaya Ts. (mausoleum of A. D. Lansky), on the diagonal axes of the main octagonal hall and separated from it by free-standing columns (as in the Roman Pantheon), from the outside it is much lower than the main volume, which is very similar to the reconstruction of the Calventius tomb made by Ligorio. The lower part of the building (up to the cornice of these chapels) K. treated with rustication, imitating in plaster the block masonry of ancient monuments and indicating the imaginary antiquity of the building. Numerous semicircular and rectangular niches inside the temple also date back to antique funerary prototypes: on the design drawing of the section (GMIS. I-A-363-i), statues are shown in rectangular niches, and urns are shown in semicircular niches (Giacomo Quarenghi. 1999. p. 68) . The absence of an iconostasis in this drawing indicates that the idea was developed from a tomb chapel to a temple building.

An important and often used theme in the architectural heritage of K. is the ringing of bell towers in the form of 8-sided turrets: arched openings are cut in their main faces, and rectangular niches placed in 2 tiers are on the diagonal smaller faces. The lower niches correspond in height to the heels of the arches, the upper ones, the same width as the lower ones, have square or rectangular (horizontal) proportions and are located above the heels of the arches. These are the 2 bell towers of the Smolensk church. in B. Pulkovo, bell towers, arranged instead of 4 small domes in the 5-domed monastery Cathedral of the Transfiguration of the Savior in Novgorod-Seversky (1791-1806; drawing of the facade - in the GMIS. I-A-436-i, see: Pavelkina. 1998 . P. 96), bell towers in the design of the cathedral for Kremenchug (at the Academy of Carrara in Bergamo, see: Pilyavsky. 1981. P. 158), bell towers in the form of cylindrical "mausoleums" furnished with columns, in the version of the facade from the GMIS (Pavelkina. 1998. P. 90), as well as in the designs of the tomb of A. A. Bezborodko for the Stolnoye estate (2 options, see: Ibid. P. 159; see also: Lukomsky. 1915) and an unknown church for Moscow (Piljavski. 1984. P. 278, 279. Tav. 395-398). In these temples, K. developed the theme of a large 5-domed cathedral with 4-pillar structures with one or more. porticos. Comparison of projects shows that the "theme" of alternating arched openings with 2-tier niches looks like a direct borrowing or "quote" from an iconographic source important for church architecture. Research projects K. Smolenskaya c. in B. Pulkovo, on the basis of an analogy with cylindrical "commemorative" towers, indicates that 8-sided bell towers with 2-tier niches on diagonal faces are also associated with a sacred theme.

A similar composition is the portico of the small villa Forni Cerato in Montecchio Precalcino near Vicenza, built by Palladio in 1541-1542: on the sides of the central arched opening there are additional openings with straight lintels, above them, above the heels of the arches, are horizontal rectangular niches with reliefs-allegories of rivers. The portico of this villa was reproduced, for example, in the Moscow house of Batashev on the Yauza (1798-1802, architect R.R. Kazakov) - on the park facade; in the St. Petersburg Palace of the Yusupovs on the Fontanka, rebuilt by K. in the beginning. 90s XVIII century, entrance of the main floor (drawing in the GMIS. I-A-671-i, see: Pavelkina. 1998. P. 58. No. 76; Giacomo Quarenghi. 1999. P. 57. No. 80). Rebuilding the huge baroque palace of the Yusupovs, K. could not increase the chamber portico of the villa in proportion to the entire building; such a portico was the entrance with a balcony-terrace above it, characteristic of the Baroque era. On a wide 3-story facade, united by columned loggias with side wings, the portico-entrance looks like a particularly valuable antique detail, which was emphasized by the introduction of rustication on its walls (the portico of Villa Forni-Cerato has smooth walls), which served as an indication of antiquity. The Yusupov Palace is, as it were, built around the Palladio villa. A close example of such a composition can be found in the so-called. notebook of Giuliano da Sangallo (Barberini code - Il libro di Giuliano da Sangallo. 1910. Vol. 1. Fol. 2), drawings of which were the subject of study and a source of inspiration for both Renaissance architects and their followers in the era of classicism . Obviously, in the era of classicism, it was known that Palladio, by introducing “quotations” from ancient temples and memorial structures on the facades, gave the manor house of the Venetian villa a sacred meaning (Tavernor. 1991. P. 57, 59; Wittkower. 1996. P. 84, 87) , this was well realized by the Palladians in Russia, including K. T. o., one should not talk about the “secularization” (profanation) of church architecture in the era of classicism, but about the sacralization (“consecration”) of secular buildings.

In the notebook of J. da Sangallo there is an image of another important monument: located on the Esquiline Hill, the so-called. Basilica of Junius Bassus (331), converted c. 470, under Pope Simplicia (468-483), in c. app. Andrew (Sant'Andrea in Cata Barbara) (H ü lsen. 1927. P. 179). The plan of this oblong building with an apse and a vestibule separated from the main space by 2 columns (Il libro di Giuliano da Sangallo. 1910. Vol. 1. Fol. 29v; Vol. 2. P. 47), K. used in 3 churches near Tsarskoe villages. A detailed drawing in the book by G. da Sangallo (Ibid. Vol. 1. Fol. 31v) reproduces large arched windows, located between them in 2 tiers, rectangular mosaic panels (or niches). The façade of Villa Forni Cerato and the church projects of K. have similar features. c. app. Andrew was known from an embellished copy from a drawing by da Sangallo, published in 1689 (Ciampini J. Vetera monumenta. R., 1690. T. 1. Tab. XXI; Armellini. 1891. P. 816; Il libro di Giuliano da Sangallo 1910, Vol. 2, P. 47).

Among the buildings recently identified by the architects of the K.-ts. Protection of the Holy Mother of God in Udine (Dmitrovsky district, Moscow region, 1789, see: Podyapolskaya. 1999. P. 211-212), built by order of Prince. I. A. Vyazemsky on the site of the side wing of the old manor house. Its resemblance to park pavilions emerged after the demolition of the old house and the construction of a new one to the northwest of it (Ibid.). The simple symmetrical composition of the church is characteristic: a low octagon, covered with a gentle 8-tray vault, rises above the central part of the oblong volume, united by a common entablature. From the west, north and south, the facades were decorated with shallow Doric porticoes. The rectangular vestibule and the altar were included in a single outline of the volume of the church. They had transversely oriented spaces due to a characteristic proportion: the depth of these spaces (including the walls) corresponded to half the width of the church. The construction resembles a project for a pavilion in Tsarskoye Selo park, known as the "Coffee House" (the definition given in the edition of 1843-1844 by the son of the architect Giulio Quarenghi; Pilyavsky. 1981. P. 166-167), which K. completed according to order of the Empress in the beginning. 80s 18th century (as follows from the signature on the drawing of the facade with park surroundings - GMIS. I-A-358, see: Pavelkina. 1998. S. 82. No. 118; Giacomo Quarenghi. 1999. S. 65-66. No. 100). According to the project, the building is much larger than the church in Udine, but it had the same proportions of the plan, 4-column porticos on the side facades, a central room with a gentle 8-tray vault on an unusually low octagon, which was supposed to rest on tromps formed by diagonal arches of semicircular niches. exedra, as in Udine. K. has several sketches of a pavilion or a small temple of the same type (for example, a sheet in A. Mai's library in Bergamo, see: Piljavski. 1984. P. 311. Tav. 447). The central space, inscribed in a cuboid volume, expanded due to corner diagonal niches and was covered with a dome. Identical rectangular rooms adjoined it on 2 sides, while the other, facade sides were distinguished by 4-column porticos framing the entrances to the pavilion. There were several options for solving facades: with the allocation of a central volume in height and with a common entablature uniting the entire elongated block of the building. In the corner of the same sheet, in a pencil sketch, the architect thought over a variant of a domeless covering of the central hall: the cross vault indicated in the plan had to be supported at the corners by 4 columns or 4 pylons-ledges, like K. made in 3 churches in the vicinity of Tsarskoye Selo (which he could borrow from the late antique tomb of Tserzenniev). The compositional similarity of these projects, different in purpose, scale and geography, is so close that it could not be accidental. As with the theme of "two-tiered niches", there was probably a creative exchange between K. and the unknown builder of the church in Udine, or a common source of inspiration. K. considered his project "Coffee House" successful and completed several. copies of its plan and facade, of which in present. time is known 3 (2 - in the GMIS. I-A-358-i; I-A-361-i; 1 - in the library of A. Mai in Bergamo, see: Pilyavsky. 1981. P. 167); the project was engraved and published by the son of the architect in 1843-1844. in Mantua. The private theme of the park pavilion, embodied in church architecture in Udine near Moscow, appears as one of the phenomena of an important architectural process - court building according to imp. orders, carried out including K. The sacred significance of such churches-"pavilions" is manifested in the context of the "restoration of antiquity", which marks the beginning of a new era - the Empire. As in the case of the transformation into the early Christ. Rome, the banquet hall (the so-called basilica) of Junius Bass to the church, such “temples” in Russian. manor parks became the embodiment of the spiritual component of suburban life.

The theme of the pavilion, converted by K. into a church building with features of Palladianism, was developed in the design of the c. vmts. Irina in with. Volgov (now the village of the Volosovsky district of the Leningrad region) (1813-1817). This is an elongated building with symmetrical volumes of the altar and the vestibule. Instead of side porticos - simple risalits with thermal windows of the second light and 3 rectangular openings at the bottom, ap. the entrance is marked with a Doric tabernacle of the same type as in the west. facade of the church in B. Pulkovo. Top on the app. the remains of a belfry have been preserved on the wall. The only dome is 8-sided on a low blind drum, as in the Tsarskoye Selo pavilion. The side façades are based on the work of Palladio, having a similar central façade element used in the design of the Zeno villa in Chessalto (Treviso). The facade of the church in Volgov is very similar to K.'s pencil drawing with a variant of covering the central hall of the "villa" (A. Mai's library in Bergamo, see: Piljavski. 1984. P. 311. Tav. 447).

The Concert Hall pavilion (1782-1786) and the Alexander Palace (1792-1796) were built in Tsarskoe Selo, and the English Palace (1781-1796, completely destroyed in 1942) was built in Peterhof. In civil architecture, K. was one of the first to harmoniously adapt the Palladian schemes of rural villas to dense urban development, inscribing palace types of facades in a single row of houses. He used voluminous classical colonnades in contrast to the wide planes of the walls, cut through windows and separate niches with antique sculpture. Classical order K. conceived as a special artistic system, located "in parallel life" to the walls of the building. His buildings set the center of St. Petersburg on a monumental scale, in which the architects of the next century worked. Among the most significant buildings in St. Petersburg are the Academy of Sciences (1783-1789), Assignation Bank on Sadovaya Street. (1783-1790), the Catherine Institute on the Fontanka (1804; now part of the building of the National Library of Russia), the Horse Guards Manege (1804-1807), the Smolny Institute (1806-1808), the Hermitage Theater (1783-1787; after the completion of the construction of the theater, K. provided an apartment in this building, where he lived until the end of his days). In Moscow, according to the designs of K., some of the largest buildings, important in urban planning, were erected: the Old Gostiny Dvor on Ilyinka (1789-1805; carried out by S. A. Karin and I. A. Selekhov, completed in 1825-1830 with the participation of O I. Bove, restored in 1994-1999 according to the project of V. V. Putyatina and I. I. Kazakevich), Sheremetevsky Hospice House (1803-1807; with the participation of E. S. Nazarov in 1792-1803; now the Research Institute of Emergency Medicine named after N. V. Sklifosovsky), the Catherine (Golovinsky) Palace in Lefortovo (1782 - 90s of the 18th century, jointly with F. Camporesi, now the Combined Arms Academy of the Armed Forces of the Russian Federation). K. owns the projects of estates (for example, Ostankino Sheremetev, Lyalichi P. V. Zavadovsky, Zubrilovka S. F. Golitsyn), as well as churches and secular buildings of provincial cities.

After the adoption of imp. Paul I of the title of protector (patron) of the Order of Malta, and then led. master's brotherhood of the order was granted the Vorontsov Palace in St. Petersburg. Here K. built a Catholic. and Orthodox churches (1798-1800), in which the early Christ turned to. samples. Catholic the chapel, designed in the image of the Basilica of Vitruvius, reconstructed by Perrault (Orekhova. 2008. p. 24), was consecrated on June 17, 1800 by archbishop. Mogilev Stanislav (Bogush-Sestrentsevich), Met. Roman Catholic Church in Russia. The apse colonnade was inspired by the altar compositions of the basilicas of the 4th century, the Equal-apse period. imp. Constantine, in particular the Basilica of San Paolo Fuori le Mura in Rome, dedicated to St. Pavel, the heavenly patron of the Russian emperor (the last restoration of the Catholic chapel was carried out under the direction of the architect S. V. Samusenko, 1986-1998). Orthodox c. Christmas of St. John the Baptist was placed in one of the palace halls, where the house church was previously located. Rev. Mikhail Malein, this initially determined its simple rectangular shape with windows on both sides. According to the drawings, the vestibule with the choirs above it and the altar part of K. were distinguished by transverse colonnades of the composite order, which continued on the side walls with a row of double pilasters (Pilyavsky, 1981, p. 162). At the level of the attic, on the basis of a rafter-circular wooden structure, a longitudinal cylindrical vault was arranged, richly decorated with caissons and plaster reliefs. Following the example of early Christian basilicas, the altar space was framed by a semicircular colonnade bearing the conch of the apse. The low iconostasis of the Byzantine type was built on the basis of 2 columns supporting an architrave-templon with a sculptural image of the Crucifixion and kneeling angels. It was unusual for the colonnade to highlight the space of salt (as, for example, in the Church of the Savior on the Seny of the Rostov Metropolitan Court, 1675). There is a figurative connection of this church with the temples of the OT - the tabernacle of the prophets. Moses and the sanctuary of the temple of Solomon, which had a rectangular shape inside.

In July 1800, Mr.. K. became a knight of the Order of Malta, 1 Sept. 1805 was elected a free fellow (honorary member) imp. Academy of Arts, in 1814 he received hereditary nobility, was awarded the Order of St.. Vladimir 1st degree. Among the latest works of K. - wooden Narva triumphal gates in St. Petersburg in honor of the return of Russian. armies from France (1814, rebuilt in stone and metal by V.P. Stasov in 1824-1833) and a competition project for a memorial church dedicated to the Patriotic War of 1812 in Moscow on Sparrow Hills (1815, preserved 2 versions of a rotunda with a portico like the Pantheon). The latter, like other church projects of K. (in particular, the cathedrals in Kremenchug and Novgorod-Seversky, in the 90s of the 18th century), served as a source of inspiration for the followers of the architect, including for creating albums of standard projects as in Russia (K. I. Rossi, L. Ruska, I. I. Charlemagne), and in Zap. Europe; the influence of K. was noticeable in the Soviet architecture of the middle. 20th century up to the projects of monuments of the Great Patriotic War of 1941-1945. In the idea of ​​c. St. book. Alexander Nevsky for Saratov (1814), dedicated to the memory of the militia in the war of 1812, based on the composition of the Roman Pantheon (C. Santa Maria della Rotonda), in which the relics of the early Christs were transferred from the catacombs. martyrs; from east on the side of the church square, it was supposed to be decorated with a semicircular colonnade with statues of militia heroes (Pilyavsky, 1981, pp. 91-93; a more economical project by architect Stasov was adopted for execution, not preserved). In 1812, for the Sukhanovo estate near Moscow, K. completed the project of a tomb in the form of a rotunda church combined with a 3-story building of a hospital and an almshouse (Ibid., pp. 90-91; the existing church was designed by D. Gilardi).

K. was buried on Volkovsky Lutherans. cemetery; the grave was discovered with the participation of archaeologist A. D. Grach in 1967, on the eve of the 150th anniversary of the death of the architect, in the same year the remains were transferred to the "Necropolis of the XVIII century." (former Lazarevsky cemetery of the Alexander Nevsky Lavra), where a monument was erected. Son K. Giulio released 2 posthumous editions of the book. "Buildings and Projects" by the master (Fabbriche e disegni. 1821, 1843-1844), following the example of publications of Palladio's works by O. Bertotti Scamozzi. An important part of the heritage of K. are virtuoso pictorial (watercolor) and graphic landscapes (including detailed views of monuments of Russian architecture). Mn. K.’s drawings with views of the ancient buildings of Moscow and its environs are associated with the handwritten album “Experience on Russian Antiquities in Moscow” (GIM OPI. F. 402. Item 109), the text of which was convincingly attributed by A. G. Boris architect. N. A. Lvov (Lvov. 1997; with illustrations by K. and comments by A. B. Nikitina: Nikitina. 2006. P. 332-386). Nikitina also proved that K. completed the drawings for this album, which later. were seized in present. time are stored in the GE, GNIMA them. A. V. Shchuseva, State Tretyakov Gallery (Ibid., p. 336).

Since K. mainly worked on the imp. orders, his works, including unpreserved church monuments, had the status of exemplary and had a significant impact on the development of Russian architecture. empire, for example. the introduction of low wide domes, based on sails and not having light holes, followed. which the interior of the church turned out to be darkened, which at that time was considered a property of the ancient Russians. temples (Putyatin, Quarenghi and Lvov, 2008, pp. 90-91). Thus, in his works (in the church-mausoleum of A. A. Bezborodko in the Stolnoye estate in Ukraine, in the mausoleum of A. D. Lansky in Tsarskoe Selo), as in subsequent Empire-style monuments, the Greek appearance of the church, determined by the order classics, turned out to be in synthesis with the “Greek”, that is, Byzantine, three-dimensional composition of the entire building. In Russian churches Empire, these Hellenizing ideas were supported by the early Christ. allusions that followed. similarity of their architecture to sacral and memorial monuments of Dr. Rome Christ. era.

Op.: Théâthre de l "Hermitage de Sa Magesté l" Impératrice de toutes les Russies. St.-Pb., 1787; Le nouveau bâtiment de la Banque Imperiale de Saint-Petersbourg. St.-Pb., 1791; Édifices construits à Saint-Petersbourg. St.-Pb., 1810; Architetto a Pietroburgo: Lettere e altri scritti. Venice, 1988.

Source: Serlio S. Il terzo libro nel quale si figurano, e descrivano le antiquità di Roma. Venetia, 1540. P. XXXIV; Montfaucon B., de. L "antiquité expliqué. P., 1719. T. 2. Pt. 1. P. 110-111. Pl. XXII; Norov A. S. Journey through the Holy Land in 1835. St. Petersburg, 1838. Part 1. pp. 239-240; Armellini M. Le Chiese di Roma dal secolo IV al XIX. R., 1891 2; Il libro di Giuliano da Sangallo: Codice Vaticano Barberiniano Lat. 4424 / Introd. e note: Cr. Huelsen. Lipsia, 1910. 2 vol.; H ü lsen Chr. Le chiese di Roma nel Medio Evo. Firenze, 1927; Winkelman I. I. Explanation of thoughts about the imitation of Greek works in painting and sculpture // He. Selected works and letters / Translated by A. A. Alyavdina, ed.: B. Pshibyshevsky, Moscow, L., 1935, Moscow, 1996, pp. 172-173, Palladio, A. Four books on architecture / Translated by I. V. Zholtovsky. M., 1938. Book 4; Tavernor R. Palladio and Palladianism. L., 1991; Porfiry (Uspensky), bishop. Shrines of the land of Italy: (From the travel notes of 1854). M., 1996; Wittkower R. Les principes de l "architecture à la Renaissanse. P., 1996; Podyapolskaya E. N., red. Monuments of architecture of the Moscow region. M., 1999. Issue. 1. S. 211-212; Kieven E. "Mostrar l "inventione": The Role of Roman Architects in the Baroque Period: Plans and the Models // The Triumph of the Baroque: Architecture in Europe, 1600-1750 / Ed. H. A. Millon. N. Y., 1999. P 196; Tamble M. The Oratory of the Veneta Villa. Padova, 1999; Jerusalem in 1857 in photographs from the collection of Bishop Porfiry (Uspensky) / Ed.-Comp.: R. Gultyaev. M., 2007; Taruashvili L. I. Rome in 313: Artist’s and Historical Travel Guide to the Capital of the Ancient Empire, Moscow, 2010.

Lit.: Tassi F. M. Vite de pittori, scultori e architetti bergamaschi. Bergamo, 1793. Vol. 2; Petrov P. N. Giacomo Quarenghi (1744-1817) // Architect. 1872. No. 5. S. 78; Colombo G. Giacomo Quarenghi Bergamasco, architetto alla corte imperiale di Pietroburgo. Torino, 1879; Makarenko N. Lyalichi // Old years. SPb., 1910. July/Sept. pp. 131-151; Fomin I. A., comp. Catalog ist. exhibitions of architecture and art. industry. SPb., 1911. S. 47-49; Biraghi S. Jacopo Quarenghi, architetto di Caterina II // Emporium. Bergamo, 1911. Vol. 33. No. 193. P. 43-61; Kurbatov V. Ya. Gvarenghi and neo-Roman classicism: (Style of the Russian Empire) // Architect. 1913. No. 26. S. 285-288; he is. The last work of Quarenghi // Archit.-art. weekly. Pg., 1914. No. 29. S. 269-272; Gornostaev F.F. Palaces and churches of the South. M., 1914; Grabar I. E. Gvarengi // RBS. 1914. T .: The Hague-Gerbel. pp. 288-292; Lukomsky G.K. Ancient estates of the Kharkov province. Pg., 1917. Part 1. S. 100; Yakovlev V.I. Alexander Palace-Museum in Detskoye Selo. [Children's Village], 1927; Zemtsov S. M. Materials for the biography of Quarenghi // Architecture of the USSR. 1934. No. 3. S. 62-65; Ettinger P. Portraits of Giacomo Quarenghi // Ibid. 1939. No. 2. S. 77; Taleporovsky V. N. Quarenghi: Mat-ly to the study. creativity. L.; M., 1954; Bogoslovsky V. A. Quarenghi - master of architecture in Russian. classicism. L.; M., 1955; Grimm G. G. Quarenghi's graphic heritage. L., 1962; Ilyin M.A. About Palladianism in the works of D. Quarenghi and N. Lvov // Rus. art of the 18th century: Materials and research. / Ed.: T. V. Alekseeva. M., 1973. S. 103-108; Korshunova M. F. Giacomo Quarenghi. L., 1977; she is. Giacomo Quarenghi // Architects of St. Petersburg, XVIII century. SPb., 1997. S. 719-769; Pilyavsky V. I. J. Quarenghi: Architect. Painter. L., 1981; idem (Piljavski V.I.). Giacomo Quarenghi / A cura di S. Angelini. Bergamo, 1984; Murashova N. V. Contract of Giacomo Quarenghi // Leningrad panorama. 1984. No. 3. S. 33; Pylyaev M. I. The forgotten past of the environs of St. Petersburg. SPb., 1996; Lvov N.A. Experience about Russian. Antiquities in Moscow / Publ.: A. Boris // Architect. Ensembles of Moscow XV - beg. 20th century / Ed. T. F. Savarenskaya. M., 1997. S. 406-407; Neva Orthodox Land: Pravoslav. temples of the suburban districts of St. Petersburg and the Leningrad region: Krat. church-ist. ref. / Comp.: A. V. Bertash et al. St. Petersburg, 2000; Shvidkovsky D.O. Ch. Cameron at the court of Catherine II. M., 2001; Nestor (Kumysh), Hierom. Church. headman M. I. Usanov (1865-1937) // Church. vestn. SPb., 2003. No. 11. C. 1; Giacomo Quarenghi e San Pietroburgo / A cura di P. Angelini. Bergamo, 2003; Putyatin I.E. "Hope and Constancy": On the sources of the two-tower type of church Rus. classicism // Art History. 2005. No. 2. S. 217-233; he is. Sophia K-polskaya and the "Greek project" in Russian. church architecture // Nikolai Lvov: Past and present: Materials of scientific. conf. SPb., 2005. S. 56-67; he is. "Callimachus in the Valley of Josaphat": On the memorial symbolism of the bell towers Rus. classicism // Art History. 2007. No. 1/2. pp. 96-130; he is. Quarenghi and Lvov: The birth of the image of the temple Rus. empire. M., 2008; he is. "For the benefit of true Enlightenment": Problems of studying Russian. church architecture of the era of classicism // Art History. 2008. No. 2. P. 190-210; he is. Quarenghi and Lvov: "Pilgrimage to the Italian shrines", or the Birth of the image of the temple Rus. Empire // Ibid. 2009. No. 3/4. pp. 188-218; 2010. No. 1/2 P. 275-309; Nikitina A. B. Architectural heritage of N. A. Lvov. SPb., 2006. S. 332-386; Orekhova

I. E. Putyatin

Everyone who is interested in the history of architecture or takes an active part in the creation of architectural masterpieces has heard of such a wonderful person, a true master of his craft, like Giacomo Quarnegi. This man did not live his life in vain. He left a huge imprint on the Earth. The life of this wonderful architect and his creations will be discussed in the article.

Biography

Giacomo Antonio Domenico Quarenghi was born in the province of Bergamo, a small village in Italy, in a fairly wealthy family. Both his grandfather and father were painters, and they were very famous. From them, Giacomo inherited a craving for beauty and the talent of an artist. Nature rushed out, and the boy showed a desire to create, draw, but his parents planned a completely different path for him: at the monastery school, he studied languages, literature, philosophy, and jurisprudence. Quarenghi said that the study of the last two sciences aroused in him only disgust. However, later Giacomo insisted on his own, becoming a student of the artists Raja and Bonomini. They discovered an outstanding talent in him and advised him not to go astray.

In 1861, Giacomo Antonio Quarenghi went to Rome, where he made many useful contacts: A. Mengs, S. Pozzi, V. Brenna became his teachers and friends. It was the latter who gave Giacomo the idea to become an architect, and so Quarenghi was carried away until the end of his life, gradually becoming a real connoisseur of the topic. He began to get acquainted with the history of architecture, the works of the architects of Rome, inspiredly read the treatises of the architects of the Renaissance, the ideas of Andrea Palladio became especially close to him.

Fame was not long in coming: Abbe Thorp introduced Giacomo to C. Rezzonico. This patron, who at that time was very famous, commissioned from Quarenghi a large project for a church in Subiaco. The difficulty was that the church had to be redone, but the old building had to be changed to a minimum. So the architect actually had to create a new temple inside the old one. Already in this project, one could discern Quarenghi's style, which is characterized by rigor and conciseness. After the completion of this first major order, offers from all over Europe rained down on the architect.

1775 gave Giacomo Antonio Domenico Quarenghi family happiness - his wife and daughter.

An invitation from Russia was for Quarenghi the next most important stage in his life and career. Before that, he only carried out restructuring and small random projects, he did not have large independent projects, just as he did not have a full sense of his own self-realization. Therefore, the architect Giacomo Quarneghi immediately agreed to go to Russia, where he signed a contract with Catherine II, becoming her court architect. This happened in 1780.

The beginning of Quarenghi's work in Russia was laid by the palace in Peterhof, which not only adorned the natural landscape, but later became a real landmark of St. Petersburg. Arbors and pavilions, churches in Tsarskoe Selo and estates of high-ranking persons were built according to Quarenghi's designs. He became literally in great demand among the Russian aristocrats of that time, here his talent and knowledge in architecture were finally revealed to the fullest extent, they brought touches of classicism into the city's appearance. Ekaterina always controlled the work of the architect, communicating directly with him, sometimes even taking part in the development of sketches, but sometimes she hurried the deadlines for the implementation of projects, which he complained about in letters.

Be that as it may, the empress was always very pleased with the work of the architect, the renovated interiors in the Winter Palace and all the other buildings of Quarenghi were truly grandiose. Stability in work did not leave the court architect even after the death of Catherine. With the onset of the 19th century, Giacomo Quarenghi, whose buildings are recognized as masterpieces, began to design hospitals and institutes. He himself even called the Smolny Institute the best of his creations.

The Hermitage Theater project provided the architect with an apartment nearby and a personal box. The inspiration for the creation was the Olimpico Theater by A. Palladio. Giacomo Quarenghi, whose brief biography is presented to your attention in the article, designed the theater very thoughtfully, so that it was comfortable for visitors, and the acoustics there were amazing. The architect wrote that he sought to combine the antique look and modern solutions in the project.

Although over time the architect lost two daughters and two wives, he still had five more children. He remained in Russia until his death, this country became his second home. Giacomo Quarenghi died in St. Petersburg in 1817, the cause was a common cold.

Contemporaries about Quarenghi

The architect was a prominent person, they talked a lot about him, wrote, drew caricatures, since he had a memorable appearance.

• Catherine II wrote that the architect “does amazing things for us” and his work is “so good that it cannot be better”, and that he is much better than the French architects with whom she had to cooperate before him, she called their work crappy.
• I. Grabar said that thanks to Quarenghi, architecture returned to the road that "leads from Greece through Rome to Palladio and which, of course, has not yet been stopped at the gates of his villas."
• F. Vigel noted that the works of Giacomo Quarenghi "beautify St. Petersburg most of all." He also joked a lot about the disproportionate size of the architect's nose.

Giacomo Quarenghi Attractions

Absolutely all of Quarenghi's projects combine laconic composition, a strict classical look and, at the same time, proportionality, giving them an elegant aristocracy. The buildings created by this architect are by no means overloaded with frills and decor, their accents do not shout, but only slightly hint at sophistication. Giacomo Quarenghi, whose biography is full of interesting facts, designed not only the buildings themselves, but also the interiors, furniture, so all the decoration was in harmony with each other.

The project of the Cold Bath, the Ruin Kitchen, the Concert Hall in Catherine's Park and the bridge near it, the temple at the Kuzminsky Cemetery, the barracks on Kadetsky Boulevard, many bridges, the Alexander and Konstantinovsky Palaces, the Silver Cabinet in Catherine's Palace - these are just some examples of the works of Giacomo Quarenghi.

Sklifosovsky Institute

The history of the creation of the Sklifosovsky Institute in Moscow, in the design of which D. Quarenghi was directly involved, is interesting. The institute would not exist today if it were not for the long-standing love of Count Sheremetyev for Praskovya Zhemchugova, at whose request he created a Hospice House for the poor and suffering in Sukharevka. Unfortunately, the woman she loved died before the opening, and the count turned to Quarenghi, her friend, for help in rebuilding. The building is built in the shape of a semicircle and resembles a temple with a dome and columns. Subsequently, the Hospice House became the Sheremetyevo Hospital, but not everyone knows that this is a kind of symbol of love.

round market

The building can be attributed to the number of the oldest markets, it was built in 1790. The author of the project is Quarenghi. A. S. Pushkin visited here, for some time he lived near the market. The layout of the market is not round at all, but triangular, but with rounded edges, hence the name. The building takes up an entire block. Mostly food products were sold at the market, but there were also warehouses.

English park

Giacomo Quarneghi created it in the summer of 1781. It became the very first landscape park of Peterhof and the largest of them. It is interesting that when planning the composition of the park, the natural outlines of reservoirs were taken as the basis. A three-story English Palace was erected on the bank of the pond. The park and the palace did not survive the Great Patriotic War, only ruins survived.

Summer Palace of Paul I

Quarenghi was not the only architect working on the palace project. The Pavlovsk Palace was built for half a century, the construction was completed in 1786. Among the co-authors of the project were K. Rossi, C. Cameron, A. Voronikhin, V. Brenna.

Mariinsky Hospital

The building was built in 1803 on the initiative of Maria Fedorovna. The main architect of the project was Giacomo Quarenghi. The hospital has a strict symmetrical layout, the entrance is decorated with a colonnade. The plan is based on the estate scheme, the chambers are located on both sides of the corridor that runs through the entire building. There are no more than 15 beds in each ward, they are separated by thick enough walls so that the patients do not disturb each other.

triumphal gate

The famous Narva triumphal gates are also a project of the authorship of Quarenghi. They were erected in 1814 in just a month in a hurry, so that the Russian troops returned with victory and passed through them. The colonnade with horsemen towering over it and the goddess of Glory looked unusually solemn. However, the materials were, to put it mildly, not the most durable (wood and alabaster), so in the future the gates were rebuilt, but from stone and metal.

University of Economics and Finance

The building was created in 1799. Before the university, the Assignation Bank was located in the building, during the Second World War the educational institution was evacuated, and since 1944 it has started working again. The basis for the construction of the plan was the Palladian buildings, Quarenghi largely used the legacy of this Italian architect, but not by blind copying, but by adding his own ideas. One of the principles of Quarenghi was the belief that slavish adherence to the theories of the great masters leads to the creation of mediocre structures.

The facade of the building with identical windows looks balanced, they form a clear geometric grid. The classical composition, the accuracy of the lines give the architectural structure respectability and impressiveness. Lion masks give the façade elegance, the antique statues on the pediment and six columns of the Corinthian order serve the same purpose. Subsequently, a monument was erected right in front of the facade - a bust of D. Quarenghi.

Alexander Palace Giacomo Quarenghi

This palace is a recognized masterpiece of world architecture, a vivid example of strict classics. Art historian I. Grabar said that there are palaces of a larger size, but there are none that would surpass Alexander in architecture. Empress Catherine II spent a lot of time here, grandiose festivities were held here: balls with fireworks, masquerades.

The project of the Alexander Palace was ready in 1792, but after that it was repeatedly supplemented and finalized according to the wishes of the empress. As a result, the building fits perfectly into the ensemble of the park, not standing out, but as if dissolving in it. All parts of the building are proportionate, splendor and luxury are achieved not by an abundance of gold, bas-reliefs, picturesque details and ornaments, but only by the richness and variety of architectural techniques. The palace gives the impression of simplicity and lightness, grace and elegance. The work of the Italian architect A. Palladio had a great influence on Quarenghi, which also affected the appearance of the Alexander Palace.

The two-story building served as the summer residence of the royal family. Quarenghi accurately calculated the lighting of the palace, and, despite the lack of sun in Russia, all the halls are bright. The facade of the building is decorated with a colonnade, giving it a solemn and hospitable look. The windows and rotundas are arranged in such a way as to emphasize the landscape of the park, so that one can admire a wonderful view of the pond and the vegetation around it. Most importantly, the elegance and splendor of the palace was combined with the convenience of the interior, so that more than one generation of high-ranking people lived there with complete comfort.

Smolny Institute

In the letters of Catherine II here and there one can find sincere admiration for the works of Giacomo Quarenghi, including the Smolny Institute. The master himself recognized this project as the most significant in his work.

The name "Smolny" comes from the tar yard, which was created near the Admiralty shipyard. So barrels with resin for processing ships gave the name to the palace, monastery and institute. Like all buildings of Quarenghi, the Smolny Institute is characterized by restraint, monumentality, classical balance, and ideal fit into the landscape. The Smolny building by Giacomo Quarnegi consists of three buildings: the main one and two side ones, but it gives the impression of a single building. Each building has separate entrances.

The main accent in the architectural design of the facade is a portico of eight columns. Also here you can see the stucco image of the coat of arms of Russia. Inside the Smolny Institute there is an assembly hall, educational and living quarters. The assembly hall looks very solemn: light pours through large window openings, white columns divide it into three parts, hanging lamps, statues, tiled stoves, and stucco molding complete the overall picture.

• Three years before his own death (in 1814) he became an honorary holder of the Order of St. Vladimir, I degree, as well as the Russian nobility.
• When planning the Smolny Institute, Quarenghi placed it a little behind the Smolny Monastery, as if recognizing its importance and bowing to its predecessor.
• One of the asteroids is named Quarenghi (32807 Quarenghi).
• The first cast-iron bridge in Russia was built thanks to him.
• Now the burial place of the architect is the Lazarevskoye cemetery, but he was originally buried at Volkovo.
• On the St. Petersburg Sadovaya street you can find a bust of Giacomo Quarenghi.
• The TV channel "Culture" made a film about the architect called "Show off, city of Petrov!"
• Quarenghi described his character as "quick-tempered, but quick-tempered."
• In 2012, a nominal coin of Giacomo Quarenghi with a face value of 25 rubles was issued with a circulation of 1.5 thousand pieces, on which the architect is depicted with a model and drawings in his hands.
• In 2017 in St. Petersburg at the corner of Pochtamtsky lane and st. Yakubovich put up a hill two meters high in the form of Quarenghi's nose, timed to coincide with the art object that appeared on the 200th anniversary of the death of the architect.
• In the Pushkin Museum you can find a portrait of Quarenghi's famous funny nose by the artist Orlovsky.
• The Sklifosovsky Institute, the building of the Old Gostiny Dvor have survived to this day.
• The youngest daughter of the architect was named the same as the Empress - Catherine.
• In St. Petersburg there is a lane named after him.

Details

Giacomo Quarenghi.

life and creation

Portrait of Giacomo Quarenghi. Watercolor. 1810s

Classicism is an artistic style in the architecture of the 17th-18th centuries.

In Russia - from ate, thirds of the XVIII - to the beginning. 19th century One of the main requirements for buildings of this style is the subordination of the architectural composition to the order system, which in form and proportions is close to the ideal forms and images of the ancient world. Buildings and structures made in the style of classicism are characterized by clear volumes, smooth massifs of walls, clear spatial division, soft colors of decoration, and moderation in the use of plastic decor. It had three stages in its evolution: early, strict and late.

Palladianism is a trend in European architecture of the 17th-18th centuries that developed the principles laid down in the work of A. Palladio, his views on architecture, ideas that were justified in the treatise "Four Books on Architecture".

The legacy of Giacomo Quarenghi is a whole era in the architecture of St. Petersburg and Moscow in the last third of the 18th - early 19th centuries. The name of the famous architect is inextricably linked with classicism and Russian Palladianism in the stone chronicle of Catherine's time.

Giacomo Quarenghi was born on September 20, 1744 in the vicinity of Bergamo, in the Imagna Valley in northern Italy. He was the second oldest of three sons in the family of a member of the city judge of Bergamo. Parents predicted for him a career as a lawyer or a clergyman, and Giacomo was sent to a school at the monastery. In his youth, Quarenghi was enthusiastically engaged in belles-lettres. At the same time, his hereditary penchant for painting had an effect - the grandfather and father of the future architect had a good command of the brush. The teenager received his first lessons from the best Bergamo artists of that time - D. Raji and P. Bonomini. Classes progressed so well that at the insistence of his father, at the beginning of 1762, the 17-year-old Giacomo went to Rome to continue his education.

In Rome, the young man was assigned to the workshop of A. R. Meng-sa, a well-known painter and theorist. After.

Baroque - an artistic style in architecture in the XVI-XVIII centuries. Baroque buildings are characterized by the plasticity of volumes, complex systems of spaces, a bizarre play of light and shadow, the splendor of plastic decor, the richness of molding and carving sculptures.

J. Quarenghi. Free composition on a Roman theme

An architectural order is an artistically meaningful reworking of a stone rack-and-barrel structure, fixed by tradition in several versions that differ in the general nature of the composition, in a strictly established composition, shape and arrangement of elements, as well as in their profiles (breaks) and ornament. They differ: Doric, Ionic, Corinthian, Tuscan, composite.

Departure of Mengs to serve in the court of the Spanish King Charles III of Bourbon Quarenghi replaced several mentors-architects, representatives of the late Baroque: S. Pozzi, P. Posi, A. Deris, N. Giansomini. A number of drawings by Quarenghi made in Rome demonstrate his fascination with the compositional and graphic skills of D. B. Piranesi, with whom he was familiar and possibly friendly. V. Brenna, an outstanding Italian decorator and architect, became a significant figure in the fate of the future architect. Quarenghi claimed that "... the named Mr. Brenna was my first teacher," and it was probably the 20-year-old Brenna who managed to awaken in Giacomo a true love of architecture. In Rome, in parallel with painting and architecture, the young man showed a deep interest in literature and music - important sources for the formation of his artistic taste.

A real revelation for Giacomo Quarenghi was the treatise of the Italian A. Palladio "Four Books on Architecture". In a work published in 1570, the great architect published his own designs. Applying the classical architectural order and borrowing traditional order compositions from the ancients, Palladio created his own system of planning and facade solutions, as well as new types of buildings. After reading the treatise for the first time in 1768, Quarenghi enthusiastically wrote: “You will never believe the impression this book made on me. Since then, I have thought only of studying so many magnificently built monuments from which one can learn good and perfect techniques.

The creative approach of Palladio to Antiquity determined for Quarenghi the vector of knowledge of the richest architectural heritage of Italy and was an incentive for careful study, sketches and measurements of unique monuments. Quarenghi's travel albums and letters show that he paid close attention to the buildings of ancient Rome, as well as to the works of the famous masters of Renaissance architecture - Alberti, Bramante, Sangallo, Romano, Sanmichele and, most importantly, Palladio. Traveling in Italy, Quarenghi enthusiastically discovered the centers of Renaissance culture - Florence, Vicenza, Verona, Mantua. But truly he was captivated by Venice - a city that he never ceased to admire, where he found many friends and like-minded people. One of them for a long time was Tommaso Temanza - an architect by education, but better known as a historian and theorist. In the same period, wanting to broaden his professional horizons, Quarenghi carefully got acquainted with the English and French architecture of early classicism.

J. Quarenghi. Kremlin Terem Palace in Moscow. 1797

Interior of the Church of Santa Scolastica in Subiaco.

In 1769, Giacomo Quarenghi received the first significant order in his homeland for the reconstruction of the interior of the church of Santa Scolastica, a Benedictine monastery in Subiaco near Rome. The architect changed the former space of the central part of the three-nave temple, cutting through the walls with deep niches and covering it with a vault with semicircular windows. He decorated the walls between the niches with Ionic pilasters. Daylight, accentuating the whiteness of the surfaces, visually pushed the narrow room apart, and the play of chiaroscuro lightened the massive entablature. Quarenghi designed the interior in a classic style - simple and strict. In this building, his architectural style and the compositional techniques that he would later use in religious buildings in Russia were outlined. Apparently, the church in Subiaco is the only major project of the architect carried out in Italy.

By the age of 30, Quarenghi was already quite famous. He perfectly mastered the techniques of classical architecture of Antiquity and the Renaissance, which became the standard of beauty for the architect. Despite this, the orders were random and did not differ in scale. In 1772-1779, he completed a number of works, most of which remained on paper. Among them: the project of an altar for a newly built temple in Seriata; a drawing of a magnificent tombstone for the Swedish king Adolf Friedrich and a tombstone for Pope Clement XIII; drawing for the design of the Roman monastery church of St. Mary in Campitelli; project of a country palace and park pavilions for the estate of the English Lord Hagerston in Northumberland; the design of the Musical Hall of the Capitoline Palace; theater project for the city of Bassano (Northern Italy); the design of the main altar for the temple of Alexandra dela Colonna in Bergamo and the drawing of the facade in the project for the reconstruction of the Alpine Trophies monument in La Turbie.

The composition and decor of the church in Subiaco are in many ways similar to the Venetian monastery church of Il Redentore, built according to the design of Andrea Palladio in the 1570s. At the same time, Quarenghi gave his construction a special, authorial sound. He changed the Palladian scheme and decorated the interior of the church in a neoclassical spirit.

Nave - a room elongated in plan, limited on one or two sides by a longitudinal row of columns or pillars; part of a basilica, church, etc.

Niche - a recess in the wall of a building for the installation of statues or for plastic processing of the wall.

Pilaster - a vertical, flat, rectangular protrusion of a wall or pillar, the processing of which corresponds to the order system of the column.

The entablature is the upper horizontal part of the structure, supported by columns, a complex decorative element of the classical architectural order. The entablature consists of an architrave, a frieze and a cornice.

English Palace in Peterhof. Lithography. 19th century

In one of the churches of Bergamo, there is still an altarpiece by Giacomo Quarenghi's grandfather. The murals made by the architect's ancestors have been preserved.

The lack of prospects for the implementation of creative ideas prompted the architect to look for work outside of Italy. On September 1, 1779, he signed a contract with I. Ya. Reifenstein, adviser to Catherine II, on admission to the service at the imperial court. From that moment on, the life and subsequent stages of Quarenghi's creative path will be connected with Russia, where his talent was revealed to the maximum. Russian architecture of that time developed in line with European trends. By the middle of the 18th century, in addition to rapprochement with the ancient heritage, a surge of Palladianism was observed in architecture. Introduced by Catherine the Great, the official state style of classicism changed along with the architectural taste of the empress. In the second half of the 1770s, he no longer focused on the French tradition of classicism, but on the polished Italian version of Palladian neoclassicism. To implement new ideals, Catherine II needed other court architects. She expressed her wishes in a letter to M. Grimm: "... I want two Italians, because we have the French, who know too much and build crappy houses ..." The Empress immediately turned to three sources of reliable interpretation of ancient culture - Sh L. Clerisso, C. Cameron and J. Quarenghi, who will become the main follower of the Palladian tradition in Russia.

J. Quarenghi. Project for painting one of the plafonds of the English Palace.

The beginning of Quarenghi's acquaintance with Russian architecture is narrated by his sketches of monuments of ancient Russian architecture. Numerous album sheets also reflected the buildings of his immediate predecessors, as well as contemporary buildings in St. Petersburg and its environs. In the period from 1780 to 1790, he established creative contacts with the architects I. E. Starov, N. A. Lvov, I. V. Neyelov, C. Cameron, Yu. M. Felten. Soon the architect himself entered the galaxy of the main representatives of the Russian architectural school of the late 18th century.

The first significant project of Quarenghi in Russia was the palace in the English Park of Peterhof. It was this building that became the declaration of the architect's creative method, based on the processing of the compositional principles of his famous "teacher" - A. Palladio.

In the English Palace in Peterhof, Quarenghi designed the main staircases open. The architect intended to build the front vestibule-rotunda with open arched openings from the side of the large living rooms adjacent to it. Such projects were not suitable for the conditions of the harsh Russian winter.

Palladian house - a building, which is a block, rectangular in plan, in the center of which there was a portico.

Portico - the protruding part of the building, which is formed by colonnades that carry the ceiling. The portico usually ends with a pediment.

Church of the Smolensk Icon of the Mother of God in Pulkovo. Lost in 1943. Photograph from the 1910s

Semi-column - a column that protrudes half the diameter from the wall along its entire height.

The vestibule is a small covered room in front of the entrance to the church or the westernmost part of the temple, separated from its middle part by a blank wall.

Apse - a ledge in the eastern part of the temple, most often semicircular or multifaceted in plan, covered with a semi-dome or a closed vault.

Caissons are small recesses, most often in the form of a square, on the surface of a vault or ceiling.

Rotunda - a room, building or structure that is round in plan, most often crowned with a dome and surrounded by a colonnade.

The design of the building began in 1780. The completion of all construction and finishing works with many changes and additions to the original plan dates back to 1794. The basis of the project was a Palladian house, which reflected the aesthetic preferences of the architect and fully met the requirements of the customer - Catherine II. The three-story building of a cubic shape was distinguished by extreme rigor and conciseness. The compositional dominant of the main façade was an eight-column portico of the Corinthian order and a wide staircase. The proportional combination of the smooth surface of the wall, cut through with rectangular window openings, and the portico gave the building monumentality and solemnity. But, despite the massiveness of architectural forms, the palace was characterized by intimacy and lack of pomposity. The interiors created by Quarenghi were also distinguished by the simplicity and sophistication of decoration. The decoration of the large living room stood out in particular. In the composition of this hall, decorative techniques favored by the architect were clearly expressed. The walls were decorated with half-columns of the Corinthian order, the ceilings were designed with relief protruding beams, the gaps between which were filled with picturesque ornamental inserts. In addition to the palace, two pavilions were supposed to be built in the park: one for the heir Pavel Petrovich, the other for the grand dukes. Unfortunately, the buildings were not completed, and the English Palace in Peterhof never became a residential imperial palace. However, the significance of this work for Quarenghi is great - for a long time he secured the honorary status of the "architect of the courtyard."

In 1780, when the idea of ​​a palace in Peterhof was born, Quarenghi was entrusted with the design and later the construction of four churches near another country residence - Tsarskoye Selo. Small-scale cult buildings in Pulkovo, Kuzmin, Moskovskaya Slavyanka and Fedorovsky were founded almost simultaneously - in 1781 and completed by 1785. Planned decisions of churches in Pulkovo and Moskovskoye Slavyanka are almost identical. Directly behind the entrance is a small vestibule, behind it is an almost square central part, behind which is a rather deep altar apse, covered with a hemispherical coffered vault. In connection with the church architecture of Quarenghi, it is impossible not to mention the extremely expressive Mausoleum of A. D. Lanskoy and the gate bell tower at the Kazan cemetery in Tsarskoye Selo, erected in the same 1785.

Hospital with the Church of St. Mary Magdalene in Pavlovsk.

Another work of Quarenghi in 1781 was a hospital with a church in Pavlovsk, intended for the courtiers of Grand Duke Pavel Petrovich. The hospital building, rectangular in plan, was erected as a one-story building with a temple located in the center. In general, the facade is devoid of architectural decoration. Only from the side of the apse, the church acted as a semi-rotunda with six columns of the Tuscan order, and the entrance to the temple was marked by a portico with four columns and a pediment.

The coming year 1782 marked the beginning of many new creations by Giacomo Quarenghi. During the next decade, being at the zenith of fame, the architect created his main and best works. The gallery of these buildings is opened by the Concert Pavilion (1782-1786) or, as the Empress called it, "concert hall", standing in the landscape park of Tsarskoye Selo not far from the Catherine Palace. The pavilion with a large hall for music, two cabinets and an open temple dedicated to the goddess Ceres, faces the water surface of the pond with its main facade. Contemporaries-eyewitnesses wrote as follows: “... the internal arrangement of this hall was made according to the rules of acoustics. The entrance to the hall is made by a round portico; it has an oval vault, the walls and pilasters are covered with whitish and multi-colored fake marble, the floor is colored mosaic; the vault is painted picturesquely; the zodiac constellations are depicted on the padugs, and desuport paintings above the doors; on the sides of the entrance are two small rooms or niches. Away from the pavilion is the ruin kitchen (1785-1786), conceived by Quarenghi as an integral part of the garden ensemble.

Icons for the church in Pavlovsk Quarenghi ordered the Roman artist J. Kades. The wall painting was carried out by the Russian master F. Danilov.

Pediment - most often triangular, formed by two slopes and a cornice, the completion of the facade of a building, colonnade or portico. Graceful gables can be placed over windows, doors and niches.

Concert pavilion in the Catherine Park in Tsarskoye Selo. Facade with portico.

The first major construction of the architect in St. Petersburg was the Hermitage Theater, which he began designing in 1783. In this work, Quarenghi almost verbatim quoted the solution of the interior space of the Olimpico theater building by A. Palladio in Vicenza, reviving the interest of his contemporaries in the architecture of the ancient theater.

Ruin kitchen in Tsarskoye Selo

Simultaneously with this construction, Quarenghi erected a number of structures that were included in the complex of the Winter Palace and the Hermitage. Along the embankment of the Winter Canal, the architect placed the building of the Raphael Loggias - a gallery for placing copies from the painting of the Raphael loggias of the Vatican Palace in Rome. Due to numerous difficulties in the performance of internal work, the construction of the building, which began in 1783, was finally completed only in 1794. The body of the Loggias of Raphael was almost completely destroyed during the construction of the New Hermitage and is now known only from the design drawings of Quarenghi and images from life.

In the second half of the 1780s, at the request of Catherine II, the interiors were significantly updated

Concert pavilion in the Catherine Park in Tsarskoye Selo. Facade with rotunda.

During Quarenghi's last stay in his native Bergamo, local artist J. Polly painted his ceremonial portrait commissioned by the city, which honored famous fellow countrymen. The portrait was placed in the hall of the city municipality. There he is to this day.

Ruins - a type of structure common in the garden and park art of classicism and romanticism, imitating the ruins of ancient or Gothic buildings.

The estate of A. A. Bezborodko in Polyustrov in St. Petersburg

Catherine-Golovinsky Palace in Lefortovo, Moscow.

Winter Palace. The main task of Quarenghi was to rebuild Rastrelli's five anti-chambers into three rooms and solve them in the style of strict classicism. In addition to the front apartments - the entrance hall, the "Great Gallery on the Neva" and the Concert Hall, the architect completed the St. George (Throne) Hall and completed the decoration of some minor residential premises.

In 1783, Quarenghi began the construction of the administrative buildings of the Academy of Sciences (1783-1785) and the Assignation Bank (1783-1799). Buildings of national importance architecturally embodied the political image of Catherine the Great and therefore were distinguished by their representativeness. The first - visually confirmed the position of the Academy as the scientific center of the country. The building of the Academy of Sciences was to house a large meeting room, apartments for professors, a printing house and a bookstore. The architectural solution of this building is almost similar to that used in the English Palace in Peterhof. The building of the Assignation Bank declared the active development of banking in Russia, the public and protective function of the institution. The horseshoe-shaped bank has an original spatial composition, the logic of which is completely subordinated to the purpose of the building.

Geogrievsky (Throne) Hall of the Winter Palace in St. Petersburg

Another significant construction of Quarenghi was to decorate the spit of Vasilevsky Island, where the construction of the Trade Exchange was supposed. It began to be erected according to the project of the architect in 1783, and by 1787 the building had already been roofed. However, it remained unfinished and was completely demolished in 1805 to make way for the Thomas de Thomon Stock Exchange.

In the 1780s, Quarenghi received many private commissions. He built new and rebuilt old houses in St. Petersburg, Moscow, as well as distant estates of the capital's nobility. Among these works, the estate of A. A. Bezborodko, the house of Fitingof, the house of N. I. Saltykov, the Yusupovs' mansion, the palace of Count P. V. Zavadovsky are especially distinguished.

The estate of A. A. Bezborodko in Polustrove on the right bank of the Neva became an excellent example of Russian classicism and Palladianism. In 1783-1784, Quarenghi took part in the reconstruction of this country house. The architect left the main volume almost unchanged, adding a triangular pediment and a low portico with double columns to the facade. The three-part compositional scheme of the estate is very close to the spatial solution of the Villa Badoer in Polesin by A. Palladio. Quarenghi united the main building (master's house) standing in the center and outbuildings symmetrically located on the sides with semicircular galleries. A successful addition to the ensemble were small buildings in the landscape park, where the architect placed a rotunda pavilion and a ruin pavilion.

An anti-chamber is usually a small room located in front of the main hall.

An anteroom is usually a small room located in front of the main or dance hall in the palace, a reception room for guests, an audience hall. The decoration of the entrance hall most often corresponded to the architectural and artistic design of other premises.

Yusupov Palace on the street. Fontanka in Saint Petersburg. Main facade.

The planning scheme of the estate of the Yusupov Palace on the Fontanka became an exception to those used by Quarenghi. Extended two-story service buildings with a small archway completely cover the main courtyard and the beautiful main facade from the view from the embankment.

The house of I. F. Fitingof (1786) on the corner of Gorokhovaya Street and Admiralteysky Prospekt and the house of F. Groten - N. I. Saltykov (1788) on the Neva between the Summer Garden and the Marble Palace are quite modest in their use of decorative techniques. In terms of expressiveness, Quarenghi limited himself to a combination of smooth and rusticated wall surfaces, horizontal articulations in the form of intermediate rods and a moderate use of order elements.

The Yusupov Palace on the Fontanka (1789-1792) was the result of changes made by Quarenghi to the previous layout of a small city mansion, to the solution of its facades and interiors. After the restructuring of the stone structure of the middle of the 18th century, the estate began to fully meet the requirements of classicism and the social status of the eminent customer.

The palace in the estate of Count P.V. Zavadovsky in Lyali-chah, Chernihiv province (1794-1795) is rightfully considered one of the best creations of Giacomo Quarenghi. Here, the architect fully realized his plan, creating an amazing architectural ensemble. The planning structure is based on the Palladian system for designing country villas. The three-story, rectangular house-palace was located in the depths of a semicircular front yard. The main building was connected to the service one-story buildings by arched galleries. The composition was completed by a stone fence with a monumental entrance gate. The road leading through these gates to the main entrance was the central compositional axis of the entire complex. The entrance to the palace was decorated with a six-column portico of a colossal Corinthian order with a triangular pediment. It was raised on a high plinth, cut through by arches, lined with rust. Behind the portico rose a dome, covering the round central hall of the palace. Remarkable architecture against the backdrop of landscape gardening made a strong aesthetic impression.

Yusupov Palace. The central part of the garden facade.

Not only the aristocracy, but also the merchants acted as customers of the projects of the famous architect. Already in 1780, Quarenghi completed the project of Gostiny Dvor for Irkutsk. From 1784 to 1787, the building of Gostiny Dvor in St. Petersburg was under construction. The so-called "Silver Rows" fronted the Nevsky.

Outbuilding - an extension, a small building adjacent to the main one or located not far from it. Gallery - a covered, long, bright room, where pillars or columns are installed instead of one of the longitudinal walls. Galleries can connect separate parts of the building.

Ensemble - several buildings and structures that form a single architectural composition.

Rust, rustication - relief masonry or cladding of a building, giving it a special massiveness and enlivening with a play of light and shadow. Sometimes the rustication of the facade is imitated with plaster.

Thrust - a horizontal belt dividing the wall horizontally or less often vertically. Traction can frame the ceiling or panels.

Colossal order (giant) - one of two types of decorative order. In contrast to the small (floor-by-floor) it has a size of several floors.

Socle - lying on the foundation, the protruding lower part of the outer wall, structure, monument.

Catherine Institute in St. Petersburg

Gostiny Dvor in Moscow. Photo of the beginning 20th century

In the 1770s projects were drawn up for the restructuring of the old Gostiny Dvor on Ilyinka. The tragic event - the collapse of 15 shops - accelerated the decision to completely vacate the site between Ilyinka and Varvarka streets from old buildings. It was an excellent idea for a beautiful and rational organization of the quarter, embraced by the rhythm of arches and Corinthian semi-columns of a gigantic order.

avenue near the Dumskaya tower. Later, in 1803-1805, on the corner of Nevsky and Fontanka, according to the Quarenghi project, the Trade Rows near the Anichkov Bridge will be built. The architect subordinated the general planning composition of this large-scale structure to the Anichkov Palace. The rhythm of the half-columns of the Ionic order in the entire height of the building is interrupted only by the main entrance from the embankment. Quarenghi solves it as a three-part passage-propylaea, divided by double columns.

By 1789, the construction of Gostiny Dvor in Moscow's Kitay-Gorod began. The building occupied an entire block bounded by four streets. The main building of the trading premises was surrounded by open galleries. The outer facade consisted of two tiers of arcades, the pylons of which were reinforced by powerful columns of a giant Corinthian order. The courtyard façade is designed according to the same scheme, but the pylons are decorated with Ionic order pilasters. Time did not spare the Moscow Gostiny Dvor - only the openings of the arcades with Corinthian columns have remained untouched to this day. In the process of developing trade, shops and shops were constantly subjected to alterations. Merchants often built on and modified the facades of commercial premises, taking into account commercial and technical needs, as well as in connection with frequent fires.

Gostiny Dvor in Moscow. street facades.

Of the provincial trade buildings, the most ambitious project of Quarenghi can be called the complex of fair buildings in the Root Desert near Kursk, dating from the mid-1780s. A huge land plot of more than 65 hectares was allotted for the fair, where about 500 two-story shops were located. The stock exchange was the compositional core of the ensemble. The trading rows adjacent to it formed an oval square, which could accommodate up to 50,000 people. On the territory of the fair, two buildings were erected - "rates". The first was intended for the stops of the governor, the other - for the residence of the commandant. Due to their location, they flanked the wide main entrance.

The works of the architect for Moscow are not numerous. In addition to Gostiny Dvor on Varvarka, in the same years, Quarenghi designed the Armory of the Moscow Kremlin, took part in the completion of the Catherine-Golovinsky Palace. The palace was erected on the site of the wooden Annenhof Palace, created by F. B. Rastrelli on the high bank of the Yauza in Lefortovo. Here, back in 1771, a huge building with four courtyards was laid. Quarenghi emphasized the central part of the street facade with an extended loggia with a colonnade of a giant Corinthian order. The building acquired a classical solemnity and respectability, without becoming too monumental. The project of the Moscow palace of A. A. Bezborodko in the German settlement, which became an important milestone in his creative biography for the architect, also dates back to the end of the century. The project reflected a set of architectural techniques developed by the master during almost 20 years of construction practice. But, unfortunately, it was not implemented. A special place among Quarenghi's Moscow works is occupied by orders from Count N. P. Sheremetev, one of the richest people in Russia at that time. Sheremetev's notes give reason to believe that he and the architect had not only business, but also friendly relations. The architect prepared designs for the Sheremetev palaces in Kitay-gorod and in the Ostankino estate near Moscow (1792), completed the construction of a large hospital building - the Sheremetev Hospice House on Sukharev Square (1803-1807).

Sheremetev's hospice house. Ground floor plan.

A significant creation of Quarenghi in the 1790s can be called the Alexander Palace in Tsarskoye Selo (1792-1800). The volume-spatial composition of the palace has a complex configuration. It demonstrates the emergence of new features in the art of the architect: the colonnade is presented as an independent architectural volume. In the architecture of Russia at the end of the 18th century, the colonnade increasingly became the dominant feature in the planning decisions of buildings. Following this trend of late classicism, the architect departed from the traditions of Palladio, in whose work there is no appeal to the theme of free-standing massive colonnades.

Sheremetev's hospice house. Fragment of the facade

During the reign of Paul I, after 1797, Quarenghi became a member of the Order of Malta, of which the Emperor was elected Grand Master. For the chapter of the order in St. Petersburg, the Vorontsov Palace on Sadovaya Street was provided. Quarenghi served as an architect for the chapter, and he was entrusted with the construction of two chapels in the palace: the Maltese and the Orthodox (1798-1800). The Orthodox Church is located in the eastern part of the main building. The Catholic was conceived as an independent building. Thanks to the large order applied on the facade, a small building seems significant. The hall of the Maltese Chapel belongs to a very interesting example of the architect's work in the field of interiors. Its decoration is distinguished by a variety of artistic means and polychrome. The columns are made of yellow artificial marble. The vaults of the room are completely covered with paintings in the form of strict geometric figures. The constructive and decorative techniques used in the Maltese Chapel are in many respects similar to the decision of the body of the Raphael Loggias.

Colonnade - a row or several rows of columns, which are arranged symmetrically and covered with an entablature or arches, forming a kind of gallery.

A chapel is a small structure standing separately from the temple, as well as a room in the apse or in the side nave of the temple, in the castle, palace, which is a chapel, a house church.

Mariinsky Hospital on Liteiny Prospekt in St. Petersburg. Ground floor plan

Mariinsky Hospital. main facade

At the beginning of the 19th century, Quarenghi supplemented a number of his own public buildings by building the Mariinsky Hospital (1803-1805), Ekaterininsky (1804-1807) and Smolny (1806-1808) institutes. The following remained in the projects: the building of the board of trustees (1808), the school for the deaf and dumb (1815) and the maternity hospital (1815). The Mariinsky Hospital on Liteiny Prospekt was erected in connection with the 100th anniversary of the founding of St. Petersburg celebrated in 1803. In planning the hospital complex, the architect followed the estate scheme. The main building is moved deep into the courtyard formed by side outbuildings. Their end facades are located at the level of the "red line" - the boundaries of the main building of the street. The center of the two-storey building is highlighted by a massive eight-column portico in full height. Two symmetrical ramps lead to the entrance. The hospital is maintained in strict forms. Its layout is extremely simple: the vestibule corresponds to the portico, the chambers are located on the sides of the corridor that runs through the entire interior.

Horse Guards arena in St. Petersburg.

Of the two buildings of educational institutions built by Quarenghi, the Smolny Institute was the favorite brainchild of the architect. The laconic interpretation of architectural masses is dictated by the function of the building. Strict classical forms are associated with the rationality of the plan. The Smolny Institute in general architectural design echoes the Ekaterininsky Institute. But due to other conditions for setting up the building in space, the facades of Smolny are much more monumental.

In those same years, the architect also worked for the military department. In 1804-1807, he built an arena, which was part of the barracks complex of the Horse Guards Regiment. The main façade of the building is oriented towards the square in front of the Admiralty and is punctuated by a large-scale Roman Doric portico with a massive pediment. The portico is placed on a stylobate with wide steps. A little later, on both sides of the stairs, sculptural statues of the Dioscuri were installed on granite pedestals. On the opposite side of the building there is a ramp for the entry of horses. The classical architectural forms of the Horse Guards Arena amaze with their majesty.

It is interesting to compare Quarenghi's St. Petersburg arena with the arena in Munich (1811), built according to his own project. If in the first one the entrances are arranged from the end facades, then in the second - from the side of the longitudinal ones.

Stylobate - the upper step of the stereobat (base) or its upper surface, on which the colonnade is being built.

Pedestal - the basis of any sculptural work, architectural structure (column, monument).

J. Quarenghi. Triumphal Gate project in St. Petersburg. Main façade (version with arch). 1814

The last serious work of Quarenghi was the construction of the Triumphal Gate (1814) on the occasion of the return of victorious Russian troops from a foreign campaign. The gates were designed to be temporary, wooden, and placed outside the old city limits, passing by the Obvodny Canal. The building quickly fell into disrepair and was subsequently replaced by stone gates built according to the project of V.P. Stasov behind the Narva outpost.

Monument-bust of Quarenghi on Manezhnaya Square in St. Petersburg. Architect V. V. Popov, sculptor V. E. Gerdeev

At the end of 1810, Quarenghi left St. Petersburg for Italy for the last time. Bergamo met the illustrious master with special reverence and all kinds of honors, but by 1811 he hastened to return to his second homeland. In the last years of his life, the blind architect had almost no orders. Giacomo Quarenghi died in St. Petersburg on March 1, 1817 and was buried in the Catholic part of the Volkov cemetery. The architect spent 37 years in Russia, leaving the best part of his creative heritage to the city on the Neva. Quarenghi's contemporary F. F. Vigel wrote about the architect: "... this man combined everything, both knowledge and taste, and St. Petersburg is most of all painted with his creations."

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Giacomo Antonio DomenicoQuarenghi(Italian Quarenghi, Guarenghi; September 20, 1744, Bergamo - February 18 (March 2), 1817, St. Petersburg) - a famous architect and painter, the painter's son and the painter's grandson.

Giacomo Quarenghi is the largest representative of the architecture of Russian classicism, which was established by the 1770s in all areas of Russian art.

The art of G. Quarenghi is well researched, but there is always room for additions and a close interest in a separate work in the master's work will always be appropriate.

It is strengthened by the recent publications of Quarenghi's extensive graphic heritage, which has become more accessible to specialists. Graphic sheets stored mainly in the collections of the City Library of Bergamo in Italy (more than 700 works), the State Museum of the History of St. Petersburg and the State Hermitage, as a rule, are not dated, which presents a certain problem in building chronology and leaves room for discussion they are an important source of information along with the letters of the architect. When comparing and analyzing the material, the scale of the work, the variety of completed and unrealized projects, the repetitive ideas that worried the master, borrowings and innovations in his decisions, and the artistic tradition that he followed are more clearly realized.

Born in Italy near Bergamo in an old noble family. He studied painting in Bergamo with J. Reggie, a student of Tiepolo. Traveled in Italy. In Rome, he first studied painting with A. R. Mengs, and then architecture with St. Poudo. Was under the influence of A. Palladio. He had noble friends and patrons. He worked a lot in Italy and England. One of the most famous architects and draftsmen of the 18th century.

The architect's ideas, based on the study of the monuments of antiquity and the Renaissance, corresponded to the spirit of the time, and Catherine II invited Quarenghi to work at the Russian court.

In one of the earliest letters sent by Quarenghi from St. Petersburg and dated May 1, 1780, the architect described the caring welcome that Catherine II gave him upon arrival, also noting that she had asked for his drawings. He sent those that had been made in Rome a few years before, after which the empress announced publicly at one of the festivities that she had at last found in Quarenghi the architect of her warehouse.

Lithograph in pencil style, paper, 34.5 x 30 cm
Posted on auction house bidspirit

Ekaterina has always been distinguished by her biased observation of the implementation of her architectural orders and the immediacy of communication with architects. In one of his letters, Quarenghi mentioned that the Empress repeatedly addressed him with building programs and sketched out sketches. In the extensive archive of Quarenghi in the City Library of Bergamo, Catherine's handwritten notes with pencil sketches of plans, which she addressed to the architect, have been preserved. They testify to a personal and frequent appeal to him (“I forgot to tell you three things yesterday ...”), an understanding of what she wants, ideas about possible resources for materials: “Mr. Quarenghi, I ask you to make me a drawing for the hall or salon in the garden in the form, as noted on paper, in the center of which one could place a statue of Apollo Belvedere or any other that you would like, from which there are forms and which I would order to be cast ... ".

Giacomo Quarenghi signed the contract on September 1 (12), 1779 while still in Italy and arrived in St. Petersburg at the end of 1779. At the end of 1779, the Italian architect arrived in St. Petersburg with his wife and remained in Russia until the end of his life.

Here he created outstanding architectural monuments that went down in the history of Russian art: the English Palace in Peterhof, the building of the Academy of Sciences on Vasilyevsky Island, the Hermitage Theater, the Assignation Bank on Sadovaya Street, the Mariinsky Hospital in the suburbs of St. Petersburg - Pavlovsk; Academy of Sciences on University Embankment; Hermitage Theatre; Loggias of Raphael in the Hermitage; the building of the College of Foreign Affairs on the English Embankment; Assignation Bank on Sadovaya Street; Silver rows on Nevsky Prospekt; Saltykov's house on the Field of Mars; Fitingof's house on Admiralteisky Prospekt; Yusupov's house on Sadovaya Street; the building of the Main Pharmacy on Millionnaya Street; Mariinsky Hospital for the Poor on Liteiny Prospekt; Catherine's Institute on the Fontanka; the building of the "Cabinet of His Majesty" on Nevsky Prospekt; Smolny Institute; horse guard arena; English Church on the English Embankment. Alexander Palace in Tsarskoye Selo.

All the buildings of Quarenghi are distinguished by simplicity of composition, austerity of appearance and at the same time sophistication achieved due to the extraordinary proportionality of proportions. The facades of its buildings are almost devoid of decoration; attention is focused on the main - the central part of the building, usually decorated with a portico or colonnade.

A. Orlovsky. Caricature of Giacomo Quarenghi, 1802 and 1817

As a court architect, he first worked in Peterhof, and then in St. Petersburg. A brilliant master of the era of classicism, he built a lot in Moscow, worked under three Russian emperors: Empress Catherine II, Emperor Paul I and Emperor Alexander I. A significant period of Quarenghi's life and work is associated with the suburbs of St. Petersburg, and primarily with Tsarskoye Selo.

Catherine, in a letter to Grimm dated February 2, 1780, reports that he "immediately upon arrival sat down for one plan" - when Cameron was already working on the idea of ​​\u200b\u200bthe Cold Bath, she offered, as usual, to draw up a project for another architect she had just invited .

Quarenghi's activity in Tsarskoe Selo began in the 1780s, when, following the will of Catherine II, the court architect created in the landscape part of Catherine's Park, on one of the islands of the so-called Upper Ponds ", conceived as a temple dedicated to the goddess of fertility Ceres, and originally named Temple of Friendship.

In the 1780s, not far from the Concert Hall, the architect built another pavilion, called. According to I. E. Grabar, Quarenghi built "... a ruin of such charming, convincing authenticity that you can hardly believe in its fake."

The kitchen-ruin and the Concert Hall, organically integrated into the surrounding landscape, form one of the most picturesque and romantic corners of the landscape part of the Catherine Park. The island, on which both buildings are located, was connected by Quarenghi to the banks of the pond with two metal bridges (instead of the previous wooden ones), the structures of which were cast according to his design at the Sestroretsk arms factories.

The bridges of Tsarskoye Selo Park delighted the guests of Catherine II. Francisco de Miranda, who visited the country residence of the Empress, wrote: “The bridge, made entirely of iron in imitation of a genuine English bridge, impresses with its lightness, strength and grace, surpassing all others. Perhaps this is the best thing in this park ... ".

In 1783, the architect settled with his family in a state-owned house substantially rebuilt by him, located on, not far from the imperial palace.

On the territory adjacent to the building of the estate, according to his project, a garden with a gazebo and a small round pond was laid out. In response to the request of the architect, in 1804 Alexander I ordered that the estate with all the buildings be transferred to his full ownership.

On March 28 (April 8), 1783, priest Stefan Ivanov, next to the wooden one, laid the foundation stone for a new stone church at the Kuzminsky cemetery -. The temple was built according to the project of D. Quarenghi.

Two months later, another stone church was laid in Pulkovo according to the Quarenghi project, and it was built in the period 1783-1785. - .

Both of these temples are not destined to survive to our days - they will be destroyed during the war. But the temple in b. Bolshoi Pulkovo is planned to be restored according to the Quarenghi project, however, it has been somewhat shifted to the side due to the expansion projects of the Petersburg highway near the Expoforum.

In 1785, the craftsmen of the Sestroretsk factories manufactured, according to the project of Quarenghi, installed in the Catherine Park on the right bank of the second Lower Pond.

XVIII century, along with the "soap", there were open-air baths. One of the obligatory accessories of the parks in Tsarskoe Selo were baths and bath complexes. In 1791, Quarenghi built an open one, located between Rump Alley and the Big Pond.

In 1794, Quarenghi began a major reconstruction in the classical style of the Hall on the Island, built in the late 1740s by the architect S. I. Chevakinsky. The monument has been completely reconstructed.

In 1795, Quarenghi re-designed in the Zubovsky wing of the Catherine Palace.

For the beloved grandson of Catherine II, Alexander, he built Empress Quarenghi in a picturesque place in the New (Alexandrovsky) Park by decree. This monument is the best and most large-scale work of the architect in Tsarskoe Selo. The drawings and designs of the New Palace (as it was originally called) were presumably made by the architect at the beginning of 1792. The "small courtyard" moved to the palace in 1796, the year of Catherine's death.

Quarenghi organically fit the building into the ensemble of the New Garden, which was laid out at the same time.

In solving the interiors, the architect managed to combine rigor and refined luxury. The selection of decoration items was the most thorough, many of them were preserved in the palace halls and during subsequent reconstructions. Decorating the interiors, Quarenghi also designed furniture, organically fitting it into the architectural appearance of the hall, harmoniously combining furniture with architectural forms.

The ceremonial halls of the Alexander Palace, designed by G. Quarenghi, are not only vivid examples of the architect's work, but also enter the history of Russian and world art of the 18th century.

I would like to mention another amazing palace built at the same time in Tsarskoye Selo by Quarenghi. The palaces were built at the same time for siblings. But how strikingly different their appearance and fate. We are talking about, built on the Big Meadow near the Zubovsky building on the banks of the Upper Ponds. Konstantinovsky Palace was built in honor of. Grand Duke Konstantin Pavlovich was born in Tsarskoye Selo and was the second son of his second wife. Being a year and a half younger than his brother Alexander, he grew up and was brought up with him by his grandmother, Empress Catherine II.

After the death of Catherine II in 1797, the palace, by order of Paul, was moved by the architect P.V. Neyelov in Pavlovsky Park. Quarenghi is known primarily as the creator of stone structures. The wooden buildings of this architect have been little studied. Among them is Donaurov's dacha on Okhta, which has many features in common with the Konstantinovsky Palace. In this regard, it is of considerable interest to historians of Russian classicism.

To the left of the Alexander Palace, with a facade on Kuzminskaya (Dvorovaya) Street in 1795-1796, J. Quarenghi built

Giacomo Quarenghi is known not only as the author of outstanding architectural monuments. From the very beginning of his activity, he studied and sketched the works of other masters that attracted his interest. He owns sketches from different points of the landscape part of the Catherine's Park, the buildings of which he admired and in which he himself created a number of pavilions and bridges. In the drawings and sketches of Quarenghi, the confident handwriting of a talented master graphic artist is obvious.

Creativity Quarenghi is an integral part of the heyday of Russian culture of the Catherine era. The works of the architect follow the spirit of Palladianism and the traditions of the new Italian school, which is characterized by restrained architectural forms, full of grace and nobility. The architect's creations are distinguished by impeccable artistic taste and harmony of proportions. The monuments he built in Tsarskoye Selo are among the best examples of Russian architecture of the Classical era.

In 1801 he visited his homeland, where he was greeted with triumph.

Since 1805 - a free member of the St. Petersburg Academy of Arts.

In the small village of Capiatone in the district of Rota d'Imagna in the province of Bergamo in northern Italy, the second son of Giacomo was born to the wealthy family of Giacomo Antonio Quarenghi and Maria Capiatone Ursula Rota.

Giacomo was educated at the best Mercy College in Bergamo. After moving to Rome, Giacomo changed mentors and workshops for the first five years. The accidentally discovered treatise by Andrea Palladio "Four Books on Architecture" became the basis of his work.

He soon built the first mansions and gained recognition as an architect from clients in Italy and other countries.

In January 1780, Giacomo Quarenghi was invited to St. Petersburg by Empress Catherine II. At the age of 35, he moved to Russia as "the architect of Her Majesty's court", hoping to widely apply his knowledge and abilities.

The first work was the restructuring of the Imperial Catherine Palace on the Yauza River in Lefortovo. Empress Catherine II appreciated the elegance of architectural solutions and in February 1782 instructed the architect to develop a project for the entire interior decoration of the palace, “as well as the facade, it can be corrected by colic.” Quarenghi himself wrote that Catherine II actively participated: “Her Majesty sometimes takes the trouble to sketch out her plans and handwritten sketches to me and at the same time wants me to have complete freedom and the opportunity to involve all those artists that I need as performers” . Building beautiful palaces and houses, Quarenghi continued to carry out royal orders from both Paul I and Emperor Alexander I.

In the late 1780s, Quarenghi received an order from Count N.P. Sheremetiev to rebuild his country residence, Ostankino. Quarenghi designed a home theater, being personally acquainted with P.I. Kovaleva-Zhemchugova, an actress of this theater, a serf and then the wife of Count N.P. Sheremetyev.

The Russian Academy of Arts in St. Petersburg on September 1, 1805, at an extraordinary meeting, elected Quarenghi to "honorary free associates."

In 1811, all Italians were ordered to return to Italy - during the preparation of Napoleon's campaign in Russia. But Quarenghi did not comply with the order of the Italian king and was sentenced in absentia to death with confiscation of property. Russia became his homeland.

In 1814, the elderly Quarenghi built the wooden Triumphal Narva Gate in honor of the return of the Russian army with a victory from France and prepared a project for the “Temple in memory of 1812.” in Moscow. This project was not completed: on March 2, the architect died and was buried at the Volkovo Cemetery in St. Petersburg. In 1967, his remains were reburied in the 18th century necropolis of the Alexander Nevsky Lavra. His monument was erected in front of the Assignation Bank building.