Architects of Italian origin made a significant contribution to creating the unique look of two Russian capitals, Moscow and especially St. Petersburg. The work of Giacomo Quarenghi is a bright page in the history of European and Russian architecture of the era of classicism.
In addition to projects of buildings of various scales and purposes, including many embodied, in his legacy are graphic sheets with real views of cities (Veduts) and fantasy architectural compositions. Several generations of architects studied the craft from them.
South homeland
Considering himself to be a true Russian architect, Giacomo Quarenghi (1744-1817) was born in the family of a member of the city court of the northern Italian city of Bergamo. The penchant for fine art was hereditary: his grandfather and father were considered skilled painters. His choice of architecture as the main occupation in life was influenced by his acquaintance with Vincenzo Brenna (1745-1820), who later became the court architect of Paul I, and with J. B. Piranesi (1720-1778), a great master of architectural graphics.
Giacomo Quarenghi's stylistic preferences were formed when he became acquainted with the famous treatise Andrea Palladio (1508-1580), “Four Books on Architecture”. In this work, the schemes of traditional orders that were used in ancient architecture were identified and a system was developed for applying classical techniques for planning buildings and developing facade solutions. Palladianism has long become the mainstream of the classical style.
Mastering the classic heritage
Sights of many Italian cities - Rome, Florence, Verona, Venice - became examples for the study of order systems for Giacomo Quarenghi. They were not only saturated with ancient monuments, but also were true centers of Renaissance culture.
The Renaissance was the time when the principles of high harmony, developed in ancient Greece and in ancient Rome, were picked up by masters in different areas of European culture. The measured and sketched by Giacomo Quarenghi buildings of the best masters of that time - Alberti, Bramante and, of course, Palladio - became for the young architect an example of the creative mastery of ancient traditions in architecture. He showed interest in the buildings that were built by the masters of early classicism in England and France.
The beginning of the creative path
The first major order for Quarenghi was the reconstruction of the church of Santa Scolastico, located in the town of Subiaco near the Italian capital. In the interior of the church, he uses classic elements: niches, pilasters and columns of the ionic order. Skillfully organized lighting helped to achieve a light and spectacular impression of the interior decor.
The simplicity and rigor of artistic and compositional decisions become the defining features of his style. The architect Giacomo Quarenghi used these techniques in his work even when he began his activities in Russia.
At the court of Catherine the Great
In the autumn of 1779, the service of the 35-year-old Italian architect at the Russian court began. He possessed many knowledge of the Palladian movement in classical architecture and sufficient experience in applying them in practice. His arrival was timely, as the taste preferences of the Russian Empress in relation to the official style were changing.
The heavy traditions of French classicism ceased to suit her, the sophisticated Palladian neoclassic became the ideal. Giacomo Quarenghi as a loyal student and a staunch supporter of Palladio quickly became the head of a new trend in Russian architectural thought. His talent was enriched by studying the best examples of ancient Russian architecture, communicating with recognized domestic architects: I. Starov, N. Lvov, C. Cameron and others.
English palace in Peterhof
The first significant project on Russian soil was the palace located in the English Park of Peterhof. Giacomo Quarenghi began work on it in 1780. According to his aesthetic views, the Italian architect laid the foundation for the layout and volumetric solutions of a palladian house of a cubic shape with a dominant in the form of an eight-column portico of the Corinthian order. The solemnity and monumentality of proportions combined with the simplicity and sophistication of the decor.
The creative approach that the architect Giacomo Quarenghi outlined in this object, the works created by him for the suburban residence in Tsarskoye Selo - four churches and numerous religious buildings - fully corresponded to the tastes of the main customer, Empress Catherine. For the Italian firmly established the title of "architect of the yard."
Period of prosperity and success
The work on the Concert Pavilion in Tsarskoye Selo, near the Catherine Palace (1782), began the most successful decade for the architect. During this period, he created the most significant projects for St. Petersburg and Moscow. At the direction of the empress, he is engaged in updating the interiors of the Winter Palace, erecting many buildings around the main imperial residence.
Giacomo Quarenghi, whose biography is now closely associated with the Russian capital, erects a number of structures that determine the political image of the capital and the entire state. Among them - the complex of administrative buildings of the Academy of Sciences (1783-1785) and the building of the Assignation Bank (1783-1799). He works a lot on private orders, decorating the capital and its surroundings with beautiful examples of Russian classical manor. Among them are the Bezborodko estate on the right bank of the Neva (1783-1784), the Yusupovs mansion on the Fontanka (1789-1792), the Fitingof house (1786), etc.
Theater on Palace Embankment
The real masterpiece of this period is the Hermitage Theater of Giacomo Quarenghi (1783-1787). The building with a two-story rusticated loggia, slightly buried between two ledges - risalits - and decorated with a large Corinthian order, became a real decoration of the complex of the main government buildings.
A faithful follower of Palladio, Quarenghi, while designing the theater hall, allowed himself an almost literal replica of the construction of his great teacher. In the layout of the stage and seats, in the elements of decor, the Hermitage Theater is very similar to the Olimpico Theater in Vicenza, designed by Andrea Palladio.
Projects for Moscow
One of the most notable objects erected by the Italian architect for the throne is the old Gostiny Dvor. Giacomo Quarenghi began its construction in 1789. The building has survived to this time substantially changed during alterations and rebuilding after numerous fires. But from the preserved arcade with Corinthian columns, one can appreciate the harmonious classical character of the building.
Among the Moscow buildings are the Golovinsky Palace in Lefortovo (1780) and the shopping arcade on Red Square (1786). The buildings on the main metropolitan area have not been preserved, and the other building - the Sheremetyev Strange House on Sukharevskaya Square (1803-1807) - still impresses with its scale and harmony.
Late period of life and work
Designed and built by Giacomo Quarenghi, the sights of St. Petersburg dating back to the beginning of the 18th century are educational, medical and public buildings. The Horse Guards Manege (1804-1807) is distinguished by its magnificent appearance, which is determined by the eight-columned portico of the Roman Doric order. The Mariinsky Hospital on Liteiny (1803-1805) is distinguished by a rational planning decision and strict decor. Favorite brainchild of Quarenghi of the late period was the Smolny Institute (1806-1808).
Harmoniously integrated into the surroundings, this building became the embodiment of the most important ideas of palladianism. The expressiveness of the architectural appearance is achieved by combining the smooth length of the walls with a plastically rich accent in the center of the composition. They became a magnificent portico on the base in the form of an arcade.
Giacomo Antonio Quarenghi worked a lot not only for the capitals, but also for the provincial cities of the Russian Empire. Its European buildings are also known. Having tied his fate with Russia, he remained its patriot until the end of his days. When at the time of Bonaparte all Italians were ordered to return to their homeland, Quarenghi refused and was sentenced in absentia by the Italian king to death.
The last significant project of the great architect is considered the majestic Triumphal Gate (1814) erected in St. Petersburg on the occasion of the victorious return of the Russian troops after the victory over Napoleon.
Giacomo Quarenghi. short biography
- September 20, 1744 - in the north of Italy, in the vicinity of Bergamo, the future great architect and graphic artist was born in the family of a judge.
- Since 1762, he studied painting in Rome with R. Mengs, architecture with S. Pozzi, A. Derise, N. Giansomini.
- 1769 - the beginning of architectural activity, projects of religious buildings in the vicinity of Rome and in Lombardy.
- September 1, 1779 - Quarenghi signs a contract with the adviser of the Russian Empress I. Ya. Reifenstein and arrives at work in Russia.
- 1780-1817 - design and construction management of public and residential buildings in St. Petersburg, Moscow, in the provinces, in European countries.
- 1811 - refused to leave the Russian service on the orders of the Bonapartist authorities, for which he was sentenced to death with confiscation of property.
- March 2, 1817 - Giacomo Quarenghi died in St. Petersburg. Subsequently, he was reburied in the Alexander Nevsky Lavra.