Architectural and park ensemble of the estate. Architectural and park ensemble This architectural park

The famous ensemble in Arkhangelskoye arose during the heyday in Russia of the classicism style, which drew on the basic concepts of beauty in the art of antiquity. Artistic order - strict logic and balance in architecture and composition of the park make Arkhangelskoe akin to Italian Renaissance gardens and French parks in a regular style, and its landscape groves seem to have been sketched by the brush of an English landscape architect.

The entrance to the estate opens with the Imperial Alley leading from the Moscow road to the palace. This perspective becomes the core of the entire ensemble. Lined with pines, birches and firs, it leads to the massive entrance arch of the Main Courtyard, in the opening of which you can see the portico of the Big House.

The closed space of the courtyard with a colorful flower bed in the center is surrounded by powerful colonnades and makes a solemn impression. This effect was previously enhanced by the picturesque decoration on the stone walls of the wings covering the facades of the wings: the colonnade depicted here visually continued the real columns with the park visible behind them. In the summer, in front of the columns, orange trees brought from the greenhouses were placed in pairs in tubs, and the largest tree was placed in the center. At this place at the end of the XIX century. the sculptural group "Menelaus with the body of Patroclus" appeared (copy from the antique original).

The palace complex: the Big House, two wings, colonnades and an entrance arch - serve as the core of the entire ensemble. A white-stone portico with a pediment, smooth ocher-yellow walls with high windows on the first floor, a wide strip of entablature crowning the building, a slender belvedere make the main facade majestic.

The entrance arch, which connects the outbuildings like a keystone, supports the architectural unity of the Main Courtyard. Erected shortly after Russia's victory in the war of 1812, it resembles a triumphal arch and is more suitable in scale for a city than a country estate. Flying Glories are depicted above the archivolts. The cast-iron gate, whose openwork design goes back to the Empire style, was made in 1896 according to the project of the architect N.V. Sultanov.

The side facades of the palace are richer and more picturesque: three porticos standing close to each other and figures of marble lions at the gatherings to the park emphasize the plasticity of the composition. The park's façade is designed for perception from distant points, and green "walls" of old larch trees frame this picture. The center of the façade, accentuated by the semi-rotunda of the Oval Hall, the belvedere and the flagpole above it, becomes the dominant feature of the ensemble.

The desire to create a summer house organically connected with nature determined the interior layout of the palace. If from the Oval Hall - the center of the composition of the Big House - one glances at any end of the suite, then in the opening perspectives the trees of the park can be seen as a green wall.

The palace stands on a low white-stone plinth, and only a few wide steps separate it from the green smooth surface of the lawns. A cascade of terraces goes down to the Moskva River. The proximity of the park is felt everywhere, and where there is no direct visual connection with it, it is created illusory, with the help of wall paintings.

The location for the park was chosen very well and greatly facilitated the task of the garden architect. Arkhangelsky Park was born simultaneously with the construction of the Big House, and after the acquisition of the estate by N.B. Yusupov it was constantly improved. By its composition and harmonious beauty, it is almost flawless and reflects the tastes of different eras, the influence of different traditions. At the same time, before us is one of the best works of landscape gardening art in Russia, con. XVIII - early. XIX centuries.

The hill on which the palace stands, at the end of the 18th century. was converted by the architect Giacomo Trombaro into a series of terraces similar to those found in 16th century Italian gardens. The main part of the park is a network of alleys and avenues with clipped trees on bosquets and trellises, numerous marble statues, shading the green of living architecture with their whiteness. These are all characteristic features of a regular or French style garden.

The upper terrace, which lies in front of the Big House from the side of the park, resembles the Parade Yard in its composition, but is closer to the palace interior in decoration.

Marble herms, depicting ancient gods, stand out in clear silhouettes against the background of dark tree trunks. In the center of the terrace is the sculptural group "Hercules and Antaeus", a work of the master of the 18th century, the concept going back to Michelangelo. Its dynamic forms contrast with the cold statics of the germ.

On the balustrade Upper terrace marble vases are placed. From here there is a picturesque view of the Big Parterre and the Lower Terrace of the park, which encompasses the Upper Terrace on three sides. The staircase leading down to the Lower Terrace has a sculptural design in the form of female figures, lions and dogs. It leads to a small fountain "Cupid with Dolphins" by the Italian master D. Giromello.

The combination of the austere parterres of a regular park with birches, spruces and lilac bushes gives a special charm to the glades of the Lower Terrace. On both sides of the fountain there are marble benches, behind them are two sculptures "Cupid carving a bow from Hercules' club", and closer to the landscape park - copies of antique statues "Artemis with a deer" and "Apollo Belvedere".

The staircase leading from the second terrace to the Big parterre can rightfully be considered one of the best decorations in the park in Arkhangelskoye. Her marches diverge to the sides, so that, having reached half retaining wall, turn towards each other and sink to the ground. The sculpture accompanies a person walking up the steps: the busts of Caesar and Augustus on the parapet of the upper platform are adjacent to marble lions, four allegories of the Parts of the World stand on a wide barrier bordering the descent, paired "Egyptian" herms seem to guard the entrance to the Grotto with the statue of Venus Medicese inside.

The sculptural decor of the monumental retaining wall (its length is 150 m) of the Lower Terrace is magnificent: it seems that numerous busts of Roman emperors, generals and mythological heroes tell about the antiquity of the family of the owners of the estate. From the decoration of the Golitsyn period, small ruin arches made of “wild stone” have been preserved along its edges of the wall, reminiscent of the mortality of the world represented by the “marble heroes”.

Park sculpture in Arkhangelskoye, made in the late. XVIII - early. XIX centuries, has about 200 works and is a unique collection, an equal to which is difficult to find in our country. This collection is extremely diverse: masterpieces of famous antique monuments, decorative garden figures from the middle of the 18th century. with a noticeable influence of baroque traditions, strict compositional sculptures of the era of classicism. Many works are made of marble ordered by N.B. Yusupov in Carrara, in the Moscow workshops of S.P. Campioni and the Triscorni brothers in St. Petersburg. One of the most significant parts of the park is the Grand Parterre. The scale of this landscape painting is worthy of being the work of the best garden architects of the Le Nôtre school. A huge rectangle (240x70 m), surrounded by green trellises, enveloping alleys and rhythmically alternating marble statues (in restoration), forms a free space, surprising in its nobility and power. Before, even the flower beds in Arkhangelskoye Park corresponded to the general style: they majestically and simply framed the smooth planes of the parterres, forming a bright border on the green carpets.

The southern border of the Big Parterre is defined by two statues of the "Borghese fighters" (copies from antique originals). on the ground behind the parterre there was a flower garden with a fountain and two huge statues of Hercules and Flora, later moved to another place.

A network of bosquets, small groves of green lawns, lined with rows of lindens, stretched to either side of the Great Parterre. Trimmed in the form of an oval or rectangle, these lindens alternate regularly, sometimes grow together with crowns, captivating visitors walking in the garden with a variety of compositions. One of the bosquets near the retaining wall of the Lower Terrace under N.B. Yusupov was turned into an Aviary with pheasants, peacocks, rare breeds of chickens and turkeys. The bosquets near the Greenhouses on a hill near the Moskva River were decorated with a flower "school": located in the southern part of the garden, they were suitable for growing seedlings for other parts of the park. In the bosquet near the small palace "Kapriz", an open Manege was arranged with a winding path for dressage horses and trellis niches entwined with greenery for riders to rest in the shade.

The fountains in the Arkhangelskoye park were not numerous: for their existence, a large supply and a good pressure of water were required. Back at the end of the 18th century. Prince N.A. Golitsyn built a hydraulic machine on his estate according to the project and under the guidance of the Swedish engineer F.E. Norberg. N.B. Yusupov improved the water supply system by building a steam engine on the Goryatinka River.

The Arkhangelskoye Landscape Park was much more extensive than the regular one and consisted of several groves. Trees of various deciduous and coniferous species were combined here in picturesque compositions, recalling landscape paintings in the state rooms of the Big House. In the west of the estate, in the Knyazborisovaya grove, the lawns were decorated with ribbons of rose gardens, in the center the paths to the bust of the patron saint of the Muses converged like an Apollo star. On the edge of the fishing line that went down to the Goryatinsky ponds, there were dozens of greenhouses, in which at any time of the year they grew outlandish fruits - dates and pineapples, strawberries and cucumbers. On the site of the fields to the north of the palace were Bykova, Prusskaya, Raspberry groves with walkways for horseback riding.

A large greenhouse farm in Arkhangelskoye included the Lavrovaya and Lemon greenhouses on a high hill near the Moskva River (destroyed during the construction of the sanatorium buildings in the 1930s). Each of them resembled a real winter garden and was flanked by residential three-story outbuildings. To the east of Lavrova was the "Roman Gate" - a monumental, as if half-buried in the ground, arch (dismantled around 1960). On the sides of the greenhouses, the architect VG Dregalov built two pavilions - "milovids" (they have not survived, one of them was reconstructed in the 1970s). Standing on the southern slope of the hill, "piedmont" greenhouses were intended to preserve trees in the winter.

In 1827, a botanical garden purchased from the Razumovskys was planted between the prince's park and the old village.

According to the preserved from the XVIII century. fashion in the spirit of sentimentalism in Arkhangelskoye they kept a farm with English and Tyrolean cows that bore the names of ancient goddesses - Diana, Artemis, Hera, Ceres ...

An integral part of the ensemble were pavilions, gazebos, memorial columns. In 1819, in the western part of the regular park, according to the project of E.D. Tyurin, a small church-monument to Catherine II was built, similar to an antique portico. The Empress appeared here in the guise of the ancient Roman goddess of justice Themis. The statue is modeled after the sculptor Mikhail Kozlovsky. On the wall behind the figure - the words from the poem of the great poet of the Renaissance Torquato Tasso "Jerusalem Liberated": "You, who was sent by heaven and granted fate to wish just and achieve what you want."

In the middle of the 19th century, among the bosquets to the east of the Great Parterre, the original Pink Fountain appeared - a small rotunda of pink marble columns with graceful flower bouquets painted inside a light wooden dome. In its center was the sculptural fountain "Boy with a Goose".

Of the five memorial columns that kept until the middle of the XX century. the memory of visits to the estate of Russian sovereigns, three have survived: in honor of the emperors Alexander I, Nicholas I and Alexander III. The columns of Alexander 11 and Nicholas II standing on the axis of the Big Parterre were destroyed in the 1930s.

In the eastern part of the park, near the Lower Terrace, there are two of the latest monuments in Arkhangelsk. The bronze figure of a young man with a dying torch is an allegory of "Sorrow", the only work in Russia by the German master KG Bart, installed here in 1908.

C.G. Barth. "Sorrow", 1905

In the alley, decorated with busts of ancient gods and philosophers, there is a monument to A.S. Pushkin, the Pushkin Alley Ensemble was created by the architect N.V. Sultanov in the era of neoclassicism and organically complemented the image of the front part of the estate. On the pedestal of the monument are the poet's stanzas:
.... I will see this palace,
Where is the architect's compass, palette and chisel,
Your learned whim has been obeyed
And, inspired, they competed in magic.

Architectural and park ensemble of Kuskovo.
Kuskovskaya manor is one of the earliest manor complexes that have survived to this day. It is also unique in that it has come down to us without significant changes. But in the 18th century, Kuskovo was much richer. The most fully preserved "central" part of the estate with the main architectural monuments.
The earliest building of the estate is a church. The bell tower, on the other hand, is the latest of the manor buildings. Together with the palace, erected under the leadership of the famous Moscow architect Karl Blank, and the kitchen wing, these buildings form an ensemble of the courtyard of honor, located on the bank of the Bolshoi Pond.
In front of the house (palace) there are lawns and alleys of a large French regular park with a strictly geometric grid of paths. When they converge, they form multi-ray stars. In this park with marble sculptures and obelisks, with a complex hydraulic system consisting of ponds, canals and bridges, numerous park pavilions have been preserved.
The pavilions "Hermitage", "Aviary" are located symmetrically to the central axis, in front of the palace there is a Large stone greenhouse. "Small ensembles": Dutch and Italian, preserved with the greatest completeness - are located in the western and eastern parts estates.
The main buildings of the "English Park Guy" were the House of Solitude, which actually served as the residence of the count's family, the Portrait Gallery and the Theater.
A play alley, a carousel, a "amusing flotilla", manor "museums", a library responded to a variety of entertainment and activities.
Along with the front ones, the structure of the entertainment estate included service and outbuildings: a kennel and stables, menageries for keeping waterfowl, American greenhouses for growing exotic plants and fruits, and a kitchen at each of the pavilions.

The palace is the main building in the suburban entertainment estate of Count Pyotr Borisovich Sheremetev in Kuskovo. The "Big House", as the palace was called in the 18th century, was built in 1769-1775 under the leadership of the Moscow architect Karl Blank and was intended for gala reception guests in the summer.
Built of wood in the tradition of Russian architecture, it has two floors - a front and a mezzanine, on a high stone plinth, which housed wine cellars and utility rooms.
The palace is a relatively small building, built on a "human scale", that is, not overwhelming in its size, but creating a cozy atmosphere of human habitation. The halls, drawing rooms, a library, a dining room, an office, and the rooms of the owners retain the same scale. They are decorated with elegant furniture, wallpaper, tapestries, portraits, paintings, engravings, marble busts by F.I.Shubin. The white dance hall of the palace amazes the visitor with its size and splendor. In the hall there are gilded decorative details, mirrors, crystal chandeliers and a huge picturesque ceiling by the French artist L. Lagrenet.

Since 2011 this object has been included in the Tentative List Russian Federation for further inclusion in the List world heritage UNESCO. The Izmailovo architectural and park ensemble is a unique example of a cultural landscape that combines natural and historical and architectural components of the monuments of the 16th-19th centuries associated with major events Russian history. The village of Izmailovo was founded on the banks of the Serebryanka River in the middle of the 16th century. and from 1654 it became the fiefdom of Tsar Alexei Mikhailovich. In 1663 he decided to build a new type of estate here. The previously created 2 ponds (Silver and Grape) on Serebryanka were turned into a kind of ring on all sides surrounding the island, where the palace estate with a wooden royal palace in the middle.

In the middle of the XVI century. by decree of the tsar, peasants from other regions of Russia were transported here to cultivate the land using the latest methods of that time and build chambers and churches. There have been several attempts to cultivate taein southern plants here, such as mulberry trees, almonds, and rose bushes. Floral and orchards were equipped with irrigation systems.

The main entrance to the island from the side of the Vladimirsky tract was on a stone bridge over the Serebryano-Vinogradny pond. On the island, the bridge ended with a three-tiered Bridge Tower, which has survived to this day.

The upper octagon of the tower served as a bell tower for the adjacent stone cathedral of the Intercession of the Most Holy Theotokos. The Church of the Intercession was consecrated in 1679 by Patriarch Joachim in the presence of Tsar Fyodor Alekseevich. A three-nave monumental brick building with individual white-stone details topped with five chapters. Outside, the temple is adorned with outstanding multicolored tiles. After 1812 (when the temple suffered greatly from the invasion of the French, who burned fires in it), an almshouse for the disabled was built around the temple. Patriotic War(later also other wars of the XIX centuries; now the Town named after Bauman, architect Konstantin Ton). When an almshouse was added to the walls of the cathedral, the porches adjoining the temple from the north and south sides were dismantled.

In Soviet times, the church was closed along with the almshouse (since 1918), in 1928 it housed the NKVD archive, the most valuable icons from the 17th century. the five-tiered iconostasis disappeared. The temple has been functioning again since the 1990s, and the few surviving icons have been returned to it. In 2001-2002, a new iconostasis was created.

Izmailovo witnessed the childhood and youth of Emperor Peter I. For sailing on ponds and rivers, the estate had a boat ordered from England, which was discovered by Peter, and which he later transported to St. Petersburg and called "the grandfather of the Russian fleet." In 1700, the Izmailovsky Palace was damaged by fire and was dismantled. In 1702 was built new palace topped with a tower with a double-headed eagle at the top. In 1767, the palace and the stone bridge over the Silver Bridge were finally dismantled. From the palace complex to the present day, the Front

and the Rear Gate, built in 1682.

In 1812 Izmailovo suffered from Napoleon's troops. In 1850, the Izmailovskaya Nikolaevskaya Military Almshouse was opened on Izmailovsky Island. The almshouse was housed in buildings specially built for this by the famous architects K. Ton and M. Bykovsky. At the same time, two buildings were attached directly to the cathedral, and the outbuildings repeated the shape of the dismantled buildings of the Tsar's court.

In Soviet times, the almshouse was closed, the cathedral was plundered, the church of St. Joasaph was completely destroyed. In the buildings of the almshouse there is a working settlement - the Town named after Bauman. At present, Izmailovsky Island is part of the Moscow State United Artistic Historical, Cultural and Natural Landscape Museum-Reserve Kolomenskoye - Lefortovo - Izmailovo - Lyublino.

Manor Marfino

Anastasia Chereshneva, editor of the “Life” column, photographer.

May holidays are an opportunity not only to have a good rest, but also to change the atmosphere.

In the daily hustle and bustle, we hardly notice the surrounding beauty, and what can we say about the one that is outside our "everyday" path. There are dozens of unique historical sites that have been waiting for their guests for centuries.

Traveling opens up new things in a person, refreshes the mind, expands the boundaries. And you don't have to go far for this. Discover for yourself estate "Marfino", which is located at 39 km of Dmitrovskoe highway.

On the high bank of the Ucha River there is a manor complex, the history of which begins in the 16th century. Among the owners of the estate was the tutor of Peter I, later his associate - Prince Boris Alekseevich Golitsyn, whose heirs sold the estate to the Saltykovs.

Under the Saltykovs, a magnificent architectural and park ensemble was created in Marfino, which emphasized the grandeur and beauty inherent in the artistic tastes of that time. The creators of the Marfinsky ensemble were the talented serf masters V. Belozerov, F. Tugarov and the outstanding Russian architect M. Bykovsky, who demonstrated the versatility of talents and outstanding skill.

The end of the 18th century is considered the highest prosperity of the estate. Many art lovers were often here, were given organ concerts, famous European artists and musicians who came on tour to Moscow performed. The fame of the Marfinsky festivities, dog hunts and theatrical performances thundered throughout the country.

Jagged ridges, pointed turrets, lancet windows make the manor's central palace look like a medieval castle.

In front of the palace there is a huge pond, around which the main buildings of the estate are grouped. To the left of the palace there is an unusual bridge with loopholes, behind which two churches are visible. And on the right is a picturesque park with gazebos. The emergence of this unique architectural and park ensemble was preceded by a three-century history of the estate.

Marianna Petrenko, interior designer, head of the architectural bureau MPdesign

Are you ready to rush with a light spring breeze in your thoughts towards an adventure or a picnic among the stunning beauties of Russian estates?

This is exactly how I propose to spend one of the many festive May days! “Cool!” You say. No, in our forever young hot hearts the fire of curiosity and unexplored travel always burns!

You will not regret it if you find time to go to the Tver province not far from the town of Torzhok and visit the Znamenskoye-Rajok estate. This classicist paradise was built at the end of the 18th century by the architect N. A. Lvov and is one of the most famous examples of Russian Palladianism. In the plan, the estate forms a necklace, and when you stand inside the courtyard, it is somewhat reminiscent of St. Peter's Square in the Vatican.

Once with a friend, we took a ride to Rajok for the weekend, just in the May holidays, after all, the restoration of the complex has been going on there for many years, a decent mini-hotel has opened, and in the afternoon, classical music is almost always heard from somewhere.

This is some kind of surrealism - to wake up in an 18th century manor and have breakfast in nature, far from the bustle of the city, ride horses, and when your feet begin to hum, go for a leisurely walk in the park, breathe fresh air and listen to the murmur of a stream.

Mon Repos Museum Reserve

Likhovidova Yulia, editor of the section "Design", architect

For those who decided to visit our northern capital during the May holidays, I recommend going to Vyborg and heading straight to the pearl of the city - the Mon Repos Museum-Reserve - a truly amazing place! The distance from St. Petersburg to Vyborg is approximately 130 km, and the “Scandinavia” highway has the quality of the road surface and the visual natural component to travel.

By the way, the weather in this beautiful city promises to be better than in Moscow, although a light rain cannot spoil the impression of a walk, it will rather create an atmospheric mystical mood, because the park is a completely unusual place!

Translated from French, Mon Repos means “the place of my solitude”, and indeed, getting into these lands, we cease to feel the bustle of the city, peace reigns around, allowing us to enjoy the surrounding beauty. Mon Repos, whose area is about 161.5 hectares, is unique, because it combines the pristine splendor of nature and the creation of human hands!

The historical core of the reserve is the manor and park ensemble of the late 18th - early 19th centuries, which includes monuments of wooden architecture of classicism (the main manor house and the Library Wing) and a landscape rocky park of the romantic style - a unique monument of garden and park art.

Mon Repos is unique in nature! To fully enjoy the walk, dress comfortably and warmly, then nothing will prevent you from walking towards the huge boulders covered with moss and lichen; walk through green spaces that are more than 200 years old; climb the rocks, enjoying the view of the coast of the Zashchitnaya Bay of the Vyborg Bay.

The first documentary mention of Kuskovo dates back to the 16th century. Since V.A. Sheremetev at the beginning of the 16th century. exchanged it with A.A. Pushkin, the estate never left the possessions of the Sheremetev family. Kuskovo, according to spiritual wills, passed from V.A. Sheremetev to his son I.V. Smaller, from him to Fyodor Ivanovich, who in 1648 handed it over to his nephew Vasily Petrovich. After his death, in 1665, it passed to P.V. Bolshoi, and from him, in 1690, to his youngest son, Vladimir Petrovich. A well-known associate of Peter I, commander and diplomat, Field Marshal Boris Petrovich Sheremetev bought Kuskovo from his brother in 1715. Under his son, Count Pyotr Borisovich, who inherited the estate in 1719, Kuskovo acquired European fame. Since that time, for almost 200 years - Kuskovo has been a brilliant example of a "summer suburban entertainment residence".

Front and hothouse greenhouses were an indispensable element in Russian landscape gardening ensembles of the 2nd half of the 18th century. They contained and grew exotic heat-loving plants, decorative and fragrant flowers, laurels and citrus fruits (including orange ones), coffee and peach trees, palms, pineapples, cacti and orchids. In summer, the plants were exhibited in tubs in the open air, decorating the parterre and alleys of the park. Their crowns were cut in the form of geometric shapes, ships, figures of people and fantastic animals, which harmoniously combined with the architectural and sculptural decoration of the park. Such decoration of "green architecture" with works of topiary art (curly haircuts) was characteristic of the aesthetics of entertainment estates in Russia in the 18th century, and, like much else in Kuskovo, was intended to "serve to the surprise" of the guests.