Zarudny Ivan Petrovich iconostasis of the Peter and Paul Cathedral. Zarudny Ivan Petrovich
Zarudny Ivan Petrovich
Years of life: Second half of the 17th century - 1727
Architect
Arrived in Moscow, apparently from Ukraine. There is no information about his studies and early work. He had a workshop that did wood carving. Since 1707 - superintendent of all Russian church painting. The first representative of the Baroque in Russia. Zarudny's workshop owns a number of iconostases in the forms of “southern baroque”, of which the most famous is the iconostasis of the Peter and Paul Cathedral in St. Petersburg.
In Moscow, only one work by Zarudny is reliable - the Church of the Archangel Gabriel on Chistye Prudy, the so-called “Menshikov Tower”; he is credited with a number of works similar in style to the Menshikov Tower: the Church of Peter and Paul on Novobasmannaya Street, the Church of John the Warrior on Yakimanka, the chambers of clerk Averky Kirillov on Bersenevskaya Embankment.
Menshikov Tower
Church of the Archangel Gabriel
Date of creation: 1705 - 1707
Material, technique: brick, white stone, plaster
The Menshikov Tower was built instead of the old three-tented Church of the Archangel Gabriel of the 17th century. financed by A.D. Menshikov. It was built according to the cross-shaped plan of multi-tiered “Moscow Baroque” churches, but the interpretation of forms and details belongs entirely to the new, Peter the Great architecture. Initially, the quadrangle of the tower carried three through arched octagons with a bell, ending with a spire with the figure of an angel, but in 1723 the upper wooden octagon, where the clock with chimes of English work was installed, burned down and was no longer restored when the tower was completed in the 1770s. (this not only reduced the height of the tower, which previously rose above Ivan the Great by one and a half fathoms (3.2 l), but also affected the slenderness of its proportions and its general upward thrust). The remaining two octagons were completed by the chapter in 1773.
The entire appearance of the Church of the Archangel Gabriel speaks of the influence of secular palace architecture on its architecture (balconies over the entrance porticoes with free-standing columns, triple double-height windows, an abundance of sculptural decoration, etc.). The classic order was used in the treatment of the walls (and the facades of the bottom of the tower were based on a comparison of large and small orders, a new technique in Moscow construction). The edges of the octagons are, as it were, covered with double pilasters, which softens the sharpness of the outlines of their volumes; the cornice of the base of the tower and quadrangle has a semicircular pediment completion in the middle of each facade. All these innovations very quickly took root in the architecture of Moscow in the first half of the 18th century.
But the architect’s especially successful find was the massive volutes of the main facade, these unique buttresses protruding from the main volume and emphasizing its power. The Menshikov Tower is a more baroque work than the “Moscow Baroque” churches. Its architect strives to complicate the forms, to their plasticity and versatility, moving away from the flat interpretation of the wall of his predecessors; at the same time, he tries to soften the transitions between tiers, thereby leveling the tiered construction of a tower-shaped temple and achieving the unity of all its constituent volumes, permeated with a single impulse in height.
Bibliography
To prepare this work, materials were used from the site http://russia.rin.ru/
Zarudny I.P.
Zarudny Ivan Petrovich
Years of life: Second half of the 17th century - 1727
Architect
Arrived in Moscow, apparently from Ukraine. There is no information about his studies and early work. He had a workshop that did wood carving. Since 1707 - superintendent of all Russian church painting. The first representative of the Baroque in Russia. Zarudny's workshop owns a number of iconostases in the forms of "southern baroque", of which the most famous is the iconostasis of the Peter and Paul Cathedral in St. Petersburg.
In Moscow, only one work by Zarudny is reliable - the Church of the Archangel Gabriel on Chistye Prudy, the so-called “Menshikov Tower”; he is credited with a number of works similar in style to the Menshikov Tower: the Church of Peter and Paul on Novobasmannaya Street, the Church of John the Warrior on Yakimanka, the chambers of clerk Averky Kirillov on Bersenevskaya Embankment.
Menshikov Tower
Church of the Archangel Gabriel
Date of creation: 1705 - 1707
Material, technique: brick, white stone, plaster
The Menshikov Tower was built instead of the old three-tented Church of the Archangel Gabriel of the 17th century. financed by A. D. Menshikov. It was built according to the cross-shaped plan of multi-tiered “Moscow Baroque” churches, but the interpretation of forms and details belongs entirely to the new, Peter the Great architecture. Initially, the quadrangle of the tower carried three through arched octagons with a bell, ending with a spire with the figure of an angel, but in 1723 the upper wooden octagon, where the clock with chimes of English work was installed, burned down and was no longer restored when the tower was completed in the 1770s. (this not only reduced the height of the tower, which previously rose above Ivan the Great by one and a half fathoms (3.2 l), but also affected the slenderness of its proportions and its general upward thrust). The remaining two octagons were completed by the chapter in 1773.
The entire appearance of the Church of the Archangel Gabriel speaks of the influence of secular palace architecture on its architecture (balconies over the entrance porticoes with free-standing columns, triple double-height windows, an abundance of sculptural decoration, etc.). The classic order was used in the treatment of the walls (and the facades of the bottom of the tower were based on a comparison of large and small orders, a new technique in Moscow construction). The edges of the octagons are, as it were, covered with double pilasters, which softens the sharpness of the outlines of their volumes; the cornice of the base of the tower and quadrangle has a semicircular pediment completion in the middle of each facade. All these innovations very quickly took root in the architecture of Moscow in the first half of the 18th century.
But the architect’s especially successful find was the massive volutes of the main facade, these unique buttresses protruding from the main volume and emphasizing its power. The Menshikov Tower is a more baroque work than the “Moscow Baroque” churches. Its architect strives to complicate the forms, to their plasticity and versatility, moving away from the flat interpretation of the wall of his predecessors; at the same time, he tries to soften the transitions between tiers, thereby leveling the tiered construction of a tower-shaped temple and achieving the unity of all its constituent volumes, permeated with a single impulse in height.
I decided to post here my short article about Ivan Zarudny, written specifically for the Orthodox Encyclopedia, the 19th volume of which (letters Z-Z) has just been published. Writing in the encyclopedic genre can be considered as a useful training that forces you, after looking through a lot of literature and thinking a lot about the question, to ultimately fit everything into a succinct formulation that cuts off all that is superfluous. In addition, the genre itself imposes an obligation to cover the topic at the modern level of its understanding, without repeating its predecessors. I don’t know whether I succeeded or not, but the article was published. Maybe someone will need it for reference purposes (for not much has been written about Zarudny), someone will be reminded of this mysterious architect and his buildings, as well as the complex issues of Russian architecture of the Peter the Great era. The most interesting thing is that even after writing the article, Zarudny still remained an obscure hero in the history of Russian architecture. The question is still relevant - Who are you, Mr. Zarudny? Perhaps future generations will be able to answer it.
Menshikov Tower. Reconstruction of the original appearance of K. Lopyalo,
based on materials by I.E. Grabar
ZARUDNY Ivan Petrovich (1660 (?) - 03/19/1727, Moscow) - a major official, one of the leaders of the construction business in the 1st quarter. XVIII century “In some documents he is sometimes called an architect, although he did not possess the necessary professional skills” (Gatova. 2004).
Z.'s biography and creative heritage have still not been sufficiently studied. The exact date and place of his birth are not known. It is known that Z. was of noble origin, and, apparently, was born and raised in Ukraine (in some documents before 1707 he appears as a “foreigner”). Participated in the Azov campaigns with the rank of centurion. In the 90s XVII century - Z.’s name was first mentioned on November 30, 1690 in the affairs of Little Russians. order - he repeatedly came to Moscow on behalf of Hetman I. S. Mazepa. I. E. Grabar assumed that Z. was Osip Startsev’s closest assistant during the construction of the St. Nicholas Cathedral (1690-1696, not preserved) and the Epiphany Brotherhood (1690-1693, not preserved) Mon-Rei in Kyiv, but there is no documentary evidence of this No. Perhaps in Kyiv Z. met the future Metropolitan. Stefan (Yavorsky), who then invariably patronized him. As Z. himself testified in a petition in 1722, he entered the service of Peter I by personal royal decree in 1701 and immediately received a number of important assignments. From 1707 until the end of his life, Z. was the head of the Izugrafskaya office of the Order of Spiritual Affairs, whose sphere of activity included not only supervision of icon painting, but also other spheres of artistic life; Since 1721, this position has been defined as “superintendent of the Chancellery of Izugraffov for the correction of the Governing Synod.”
Z. worked mainly in Moscow, traveling on business to St. Petersburg and other places. Based on documents in Moscow, the construction of a center can be linked to his activities. arch. Gabriel (1704-1707), the first wooden hospital (under the leadership of N. Bidlo, 1706-1707), gazebos in the park of the Golovinsky Palace on the Yauza (1724), reconstruction of the palace of A. D. Menshikov (formerly Lefortovo, 1712-1714), interiors of the house of F. M. Apraksin (1712-1714), patriarchal chambers and church. 12 Apostles (1721-1724), repair and renovation of the paintings of the Faceted Chamber (1725), designs for stone cells of the Zaikonospassky Monastery (1720). Wooden centers were built according to Z.'s design. Alexander Nevsky in Alexandropol (1718, not preserved) - a fortress built by A. D. Menshikov near Pochep - and the palace of Peter I (1724-1725, not preserved) at the Martialnye Vody resort near Petrozavodsk.
Ts. arch. Gabriel (better known as the Menshikov Tower) is one of the architectural symbols of Peter the Great's era. It was built by order of Menshikov on the territory of his Moscow estate near Pogany (Chistye) ponds. Work began in 1701 with the addition of a chapel to the old church. arch. Gabriel, and after its dismantling (1704) a new building was laid in the form of a multi-tiered tower church with a sharp spire, which exceeded the height of the bell tower of Ivan the Great by one and a half fathoms. The scale of the church and the originality of its architectural appearance are largely explained by the order program. Menshikov clearly wanted to create an exceptional work, superior to the high-rise dominants that existed in Moscow (the construction of the Sukharev Tower was completed shortly before this), stylistically innovative, with external signs of European architecture. architecture, which, undoubtedly, should have impressed the tsar himself. Menshikov purchased a clock with English chimes especially for the church. work and put into the temple the miraculous icon of the Mother of God, brought from Polotsk.
Despite the similarity of the space-planning structure to the tiered temples of the Naryshkin style, it could directly go back to what is known in Ukrainian. temple construction to the type of 3-part church and to the volumetric structures of hall churches with a transept, common, for example, in Galicia and Poland. The composition is enriched with a quadrangle growing from the middle cross with decreasing octagons. The completion in the form of a high (more than 30 m) spire was most likely borrowed from the architecture of the Baltic cities, well known from engravings and paintings. The Menshikov Tower is apparently the first large stone structure in Russia where this architectural theme arises, which determined the appearance of many churches of the Peter the Great era, including the capital's Peter and Paul Cathedral (1712-1733). Unfortunately, the original appearance of c. arch. Gabriel has not survived. In 1723, the spire with the sculpture of the archangel crowning it and the upper octagon, which served as a bell tier, burned down from a lightning strike. During restoration (1773-1779), the tower was completed with a dome with a gilded dome in the shape of a cone, which has survived to this day. time.
Of great interest are the facade decor and interior decoration with abundant use of stone carvings and alabaster sculptures. Flat pilasters, blades and cornices create an orderly frame of the facade, the rigidity of which is diluted by numerous inclusions of plastic details - garlands, cartouches with figures, balustrades with flowerpots, etc. Made with almost jewelry elegance, they are stylistically close not so much to Baroque as to late Mannerism, finding analogies in the architecture of Poland, Zap. Ukraine and partly South. Scandinavia. The lightness and pettiness of the forms used on the facades seems more appropriate for interior decoration, which has been noted more than once by researchers who have written about the influence of iconostasis architecture on the exterior decoration of Russian. churches of the turn of the XVII-XVIII centuries. The fragile columns of the portico are contrasted by the dynamic motif of colossal volutes on either side of the main entrance. Inside, the volumetric plastic work is stronger; there are lush garlands, high relief images of angels, statues of caryatids supporting the cornice on the choir. The interior sculpture was carried out by foreign masters and is comparable only to 2 monuments of Peter the Great's time - the interiors of the c. Signs in Dubrovitsy (1697-1704) and the Cathedral of the Moscow Epiphany Monastery (1704-1705). These works could have been created by one of 3 groups of foreign masters who came to Moscow in 1703: the Italians led by Domenico Rusca or Giovanni Francesco Rossi, or the Austrians led by the Swiss Franz Ludwig Ziegler (Dictionary of architects and masters of the construction business of Moscow XV - gray . XVIII century M., 2008. P. 500, 502, 623, etc.).
Z. also supervised numerous decorative works, including the production of carved wooden iconostases. The iconostases of Moscow churches executed under his supervision are documented. arch. Gabriel (c. 1720, not preserved) and the 12 Apostles (1721-1723, not preserved), St. Andrew's Church in Kronstadt (1715-1717, not preserved), c. St. Panteleimon in Oranienbaum (now Lomonosov) at the Menshikov Palace (c. 1725, not preserved), the Transfiguration Cathedral in Reval (now Tallinn; 1717-1719), the Peter and Paul Cathedral (1722-1727; the general plan may have belonged to D. Trezzini) and c. Isaac of Dalmatia (1724-1727, not preserved) in St. Petersburg. They are radically different from the traditional type of tyablo iconostasis; their dynamic compositions are endowed with Baroque Catholic features. altars. The dominant role in the image of the new iconostasis is played not by icons, but by architectural decoration designed in the spirit of baroque scenography, varying the theme of the triumphal gates. What was also new was the inclusion of sculpture in the iconostasis system, which was quantitatively larger than paintings. Completed after Z.’s death, the iconostasis of the Peter and Paul Cathedral, on which more than 50 master carvers worked, is one of the most complex and spectacular Baroque creations in Russia.
Z. was repeatedly involved in the design of celebrations in Moscow dedicated to victories in the Northern War and important dynastic events. He should be considered the author of the concept and, possibly, detailed design of numerous triumphal gates (for example, the Synodal Gate, built “through the labors of school teachers” (1709), the triumphal gate at the Menshikov court (1709 and 1721), the Synodal Gate at the Kazan Cathedral (1721) and etc.), richly decorated with allegorical sculpture and painting. The appearance of some of them is known from engravings. In 1722, Z. was commissioned to make a new pedestal with inscriptions and drawings for the boot of Peter I, of which he was appointed custodian. In 1724, Z. participated in the preparation of the ceremonial transfer of the relics of St. Alexander Nevsky from Vladimir to St. Petersburg. Under his leadership, a luxurious canopy and ark were made, known only by description.
Z.'s wide range of activities characterizes him as a multi-talented, active person, fully involved in Peter's reforms and, apparently, valued by the tsar for his talent and business qualities as an administrator. Despite the diversity of his life and professional interests, there is reason to believe that it was architecture that played a dominant role among them; At the same time, there is no direct evidence of Z.’s actual architectural activity; his architectural graphics are practically unknown. Z. usually signed himself in documents as “chief director of housing,” which, together with other evidence, gave rise to some researchers to consider him the chief architect of Moscow during Peter’s times, who controlled construction in the city. Grabar and other researchers tried to attribute to Z. a number of famous monuments of Moscow architecture of the early years. XVIII century - c. Pankratiya near the Sukharev Tower (1700, not preserved), John the Warrior on Yakimanka (1709-1717), Peter and Paul on Nov. Basmannaya (1705-1714), the cathedrals of Zaikonospassky (1709) and Varsonofievsky (1709-1714, not preserved) mon-ray, the gateway Tikhvin church. Donskoy Monastery (1713-1714), new facade of the chambers of Averky Kirillov on Bersenevskaya embankment. (1703-1711), etc. These attributions are valuable as evidence of the stylistic commonality of the mentioned monuments - despite the fact that now in many ways it is not at all possible to recognize Z. as an architect. There is no doubt about its significant role in the introduction of a new typology and stylistic features that formed the architectural face of Moscow during the Petrine period, but its nature and details remain to be clarified.
Literature: Rozanov N.P. Church of the Arch. Gabriel in Moscow on Chistye Pond or Menshikov Tower // Russian landmarks. M., 1877. T. 2. P. 1-17; Grabar I. E. I. P. Zarudny and Moscow. architecture 1st quarter 18th century // Russian architecture of the 1st half. XVIII century: Research. and materials. M., 1954. S. 39-92; Kunitskaya E. R. Menshikov Tower // Architect. inheritance. L.; M., 1959. Issue. 9. pp. 157-168; Vzdornov G.I. Notes on Russian monuments. architecture con. XVII - early XVIII century: 2. Forgotten news about the Menshikov Tower // Russian art of the XVIII century. Materials and research. M., 1973. S. 25-30; Gatova T. A. From the history of decorative sculpture in Moscow, beginning. XVIII century // Ibid. pp. 31-44; she is the same. Zarudny // Architects of Moscow during the Baroque and Classicism (1700-1820s) / Compiled by: A. F. Krasheninnikov. M., 2004. P. 96-97; Mozgovaya E. B. I. P. Zarudny. Materials for the artist’s biography // Problems of Russian development. art. L., 1981. Issue. 14. P. 33-40; she is the same. Zarudny // Dictionary of architects and construction masters of Moscow XV - ser. XVIII century M., 2008. P. 250-252; Bylinin V.N. and N.I.I.P. Zarudny // Architects of Moscow. M., 1981. S. 95-105; Elkin E. N. Iconostasis of the Peter and Paul Cathedral // Local history books. St. Petersburg, 1994. Issue. 2. pp. 149-159; Androsov S. O. Notes on foreign sculptors in Russia at the turn of the 17th and 18th centuries. // Peter's time in faces. St. Petersburg, 1998; aka. Russian customers and Italian artists in the 18th century. St. Petersburg, 2003.
Another reconstruction of the Menshikov Tower
Menshikov Tower today. Photos
Ivan Petrovich Zarudny is a Russian artist of a wide range, one of the founders of a new direction in Russian art of the 18th century, the author of the project for the Church of the Archangel Gabriel on Chistye Prudy.
The place and year of birth of Zarudny have not been established. It is only known, according to the testimony of the Russian historian S. M. Solovyov, that I. P. Zarudny died in 1727. Probably, the architect arrived in Moscow along with those southern Russian priests, rhetoricians, artists and artisans who came here in large numbers in the second half XVII century. Only this, of course, explains the mysterious nickname “foreigner”, applied to him in one Senate decree of 1713 on the payment of a salary to Zarudny for his service in protecting the “globoz” - a globe brought from Amsterdam. To this day, an interesting correspondence between I.P. Zarudny and Prince Menshikov has been preserved, excluding any doubt about his origin.
Zarudny’s life and creative work took place against the backdrop of major and significant historical events for all of Russia, when Peter I began a decisive transformation of the country.
While ordering famous masters from abroad, Peter I at the same time tried in every possible way to create his own cadre of architects, sculptors, artists, etc. The most gifted young people were sent to the best higher educational institutions in Europe: they were called “Petrine’s pensioners.”
I. P. Zarudny did not belong to the number of “pensioners,” but, as I. E. Grabar noted, he “should be ranked among the most remarkable artists and cultural workers of the 18th century, for in his person, long before the pensioners of Peter the Great and students of the architectural school at the Office of Buildings, Russia already had a serious, thoughtful and highly gifted master of European training, who at the same time did not lose touch with his native soil..."
Zarudny's work mainly took place in Moscow. The uniqueness of the defining architectural style of Moscow of this period lay in the fact that its two variants - Old Moscow and Western Baroque - existed, as it were, simultaneously.
The Menshikov Tower, the creator of which was I.P. Zarudny, became a brilliant monument of Novomoskovsk architecture. People nicknamed the Church of the Archangel Gabriel, “which is on Chistye Pond”, the Menshikov Tower.
In 1704, A.D. Menshikov, a former parishioner of the Church of the Archangel Gabriel in Myasniki, demolished this nondescript and already dilapidated church in order to begin building a new one in the spring of next year. The latter was supposed to become larger and more elegant than the old one. Moreover, Menshikov wanted the temple built to his order to outshine all Moscow buildings in its beauty, and to surpass in height not only the Sukharev Tower, but also “Ivan the Great” himself.
The tower shape of the temple was suggested by the extraordinary success of the Sukharev Tower, completed only three years earlier to the great joy of Peter I. Menshikov, who had already mastered the art of guessing and preventing royal desires, knew that he could not win Peter’s favor with anything else as much as a magnificent architectural structure that will adorn the city.
Menshikov entrusted Zarudny with the construction of this church. This alone shows that the architect he chose managed to establish himself with some responsible and significant construction work. The chronicle of church affairs - the so-called synodik - of the Church of the Archangel Gabriel, discovered by the Russian historian of the first half of the 19th century A.F. Malinovsky, has been preserved to this day. This document fully confirms the authorship of I.P. Zarudny as the architect of this unique building.
It was impossible for such an impressive-sized structure to be completed and decorated in three years, and it took a lot of time to complete the finishing touches and decorate its interiors. But the main task was completed: a tower rose above the ancient capital, exceeding by one and a half fathoms (3.2 m) the bell tower of Ivan the Great (its height with a cross was 81 m). Then the Menshikov Tower was a whole tier higher and had a long “spitz” - a spire topped with the figure of a soaring angel. The bold design of the building's top cover indicates Zarudny's familiarity with the architecture of the Nordic countries, where this element (spire) was already traditional. For Russia in the 18th century, such completion of construction was an obvious innovation. A certain similarity between the Menshikov Tower and some Dutch and Danish buildings topped with a needle-like “spitz” could not go unnoticed by Peter I.
Having taken an active part in the development of the construction plan for St. Petersburg, he apparently appreciated the significance of Zarudny’s architectural idea.
And perhaps this is what gave him the idea to create a tower that, like a vertical axis, would rise above the new capital and be clearly visible from different parts of the city. The architect D. Trezzini, whom Peter specially sent from Denmark for the construction of St. Petersburg, was entrusted with the construction of the bell tower of the Peter and Paul Cathedral. The cathedral spire with the figure of a soaring angel bears a close resemblance to the spire of Moscow's Zarudny Tower.
The continuity is also indicated by the peculiar repetition of large volutes - a characteristic feature of the Church of the Archangel Gabriel - in the architectural design of the Peter and Paul Bell Tower; it was founded by Peter I himself on his birthday - August 30, 1714. The design of a high spire above the building was first used by I. II. Zarudny in Moscow, was subsequently widely used in the architecture of St. Petersburg. The presence of these architectural elements in the composition of the Menshikov Tower is evidenced by a number of documents. Among them is the engraving by Ivan Blicklandt “The Russian capital Moscow” - a view of Moscow from the bell tower of Ivan the Great, executed at the beginning of the 18th century; a drawing of the tower, made around 1745, from the Tessin-Harleman collection of graphic materials on Russian architecture of the first half of the 18th century, owned by the National Museum in Stockholm, and “Relation” - a report to the Holy Synod about the fire in which the Menshikov Tower suffered.
In 1711, Menshikov began the construction of the Oranienbaum Palace and from then on lost all interest in the Moscow tower, in which, according to Zarudny himself, at that time “not only the roof, and the spitzer and two semi-domes up to the octagon (with a clock) were wet and there was a lot of wind... so inside the church... it stands in desolation." In 1712, when the Sukharev Tower caught fire, the “navigation” school located in it was temporarily transferred to the Menshikov Tower. Basically, the building was not used.
In the summer of 1723, the spire, which made up almost one third of the entire structure, caught fire from a lightning discharge. The fire quickly engulfed the wooden eight-piece with chimes. At such a height (84.2 m) it was impossible to extinguish the fire. The entire tree burned down, and the torn bells, breaking through the vaults, fell down.
The burnt third octagon, its long spire reaching into the sky and the copper statue of the Archangel Gabriel standing on the last one with a cross in his hand - all this significantly distinguished the former Menshikov Tower from the current one.
The new covering, which quite successfully completes the building cut off by an entire tier, received its now existing form in 1773 (the architect is unknown), when a branch of “Urania”, the Moscow lodge of the “brothers of masons”, as the Masons - members of a secret religious - called themselves, settled in the building. philosophical society.
In subsequent years, the Menshikov Tower was restored several times.
This structure, surprisingly harmonious in all its details, has a cross in its plan and a clearly expressed upward tendency. The architect further developed the traditional gable ceilings in the shape of semicircles, or “semi-domes,” as Zarudny called them, by developing a rich cornice decorated with crackers and oval modules,
Zarudny built a lot both before and after the construction of the Menshikov Tower. It is documented that he made a significant contribution to the development of a new architectural genre for Russia - triumphal gates. The emergence of this genre in Russia was not accidental; it was determined by the peculiarities of the development of national culture in the era of Peter the Great. Triumphal processions and fireworks displays, in which the widest segments of the population participated, were associated with various significant events.
In 1709, in honor of the Poltava “Victoria,” seven triumphal gates were erected in different parts of Moscow at the expense of the clergy, merchants, and others. It is known that one of these structures was built according to the design of I.P. Zarudny.
Surviving engravings indicate that these were more picturesque than architectural structures: as on previous ceremonial occasions (in honor of the victory over the Swedes in 1703, 1704), wooden frames were erected, upholstered in canvas and painted with marble decoration. It should be added that the sculptural and pictorial scenes and compositions of the panegyric triumphal gates, which were of a political propaganda nature, were reflected in other areas of Russian culture and art, for example, in fireworks, in carnival processions, in sideshows and actions of the “amateur theater of mass play” and especially in school drama. The organizers and designers of Peter's triumphs often used ready-made theatrical scenery - “comedy pictures”, for which they were sent to the sovereign theater in the village of Preobrazhenskoye; after the festivities they were returned to their place and used for their intended purpose. From the case of the Ambassadorial order on the decoration of the triumphal gates in Moscow with “comedy paintings” it is known that during the celebration of the Poltava victory these paintings served as decoration for the triumphal gates in “China Town on the square near the Church of the Kazan Mother of God”.
Erected by Zarudny in 1721 - 1723. On the occasion of the end of the Northern War and peace with Sweden, the “Triumphal Gate from the Synod” at the same Kazan Cathedral in Moscow was a monumental creation that stood for a relatively long time. They reflected the architect’s keen attention to the development of an architectural form enriched with sculpture.
For the anniversary of the Peace of Nystadt, four gates were erected in Moscow: Tverskaya - by the merchant Stroganov on Myasnitskaya Street, along Zemlyanoy Val - by the city authorities, at Chistye Prudy - by Prince A.D. Menshikov, in Kitay-Gorod near the Kazan Cathedral - by the Synod. The last two were created by I.P. Zarudny. The image of those “from the Synod” was preserved by an engraving by an unknown author, dated 1722, that has survived to this day. Zarudny, in his words, “was inseparable from the construction of the Synodal Gate and not only from the architectural department, but also from painting, gilding, and construction , carpentry and other all necessary materials, corrected manually and diligently."
The engraving shows a single-span triumphal arch, richly decorated with carved sculpture and painting. The arch is placed on a high plinth, decorated with various emblems, and framed by a profiled casing - an archivolt with hanging flower garlands. On the sides between the columns there are sculptures of the four apostles on pedestals. The attic is decorated with statues of trumpeting angels and biblical characters. In this building, the compositional form received a new original solution. Zarudny replaces the previous “comedy paintings” and decorative pyramids, adjacent to the sides of the gate, with two-column porticoes attached to the main volume. Thus, I. P. Zarudny created a new architectural form of triumphal buildings, which was further developed in the work of a number of outstanding Russian architects - M. G. Zemtsov, D. V. Ukhtomsky and V. I. Bazhenov.
In 1723, Zarudny took part in the construction of the Moscow Synodal House, which has not survived. His architectural activity, of course, was not limited to these relatively modest works.
If you try to find among the large Moscow buildings those that would to some extent resemble Zarudny’s techniques known to us, then first of all it is worth stopping at an excellent architectural monument - the Church of Peter and Paul on Novobasmannaya Street. The church, unfortunately, suffered significantly from numerous reconstructions and repairs, as a result of which it lost the main features of its original appearance.
In 1714, due to a lack of building materials for the new capital, Peter I issued a decree prohibiting the construction of stone buildings throughout Russia, except for St. Petersburg. Exceptions were made only for those buildings the construction of which began before the entry into force of the royal decree. Among them was the Church of Peter and Paul, finally completed in 1719. It is quite possible that several architects took part in its design and construction, whose creative style was reflected in its architectural appearance.
The only private building of the Peter the Great era in Moscow that has preserved its Baroque attire remains unnamed - the former estate of Averky Kirillov on Bersenevskaya Embankment. The wonderful decoration of the attic of this building, made in the “high baroque” style, in the words of I. E. Grabar, “would have done honor to a good Western master.” The sculptural details of this attic, so closely reminiscent of the decoration of the Menshikov Tower, suggest that their author was also Zarudny.
Some researchers are inclined to associate with the name of I.P. Zarudny the construction of such architectural monuments as the Church of Ivan the Warrior on Yakimanka, the gate church of the Tikhvin Mother of God of the Donskoy Monastery and the Spassky Cathedral of the Zaikonospassky Monastery, later transformed into the Slavic-Greek-Latin Academy.
In 1724, apparently by order of the imperial privy council, Zarudny prepared a project and then built a camp church for the army under the command of the governor-general, Prince Volynsky, who defended the eastern borders of the Russian state. The description of the church has not been preserved, but judging by Zarudny’s creative manner, one can imagine the splendor of its artistic decoration and the originality of its structure.
I.P. Zarudny was famous not only as an architect, but also as a skilled sculptor, carver and painter. He undoubtedly played a prominent role in the creation of all the decorative sculpture with which the outside of the Menshikov Tower is richly decorated, and in addition, the beautiful sculptures located inside its Upper Church. Zarudny is the author of the decorative and sculptural design of other already mentioned buildings and triumphal structures.
On January 22, 1722, Zarudny was commissioned to make inscriptions and drawings on a stand intended for the legendary boat of Peter the Great, which is called the grandfather of the Russian fleet. Young Peter once found this boat in the barn of his patrimonial estate in Izmailovo, and he used it to make his first “voyages” on the Izmailovo ponds.
Zarudny gave the pedestal a quadrangular shape. On the side corresponding to the stern, the sea was depicted, and below the inscription: “Children's joy...”.
The inscription continued from the bow of the ship: “...brought a man’s triumph.” The other two sides of the cabinet were distinguished by more complex designs: on one side - a ship under sail and a galley on oars, on the other - Noah's Ark, a flying dove and a rainbow connecting two fortified cities. Under both symbolic images there is an identical inscription: “Only received from the God of hosts.” The paintings and the cabinet itself have not survived.
In the 16th century, in church use, instead of a low altar barrier, multi-tiered iconostases appeared, reaching the height of the temple vaults. By the end of the 17th century, the role of iconographic material in the overall composition of iconostases was somewhat reduced due to the use of gold and silver embossing, carving, and an abundance of architectural details. Church builders, forgetting about the liturgical, cult significance of the iconostasis, sought to turn it into one of the most elegant decorations of the temple. The iconostasis of the Peter and Paul Cathedral in St. Petersburg, made by Zarudny using excellent wood carving techniques, is one of the most striking examples of such a transformation.
In his lifetime, Zarudny created many magnificent iconostases. However, it is noteworthy that almost all the currently known iconostases (with the exception of the one made for the Menshikov Church) were made by him for the cathedral and palace churches of St. Petersburg and its environs. During the period of intensive construction of St. Petersburg, almost all the craftsmen discharged from overseas worked on the banks of the Neva, but the Tsar did not take anyone from Moscow. So Zarudny did not leave the “Moscow borders” until his death.
In 1716, he worked here on the iconostasis for the church of the Menshikov Palace on Kotlin Island (Kronstadt). In July 1717, the iconostasis was completed and sent to St. Petersburg. Following this, Zarudny was working on a new decorative composition of the iconostasis for the church of the Ekaterinenthal Palace in Kadriorg near Tallinn. Even before the completion of construction work (the palace was completed in 1723), which took place under the supervision of the architects N. Michetti and M. Zemtsov and with the constant attention of Peter I himself, in 1719 Zarudny completed the iconostasis, as reported in a letter to A.D. Menshikov.
In 1711 - 1725 By order of Menshikov, a large palace with a park is being built in Oranienbaum (now the city of Lomonosov), ten kilometers from Peterhof.
By order of Menshikov, Zarudny made an iconostasis for the palace church from 1722 to 1724. The interior of the church, located in one of the pavilions of the palace, including the iconostasis of Zarudny, has not been preserved.
The important order required speedy implementation, but the work was extremely difficult: there were not enough assistants and funds. In 1725, when “many pieces” (parts) had already been prepared for gilding, Zarudny asked to be given 2 thousand gold pieces for work and gilding. He was given only one thousand, and “with this thousand, barely one Peter and Paul (iconostasis) ends with carpentry and construction, and a thousand gold are needed for gilding, and therefore, God willing, to overcome very great things,” And “if the gold is not issued in the near future, then the work will stop,” writes Zarudny on December 11, 1725. In response to this, Catherine I ordered the payment of 2 thousand rubles. This money was sent to the Moscow Salt Office, which was supposed to transfer it to the “full-time” adviser P. I. Musin-Pushkin, who was constantly connected with Zarudny.
Death did not allow the master to complete St. Isaac's iconostasis. It was sealed, and only in 1731 was it “unsealed.” The completion of the carving, painting and gilding was entrusted to the apprentices of I.P. Zarudny under the supervision of the architect T.N. Usov.
The iconostasis of the Peter and Paul Cathedral still exists; its compositional solution is almost entirely determined by those techniques of baroque architecture that the Moscow architect mastered perfectly, and its decor testifies to Zarudny’s great gift and inexhaustible artistic imagination.
The opinion is quite firmly established in the literature that the iconostasis was designed by Zarudny without anyone’s participation. It has not yet been possible to find documents directly confirming or directly rejecting this point of view. But a few words casually thrown by Zarudny himself, as well as indirect evidence from documents, suggest that the original drawing was made by the chief architect of the Peter and Paul Cathedral, Domenico Trezzini, who, in turn, took into account the instructions of Peter I.
In a letter to Makarov dated February 1, 1725, Zarudny says: “... I was ordered... to improve in this matter, so that, according to the drawings given to me, these iconostases will be completely finished in this winter time.” And the Office of Buildings, concluding an agreement to paint icons, demands from Trezzini on March 1, 1726 a drawing “the same as the one sent to Moscow for the iconostasis.”
Since 1722, many Moscow craftsmen have worked on the creation of the Peter and Paul iconostasis according to Zarudny’s drawings and under his direct supervision. They completed their work in 1727. Unfortunately, in addition to the names of Trifon Ivanov and Ivan Telegi, who continued work on the assembly, installation and final finishing of the iconostasis from 1728 to 1731, history has not preserved for us the names of more than 50 craftsmen who took part in it manufacturing and installation.
The iconostases of I.P. Zarudny, along with his architectural creations, were distinguished by an innovative spirit of execution. For the first time in Russia, they introduced “really interpreted round sculpture” into traditional purely ornamental carving.
Zarudny's creations appealed to many of his contemporaries. And of course, it can be assumed that in addition to these monumental and decorative works of Zarudny, known from documents, the artist managed to make many others, since he had a whole workshop in Moscow, where his apprentices and students worked.
Zarudny proved himself to be an unsurpassed decorator. After he built a throne and a canopy for the emperor in the Synodal Chamber in 1721, he received in 1724 an order to construct an ark and a canopy for transferring the relics of Alexander Nevsky from the Moscow Kremlin to St. Petersburg. The solemn transfer ceremony took place on August 30 of the same year. The ark and the canopy have not survived, but judging by the detailed description that has reached us, they were designed by Zarudny in magnificent, festive forms.
In our essay, we tried to briefly present all the known, previously published and unpublished information that directly or indirectly tells about I.P. Zarudny. The scarcity of this information does not allow us to trace all stages of his life or compile a detailed creative biography of him. And yet, the works of Zarudny that have reached us or are known from documents make it possible to determine his place not only in the history of Russian architecture, but also in the entire cultural heritage of the 18th century. An original master, he made a significant, multifaceted contribution to the formation of Russian art.
Exact information about the place of birth of Ivan Zarudny has not been preserved. There is an assumption that the architect was born on the territory of the Polish-Lithuanian Commonwealth and therefore received the nickname “foreigner”. Most researchers agree that Ivan Zarudny was born on the territory of modern Ukraine. Zarudny was first mentioned in the affairs of the Little Russian Prikaz in 1690 as a messenger of Hetman Ivan Mazepa. From 1701, he was in the tsar's service in Moscow, where he created a number of buildings, which were characterized by a reworking of the Naryshkin style in the spirit of the traditions of European architecture of that time.
Ivan Zarudny made a significant contribution to the development of the architecture of the triumphal gates, having built one of nine structures in honor of the victory in the Battle of Poltava in 1709, as well as the “Triumphal Gates at the Synod” in Kitai-Gorod, built in -1723 in honor of the peace treaty with Sweden and notable for the first use of two-column porticoes in Russian architecture.
Other Moscow buildings are also associated with the name of Ivan Zarudny with varying degrees of certainty: the Church of Peter and Paul on Novaya Basmannaya Street (finished in 1719), the chambers of Averky Kirillov on Bersenevskaya Embankment, the Church of St. John the Warrior on Yakimanka, the gate church of the Tikhvin Mother of God of the Donskoy Monastery and the Spassky Cathedral of the Zaikonospassky Monastery.
Ivan Zarudny also worked in St. Petersburg. He remained known to descendants as a sculptor, carver and painter who created iconostases for the Menshikov Tower (lost), a number of churches in St. Petersburg (including the Peter and Paul and St. Isaac's Cathedrals) and Revel (Church of the Transfiguration).
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Notes
Literature
- V. N. and N. I. Bylinin. I. Zarudny // Architects of Moscow. - M.: Moscow worker, 1981. - P. 95-105. - 302 s.
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Excerpt characterizing Zarudny, Ivan Petrovich
Then a male entity with a sparkling crown stretched out its hands in my direction and... the world changed... A blindingly bright crystal tornado swirled around me, which completely “isolated” me from my friends there. When the tornado broke up, there was a strange black bare Earth around me... I was in an unclear place and, again, I was completely alone. But for some reason it wasn’t scary. I felt that they were trying to show me something and that I should definitely try to see it. Suddenly a very eerie feeling of absolute emptiness appeared. There was nothing - no light, no sounds, no support underfoot. I was hanging “nowhere”...The only thing I saw in front of me was a luminous ball (as I now understand, it was the Earth). And inside it, a bright “egg” glowed with green fire. Then it began to grow and change, becoming brighter and more transparent. Hundreds of green “bridges” stretched from it in all directions, and at the end of each of them there was a “different” Earth... I don’t know how this can be explained differently, but this really was our Earth, only each of them looked completely different, as if she was in another time or dimension...
I didn’t understand what it was, but I absolutely knew that I had to remember it. And I tried as hard as I could. Suddenly everything disappeared, and I again found myself inside the same huge pyramid and saw all my shining “friends”. There were twelve of them again, and just like the very first time, they stood in a circle, and I stood inside. Only this time, in addition to the warmth emanating from them, I also felt a strange deep sadness. And I realized that they came to say goodbye...
To my great surprise, I took it very calmly, as if I knew that this would not last forever. They came up one at a time and put their right hand on my chest, which made me feel unusually warm and calm. Each touch left a different glowing color on me, and in the end my body glowed with twelve amazingly bright, changing colors. I again heard strange music inside me, and everything disappeared... I didn’t remember anything else.
With dual feelings, both loss and happiness, I quietly returned home. And here a big surprise awaited me. My mother, half-fainting, was waiting for me in my room. The world turned upside down, and in quiet horror I fell from my “sparkling dreams” into a ruthless reality... I couldn’t lie. But I absolutely didn’t know what to say. And I also felt that my mother knew very well that this something, again, was somehow connected with my “strange talents,” a conversation about which neither she nor I, unfortunately, could avoid...
To my great relief, she didn't say anything that night. Perhaps she didn’t even know what to say. But the next morning the windows in my room were securely boarded up. Mom did not return to this incident for another two weeks, as if giving me time to comprehend “what she had done.” But this, of course, didn’t make it any easier for me. Dad was on a business trip at the time and I hoped with all my heart that maybe it would somehow “get over me” and everything would be forgotten before his arrival. But that was not the case... One fine morning, before leaving for work, my mother said that she wanted to talk to me. Well, naturally, there was no big secret for me - what...
Mom was, as always, affectionate and warm, but I felt with all my gut that this whole story was oppressing her and that she really didn’t know where to start. We talked for a very long time. I tried as best I could to explain to her how much all this meant to me and how scary it would be for me to lose it all... But it seems that this time I really scared her and my mother said that if I don’t want her to tell all this to her father when he returns home from a business trip, I have to promise that this will never happen again.
She did not understand that all these strange, wild “surprises” of mine do not at all happen according to my wishes and that I almost never know when one or the other will happen.... But, since my father’s opinion meant more to me than anything else, I I made a promise to my mother that I would not do anything like that, as far as of course it would depend on me. We decided on this.
Honestly, like all normal children, I went to school, did my homework, played with my “ordinary” friends... and immensely missed others, my extraordinary, sparkling “star friends”. School, unfortunately, also had its difficulties for me. I started going at the age of six, because during the test it turned out that I could go to grades 3-4, which, naturally, no one liked. My school friends thought that everything was too easy for me, and their mothers simply disliked me for some reason. And it turned out that at school I also spent almost all the time alone.
I had only one real school friend, a girl with whom we sat at the same desk for all twelve school years. But for some reason, relations with the other children did not improve. And not because I didn’t want it or because I didn’t try - on the contrary. I just always had a very strange feeling, as if we all lived at different poles... I almost never did my homework, or rather, I did, but it only took me a few minutes. My parents, of course, always checked everything, but since usually no mistakes were found, I had a lot of free time. I went to a music school (I learned to play the piano and sing), did drawing, embroidered, and read a lot. But still, I always had plenty of free time.
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