Jean Baptiste Vallin Delamotte biography. Jean Baptiste Michel Vallin-Delamote

Examination work on the history and culture of St. Petersburg

Performer: a student of the 9th grade of Lyceum No. 419 Kanonik Yana

Petrodvorets 2005

Jean Baptiste Michel Vallin-Delamote.

Delamothe (Vallin-Delamothe), Jean-Baptiste-Michel (1729 - 1800) - French architect, the first professor of architecture at the St. Petersburg Academy of Arts. In 1759 I.I. Shuvalov for a period of 3 years, to hold the position of an architect at Moscow University and the Academy of Arts. Living in St. Petersburg, Delamotte served as an architect at the gentry cadet corps, taught his specialty to his pupils, was in the office of the construction of palaces and gardens of Catherine II and carried out orders from the collegium of foreign affairs. From the opening of the St. Petersburg Academy of Arts, he became one of its teachers; in 1765, at her solemn "inauguration", he was appointed a member of her council. In 1776 he left for his homeland. He built in Moscow the now non-existent "new colleges of foreign affairs apartments and archives", in St. Petersburg - the building of the old Hermitage, the Catholic Church of St. Catherine, New Holland, in Honor of the Chernigov province - the Resurrection Church.

It occupies a special place in the history of Russian architecture. He is the founder of Russian classicism. Nevsky Prospekt, Born in 1729. He came from a great family of Blondels - architects. Entered the French Academy in Rome. June 18, 1759 contract from Paris to St. Petersburg The first master of classicism, his staunch supporter and propagandist, architect and teacher of the Academy of Arts. Jean-Baptiste Vallin-Delamot, who came from France, enriched St. Petersburg with the largest commercial building - Gostiny Dvor on the corner of Nevsky Prospekt and Sadovaya Street. The majestic arch of warehouses on the island of New Holland was also erected by Delamotte. This masterpiece is captured in many works of St. Petersburg artists as one of the symbols of the city. Small Hermitage on Nevsky Prospekt 32-34, St. Catherine's Church with a huge arch, started by Delamotte and completed by Rinaldi. In his appearance - the handwriting of both great masters. Academy of Arts, with a majestic facade and rationally planned buildings surrounding a large courtyard. Its facade, proudly raised above the Neva, clearly speaks of the purpose of the building as a temple of art.

Academic Church.

The project of the palace of Count I. G. Chernyshev Embankment of the left bank of the Neva. The design of the decoration of the Great Hall on the half of the Grand Duke Pavel Petrovich in the Winter Palace. Small Hermitage, South Pavilion, North Pavilion. Milestone at Obukhovsky Bridge Triumphal Gates

Mariinsky Palace. St. Isaac's Square 6. 1762-1768, architect Jean-Baptiste Vallin-Delamot; Monument of eclectic style. The main façade is accentuated by three risalits, the central façade is completed with a high attic. The entrance is an arcade supporting a balcony. Of great artistic interest are the vestibule and the enfilade of halls. The central rotunda, decorated with thirty-two columns, is covered with a dome and illuminated by overhead light. Now the city Legislative Assembly works here.

Small Hermitage.

Palace Embankment 36 1764-1775, architect Jean-Baptiste Vallin-Delamot, Yu.M. Felten, V.P. Stasov. The building is part of a complex of buildings that form a single whole with the Winter Palace. The three-storey buildings of this monument of early classicism are oriented towards the Neva and Palace Square. The design of the facades is marked by rigor and sophistication. At the level of the second floor, the buildings are connected by a hanging garden and two parallel galleries. The building is skillfully connected with the facades of the Winter Palace. Of the interiors, the White Marble Hall is especially famous, the decoration of which combines the motifs of Arabic architecture and the Renaissance.

Gostiny Dvor

Gostiny Dvor is one of the most remarkable buildings in the ensemble of Nevsky Prospekt, an outstanding architectural monument of early classicism. The Gostiny Dvor building was erected in 1761-1785 by the architect J.-B. Wallain-Delamot. The building was built in the form of an irregular quadrangle with a courtyard, along which two-tiered arcades stretch along the perimeter, and classical porticos are located in the corners. The area of ​​Gostiny Dvor is over 53 thousand sq.m., along the perimeter is 1 km. Gostiny Dvor has four main lines: Nevskaya (former Cloth), Perinnaya (former Bolshaya Suvorovskaya - from the word "severe" - coarse undyed fabric), Lomonosovskaya (former Malaya Suvorovskaya) and Sadovaya (former Mirror).

The appearance of the Gostiny Dvor changed only once. In 1886-1887, according to the project of A.N. Benois, the façade from Nevsky Prospekt was redesigned in the spirit of eclecticism, using Renaissance and Baroque techniques. Only in 1944-1948 the building was returned to its original form.

Legends and stories associated with the building:

1. Once on the site of Gostiny Dvor there were numerous wooden shops of St. Petersburg merchants - a source of constant fires. Therefore, it was decided to erect a stone building instead of them. For many years, there was a dispute between the treasury and the merchants - at whose expense to build: the merchants did not want to fork out. And when a decree was issued on construction at the expense of merchants, the architect V.V. Rastrelli developed a project for a luxurious baroque trade building, the merchants began to sabotage the execution of the decree in every possible way, and Rastrelli's project was rejected as very expensive. At that time, another style was already replacing the baroque - early classicism. In this style, the building of Gostiny Dvor was built according to the project of the architect J.-B. Wallen Delamotte.

Academy of Arts.

(University embankment, 17).

Ivan Ivanovich Shuvalov in 1757 "entered the Senate" with the idea of ​​establishing an Academy of Arts in the Russian Empire, in response to which a government decree was issued to establish it. Shuvalov himself headed the Academy of Arts and himself participated in the selection of its first students, while trying to select young men marked by talent, no matter what class they belonged to. The Shuvalov selection method justified itself - the first students of the Academy were Anton Losenko, Fedot Shubin, Ivan Eremeev, Fedor Rokotov, Vasily Bazhenov, Ivan Starov and others, whose names then firmly entered the history of Russian art.

After the palace coup in 1762, Catherine II ascended the Russian throne, who turned her “favorable attention to the St. Petersburg Academy of Arts. in his place was appointed "lieutenant general and cavalier" I. I. Betskoy, who energetically set about implementing the reform of the Academy of Arts, including the organization of the Educational School under it November 15 (November 4, old style), 1764 Catherine II "granted" the charter and "Privilege" to the reformed Academy. And in June 1765 - on the day of the celebration on the occasion of the founding of the Academy - the laying of its main building took place. Under Shuvalov, the Academy of Arts was located in his house, located on Sadovaya Street, between Nevsky Prospekt and Then, for the needs of the Academy, several "philistine" residential buildings were adapted on the embankment of Vasilyevsky Island, between the 3rd and 4th lines. Over time, the Academy of Arts annexed to its possessions almost the entire block, limited by the embankment, 3rd and 4-4 lines and Bolshoy Prospekt of Vasilyevsky Island.

At the end of 1763, its professors, architects Jean-Baptiste Vallin-Delamot, invited from France in 1759, and Alexander Filippovich Kokorinov, began to work on the design of the building of the Academy of Arts. The design of the building of the Academy of Arts for the first time in Russian architecture outlined the principles of classicism - the balance and symmetry of the composition, the majestic solemnity of the external appearance, the use of the order as the basis for the organization of facades. But in the composition of the building of the Academy of Arts there are many such features that testify to the influence of the Baroque. The transition from the central ledge to the porch is distinguished by intense plasticity, where the convex and concave surfaces of the walls interact in contrast. The shape of the dome crowning the central part of the main façade facing the Neva and emphasized by three ledges, the middle of which is decorated with a four-columned portico and sculptures of Hercules and Flora, is also quite complex. The building of the Academy of Arts was completed in 1788. The "Academy of the Three Most Noble Arts" was founded in 1757 - Shuvalov's idea resonated with the "enlightened" court. In 1764, Catherine II approved the "Privilege" and the charter of the Academy, headed by I.I. Betskoy, who remained its president until the end of the 19th century. At the Academy, an Educational School was created, where boys of 5-6 years old were accepted. They studied fine sciences and played pranks - children are children, especially gifted ones. Before 1811 the president was A.S. Stroganov. It was the period of his "reign of the arts" that went down in history as the "golden age" of the Academy of Arts of the era of classicism. The building of the Academy of Arts deserves special attention. It was built for 23 years - from 1765 to 1788 according to the plan of Wallen-Delamot and A.F. Kokorinov. The monumental facade, the courtyard with a diameter of 55 meters and all these porticos and risalits are classicism, and nothing more. But it seemed that the completion and redevelopment would not stop. Dozens of artists and architects have changed the face of the Academy for years. No wonder: beauty begets beauty. Kustodiev and Levitsky, Aivazovsky and Benois, Repin - inspiration visited them within these walls. It is a pity that in 1917 the Imperial Academy of Arts was abolished. And the Higher Art School soon began to be called the Institute of Proletarian Fine Arts. Red was declared the main color on the easel.

New Holland was taken on in the old way.

Before the beginning of summer, the administration of St. Petersburg will hold an international investment and architectural competition for the development of the territory of the island of New Holland.

Jean-Baptiste-Michel VALLIN-DELAMOTE (1729-1800)

The Frenchman Valen-Delamot was invited to Russia in 1759 under the patronage of his uncle, the famous French architect Blondel, for whom he worked as an assistant. Two years before, Elizaveta Petrovna, following the model of the French Royal Academy, founded the Academy of Arts in Russia, but foreign masters were needed to train qualified architects, because there were no native ones. It was Wallen-Delamot who became the first professor of architecture at the Academy of Arts, became its vice-rector, and according to his project (1764-1788, together with Kokorinov), an amazing building of the Academy with a round courtyard in the center was built. The students of Wallen-Delamote were such architects as Bazhenov, Starov and Volkov.


Academy of Arts

Academy of Arts

It was Vallin-Delamot who laid the traditions of classicism in the architecture of the city, which reigned supreme until the middle of the 19th century. But in his buildings, the classical layout and general structure of the building, which are characterized by symmetry, balance of composition, majestic solemnity, are combined with lush plastic finishing of facades enriched with decor and sculptures.

“Classicism entered our city through the arch of New Holland,” they wrote in the 20th century. This arch was designed by Wallin-Delamot in 1765. He also owns the final project of the Gostiny Dvor on Nevsky Prospekt (1761-1785), work on which was started by Rastrelli. On the same Nevsky Prospekt, according to his project, the Catholic Church of St. Catherine (1763-1783, together with Antonio Rinaldi) was erected.


Arch of New Holland

Gostiny Dvor

As an architect, many nobles turned to Wallen-Delamote, for Count Chernyshov he builds the first Palladian villa in Russia with a central domed hall (1760s) - now it is the Alexandrino estate on the Peterhof road, for the same Chernyshov he builds a palace on the Moika (1762 -68, not preserved). In general, the authorship of Wallen-Delamote owned several palaces on the Moika: the palace of the hetman of Ukraine Razumovsky (1762-66), which now houses the pedagogical university, the palace of Andrey Shuvalov (1770s), later rebuilt for the Yusupovs, the palace of the city police chief Chicherin on the corner with Nevsky Prospekt (1768 -81), later also rebuilt for the Eliseevs. For the Empress, he builds the Small Hermitage (1766-69, together with Felten), and also completes the decoration of the rooms of the Winter Palace.


Manor Alexandrino

Palace of Kirill Razumovsky

Shuvalov Palace (later Yusupov)

Palace of Chicherin (later Eliseevs)

Wallen-Delamot often carried out only the design of the building, not participating, as was customary then, in the construction process itself. Giacomo Casanova wrote about Vallin-Delamote: “he pretty much surprised Petersburg by building a house on four floors, where there was, in his opinion, a great sight that it was impossible to see or guess where the stairs were.”

Small Hermitage

Alas, the active work of the architect did not last long in Russia - in 1775, for family reasons, he was forced to return to France. Soon he was stricken with paralysis, from which the architect recovered with difficulty. But he began to lose his sight, blind in one eye. After that, Vallin-Delamot returned to his native Angouleme. There, the architect supervised the students sent to France to study with state money. After the execution of Louis XVI, Russia ceased all relations with revolutionary France, the architect was no longer sent a pension. Jean Baptiste Michel Vallin-Delamote died at Angouleme on May 7, 1800, in great need.

VALLAIN-DELAMOTE Jean-Baptiste Michel (1729, Angouleme, France May 7, 1800, ibid.), French architect. I worked in Russia. Representative of early Russian classicism. He studied with his uncle, the architect J. F. Blondel in France and in Italy. In 1759 he was invited by I. I. Shuvalov to Russia for the post of architect at Moscow University. Having signed a contract for a period of three years, he moved to St. Petersburg, taught architecture in the gentry cadet corps. After the establishment of the Academy of Arts (1757), he soon became its teacher; under Catherine II, after the approval of the new charter of the Academy, he was appointed a member of the academic council (1765); in 1769 he was promoted to associate rectors in architecture; He held this position until 1776, when he retired. The clarity of the composition, characteristic of early classicism, in the buildings of Vallin-Delamote is combined with the juicy plasticity of forms characteristic of the Baroque.

Small Hermitage

The complex of buildings of the Hermitage - the imperial art gallery - was created according to the plan of Catherine II. In the years, according to the project of Jean-Baptiste Vallin-Delamote, an elegant three-story pavilion was built on the Palace Embankment near the Winter Palace - the Small Hermitage, intended for meetings of the Empress in a narrow circle. This first completed building of early classicism became a manifesto of the new style and an instructive example of an ensemble approach to the development of the city center. The building is coordinated in height and two-tier division with the Winter Palace. The lower tier, as in the Academy of Arts, is made in the form of a carrier arcade with horizontal rustication. It serves as a pedestal for a slender six-columned portico with statues of Flora and Pomona at the corners. Pilasters give a smooth transition from the bulk order to the wall. Invariable panels and decorative details break up the surface, forming a flattened relief of the wall. Behind the Neva Pavilion of the Small Hermitage there is a hanging garden with galleries and another pavilion facing Millionnaya Street. The baroque features of its lower floor seem to reflect the proximity of the Winter Palace. This entire complex was built by Yu. M. Felten in accordance with the designs of Delamotte.

Big Gostiny Dvor,

The design of the largest commercial building in St. Petersburg was a turning point in the development of Russian architecture. In 1757, the project of F.-B. Rastrelli, executed in lush, decoratively rich baroque forms, and construction work began. But the merchants considered it impractical, excessively expensive. In 1760, the chief chamberlain, founder of the Academy of Arts I. I. Shuvalov, who gravitated towards the French classic culture, handed over the order to J.-B. Vallin-Delamot. Construction began in 1761 and was completed only in 1785, ten years after Delamotte's return to France. The Great Gostiny Dvor is the earliest (according to the initial date) building of classicism in St. Petersburg. The building was restored and reconstructed in the 1990s, while previously isolated shops were turned into a through enfilade.

Academy of Arts,

The majestic building of the Academy was created as a program example of a new style for Russia - classicism. The author of the project was J.-B. Wallin-Delamote, Professor of Architecture at the Academy. The construction was carried out for a long time, from 1764 to 1788, at first it was led by the rector of the Academy, the architect A.F. Kokorinov, later by Yu. M. Felten and E. T. Sokolov. The geometrically correct plan, the clear and precise structure of the symmetrical facades, the dimensional rhythm of the order elements, the restraint of the decoration consistently embodied the principles of early St. Petersburg classicism, in this case akin to French. All four external facades are divided into two tiers. The lower one, with arched windows and horizontal (“plank”) rustication, is likened to a solid arcade carrying the overlying array. The upper two floors are united by an even step of pilasters or blades, and the windows are enclosed in high panels. The uniformity and monotony of the rhythm, the fusion of the order with the wall, the fragmentation of surfaces, the flattened relief and the dry pattern of details are all characteristic features of early classicism. The main façade facing the Neva is more representative and plastically expressive. It has a three-axis composition with four-column porticos of the Doric order in the center and along the edges (the construction along three axes will become almost canonical in Russian classicism). But the columns are not opposed to the field of the wall, they seem to grow out of it, continuing a continuous row of pilasters. Baroque echoes are felt only in the concave-curved parts of the middle risalit and in the complex outline of the dome above it.

New Holland,

"New Holland" is the name of a small island bounded by the Moika River, Kryukov and Admiralty Canals. In 1765 S.I. Chevakinsky drew up a plan, and J.-B. Wallin-Delamote designed the facades of warehouses for storing and drying ship timber, which replaced the former wooden sheds and boathouses. The construction of brick buildings was completed in the 1780s by engineer I.K. Gerard. The purely utilitarian structures impress with the austere expression of simple and large forms: a giant arcade, which is a through leitmotif of the facades, and unplastered walls treated with “plank” rustication. A majestic arch is thrown over the channel leading to the inner pool. This is a wonderful creation of Vallin-Delamote, a pearl of early classicism. The unusual power of the image lies in the contrast: a gracefully soaring arch on fragile small columns is framed by a powerful Doric order - two pairs of large columns and a heavy loose entablature. A rare combination of red brick, granite and limestone gives a special expressiveness to the composition. Similar but smaller pairs of columns are placed at the rounded corners of the warehouses. Wallen-Delamot had already resorted to such a technique in solving the corner parts of the Great Gostiny Dvor. The construction of the "New Holland" was not fully completed. One of the buildings was completed in years (M. A. Pasypkin). In the western part of the island, a sea prison of an unusual annular shape was built (A. E. Staubert). The main Catholic church of the Russian capital was erected in the years in a style transitional from baroque to classicism. The first project of a church with two symmetrical houses on this site was made in 1739 by P.-A. Trezzini. Only three-story houses were built (subsequently rebuilt and built on). The new design of the church was developed in the years by J.-B. Wallen-Delamote. The composition conceived by him with a huge arch in the center, two belfry towers and abundant sculpture was fanned with the Baroque breath. Since 1779, the construction was continued by A. Rinaldi, who somewhat simplified and softened the nature of the previous plan. In plan, the cathedral is a Latin cross; a mighty dome rises above the intersection of the nave and the transept. The building is moved deep into the site, as suggested by P.-A. Trezzini. The main façade is cut almost to its full height by an arched niche with two columns. This fragment is similar to the arch of "New Holland" and at the same time evokes associations with buildings of the Italian Renaissance. Two smaller arches on the sides leading into the courtyard, as well as the lower tier of the facade, finished with pilasters, exactly matched the height of the two cathedral houses. The curvilinear outlines of windows and architraves, full of dynamics of the statue of the evangelists on the parapet, vividly remind of the Baroque. The exquisite design includes the so-called "Rinaldi flower" - a kind of autograph of the architect. Pilasters and three-quarter columns organize the construction of the interior space. In the composition of the interior, Italian motifs are perceptible - more of a renaissance than a baroque. The opulent interior decoration has been lost in the past decades.

Jean-Baptiste Michel Vallin-Delamot was born in 1729 in France in the city of Angouleme. On the maternal side, he belonged to the well-known family of Blondels in France. There is no information about the childhood of the future architect. It is only known that at the age of twenty he entered the French Academy in Rome, which he successfully completed. It is known that he traveled extensively in Italy, where he studied the architectural heritage of antiquity. Returning to Paris, the young man began working as an assistant to his uncle, the architect Francois Blondel. The young architect took part in the competition for the design of one of the central squares of Paris - Place Louis XV, now Place de la Concorde. And although his project was not approved, this fact played an important role in improving the professional skills of the architect.

On June 18, 1759, through the plenipotentiary and extraordinary Russian ambassador to the French court, Count M. P. Bestuzhev-Ryumin, a contract was signed with a thirty-year-old architect to work in Russia as an architect for a period of three years. The task of the architect also included teaching the architecture of Russian talents. The contract was subsequently extended for another three years. By this time, Vallin-Delamot was already considered a venerable architect who proved himself to be a master of his craft. He was a member of the Florentine and Bologna academies, but he had almost no experience in practical construction.
In St. Petersburg in the second half of the 18th century, more and more attention was paid to public buildings. Along with the palace and religious buildings, buildings of educational institutions, administrative, commercial were actively erected. All this extensive construction was supervised by the Commission on the stone structure of St. Petersburg and Moscow. She also dealt with planning issues. Wallin-Delamot, who combined teaching with construction practice, also became involved in the design and construction of these structures. One of the first works of the architect in St. Petersburg was the project of the stone Gostiny Dvor. The project was developed by order of the President of the Academy of Arts Count I. I. Shuvalov. Construction began in 1761, but progress was extremely slow. At the first stage, A. Kokorinov was also involved in the construction.

In 1762, Emperor Peter III removed Vallin-Delamote from construction work, blaming him for appropriating someone else's plan. Wallen-Delamot indeed retained the general approach to the compositional solution of Gostiny Dvor, developed by , but greatly simplified and reduced the cost of the predecessor's project, abandoning the pomp and decorativeness of baroque architectural forms. However, with the accession of Catherine II, the position of the French architect was strengthened again. The architect proposed a new version of the facade, and the empress approved it. By 1767, the construction of the building with its main facade facing Nevsky Prospekt was completed, but the pace of construction again caused dissatisfaction with the city authorities. Many doubted that the architect would be able to complete the job at all. And it turned out to be true. In 1768, Wallen-Delamot finally abandoned construction, and in 1775 he left Russia altogether, not seeing his plan embodied.

However, during the sixteen years that the architect lived in Russia, he carried out many wonderful projects. In 1762, according to the project of the architect, construction began on the main Catholic church in St. Petersburg - the Church of St. Catherine on Nevsky Prospekt. Managed the construction. The complexity of the project lay in the fact that the building of the church had to fit between two existing houses of the already built-up main thoroughfare of the city. Wallin-Delamote brilliantly coped with this task. The last king of Poland, Stanislaw August Poniatowski, was buried in the church, in 1938 his ashes were returned to Poland, and the French general J. V. Moreau. In 1855, the architect Auguste Montferrand was buried in this temple.

At the end of 1763, together with A.F. Kokorinov, the architect began work on the design of the building of the Academy of Arts. In this largest joint work of theirs, for the first time in Russian architecture, the principles of classicism were clearly identified - the balance and symmetry of the composition, the stately solemnity of the external appearance, the use of the colonnade as the basis for the organization of facades. The idea of ​​the architects was formed by 1764, and in the same year construction work began. But even after that, Kokorinov and Delamotte continued to improve the project, refining its details. Construction was supposed to be completed by 1778, but due to lack of funding, it moved very slowly, and sometimes even stopped. Construction work was completed only by 1789, when the architect was no longer in Russia, and the decoration of the building continued until 1810. The building of the Academy of Arts was another work of the architect, which he also could not see.

Another work of Wallen-Delamote was the construction of the building of the Small Hermitage with a hanging garden and a gallery for art collections, attached to the Winter Palace in 1764-1775. Prior to this, Wallin-Delamote completed a large number of interior projects for the Winter Palace. As conceived by Catherine II, the Small Hermitage was to house a collection of paintings and other art objects that the Empress acquired at European auctions. In the same place, Catherine II arranged entertaining evenings with games and performances - small hermitages. The architect coped with the task perfectly, organically fitting his creation into the complex of buildings located in the immediate vicinity of the Winter Palace and forming a single whole with it. In 1765, by order of Catherine II, the architect was involved in the work carried out by the Admiralty College in New Holland, which S.I. Chevakinsky had previously been engaged in. Wallin-Delamot designed the facades, as well as a spectacular arch over the canal leading to the pool inside the island. The majestic New Holland portal with an arch over the canal is one of the masterpieces of St. Petersburg architecture and a symbol of our city.

Performed by the architect and private orders. Together with A.F. Kokorinov, he built the palace of Count K. G. Razumovsky (now the Russian State Pedagogical University named after A. I. Herzen). The palace is an excellent example of the architecture of the transitional period from baroque to classicism. On the Moika Embankment, Wallen-Delamot rebuilt the two-story house of IP Shuvalov, turning it into a palace known to us as Yusupov (Moika Embankment, 94). The architect is also allegedly the author of the project for the Alexandrino estate on the Peterhof road (Prospect Stachek, 162) for the President of the Admiralty Collegiums, Count I. G. Chernyshev. The architect spent a lot of time teaching. Among the young people to whom he passed on his skills, it is necessary to name the outstanding Russian classicist architects Ivan Starov and Vasily Bazhenov. Starov worked in St. Petersburg, Bazhenov mostly in Moscow. But Russia did not become the second home of the architect. In 1775 he left Russia. Perhaps his departure was influenced by the death of his friend and colleague A.F. Kokorinov. Wallin-Delamote died in his hometown of Angouleme on April 17, 1800. The French architect turned out to be one of the founders of Russian classicism.

Jean-Baptiste-Michel Vallin-Delamothe(fr. Jean-Baptiste Vallin de la Mothe ; , Angouleme, France - May 7, ibid) - French architect, Russia's first professor of architecture.

He studied with his cousin, the architect J. F. Blondel.

Upon returning to France in early 1753, Vallin-Delamote settled in Paris and until 1756, when his uncle died, he worked under the latter (Francois Blondel built a lot in Paris, Rouen and Geneva). Among the rare traces of Vallin-Delamote's activity in France is the description of the design of the Place Louis XV, published in 1754 in the journal Mercure de France.

Professor of the Russian Academy of Arts

Return to France

In 1775, Wallen-Delamot left Russia and returned to France. Lives in Lyon, where he designs and builds his own house. But due to a serious illness and impoverishment, at the beginning of 1782 he was forced to move to his native city of Angouleme, where he lived his last years until his death on May 7, 1800.

Projects

Wallen-Delamot often carried out only the design of the building, not participating, as was customary then, in the construction process itself. The archive of his works preserved in France makes it possible to evaluate the work of the architect. The buildings erected according to the designs of Wallen-Delamote are typical examples of early Russian classicism, in which the clarity of the compositions is combined with the baroque plasticity of the masses. In the creative handwriting of the master, one can guess the desire for Palladianism.

• Big Gostiny Dvor (-)
• Catholic Church of St. Catherine on Nevsky Prospekt (-)
• Palace of Count K. G. Razumovsky (-)
• Palace of Count I. G. Chernyshev (1762-1768) (see Mariinsky Palace)
• The building of the Academy of Arts (- together with A. F. Kokorinov)
• The project of the facades of New Holland and its arch ( - , together with S. I. Chevakinsky)
• Small Hermitage (- jointly with Yu. M. Felten)
• The building of the Free Economic Society at the corner of Nevsky Prospekt and Palace Square (-)
• Yusupov Palace on the Moika 1770s
• hetman's palace (not preserved) in the city of Pochep, Bryansk region (1760s)
• Country estate of Count I. G. Chernyshev (1760s)

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Excerpt characterizing Jean-Baptiste-Michel Vallin-Delamote

The boy was eight or nine years old. He was thin and fragile, but his round "professor" glasses made him a little older, and he seemed very businesslike and serious in them. But at the moment, all his seriousness has suddenly evaporated somewhere, giving way to absolute confusion.
A cheering, sympathetic crowd had already gathered around the cars, and a few minutes later the police appeared, escorting the ambulance. Our town was still not large at that time, so the city services could respond to any “emergency” incident in an organized and fast enough manner.
The ambulance doctors, having quickly consulted about something, began to carefully remove the mutilated bodies one by one. The first was the body of a boy, whose essence stood in a stupor next to me, unable to say or think anything.
The poor thing was shaking wildly, apparently for his childish overexcited brain, it was too hard. He only looked with goggle eyes at what had just been "him" and could not get out of the protracted "tetanus".
- Mommy, Mommy!!! the girl screamed again. - Vidas, Vidas, why can't she hear me?!
Or rather, she screamed only mentally, because at that moment, unfortunately, she was already physically dead ... just like her little brother.
And her poor mother, whose physical body was still tenaciously holding on to her fragile, slightly glimmering life in it, could not hear her in any way, since at that moment they were already in different worlds inaccessible to each other ....
The kids got more and more lost and I felt that a little more, and the girl would begin a real nervous shock (if you can call it that, speaking of an incorporeal entity?).
- Why are we lying there?! .. Why is mom not answering us ?! the girl was still screaming, tugging at her brother's sleeve.
“Probably because we are dead ...” the boy said, chattering his teeth.
- And mom? - the little girl whispered in horror.
“Mom is alive,” my brother answered not very confidently.
– But what about us? Well, tell them that we're here, that they can't leave without us! Tell them!!! The girl still couldn't calm down.
“I can’t, they don’t hear us... You see, they don’t hear us,” the brother tried to somehow explain to the girl.
But she was still too young to understand that her mother could no longer hear her or speak to her. She could not understand all this horror and did not want to accept it ... Smearing large tears pouring down her pale cheeks with small fists, she saw only her mother, who for some reason did not want to answer her and did not want to get up.
- Mommy, get up! she screamed again. - Well, get up, mom!
The doctors began to transfer the bodies to the ambulance, and then the girl was completely at a loss ...
– Vidas, Vidas, they are taking us all!!! But what about us? Why are we here? .. - she did not let up.
The boy stood in a quiet tetanus, not uttering a word, for a brief moment forgetting even about his little sister.
– What should we do now? – the little girl panicked. - Let's go, let's go!!!
“Where?” the boy asked quietly. We have nowhere to go now...
I couldn’t bear it any longer and decided to talk to this unfortunate, clinging to each other, frightened couple of children whom fate suddenly, for no reason, for nothing, threw out into some strange and completely incomprehensible world. And I could only try to imagine how scary and wild it all must have been, especially for this little baby, who still had no idea what death was ...
I approached them closer and quietly, so as not to scare, said:
Let's talk, I can hear you.
– Oh, Vidas, you see, she hears us!!! - the baby squealed. - And who are you? You are good? Can you tell your mother that we are scared? ..
Words flowed in a continuous stream from her lips, apparently she was very afraid that I would suddenly disappear and she would not have time to say everything. And then she looked at the ambulance again and saw that the activity of the doctors had doubled.
- Look, look, they will take us all away now - but what about us ?!. - the little girl babbled in horror, completely unaware of what was happening.
I felt at a complete dead end, as the first time I encountered children who had just died and had no idea how to explain it all to them. The boy seemed to already understand something, but his sister was so terribly frightened by what was happening that her little heart did not want to understand anything at all ...
For a moment, I was completely lost. I really wanted to calm her down, but I couldn’t find the right words for this, and, afraid of making it worse, I kept silent.
Suddenly, a figure of a man appeared from the ambulance, and I heard one of the nurses shouting to someone: “We are losing, we are losing!”. And I realized that the next to die was apparently the father ...
- Oh, daddy!!! - the girl squealed happily. - And I already thought you left us, and you are here! Oh how good!..
The father, not understanding anything, looked around, when he suddenly saw his wounded body and the doctors fussing around him, grabbed his head with both hands and howled softly ... It was very strange to watch such a big and strong adult man contemplating his death in such wild horror . Or maybe this is how it was supposed to happen? .. Because, unlike children, he just understood that his earthly life was over and nothing more could be done, even with the greatest desire ...
“Daddy, daddy, aren’t you happy? Can you see us? You can, right? .. - the daughter squealed happily, not understanding his despair.
And my father looked at them with such confusion and pain that my heart just broke ...
– My God, you too?!.. And you?.. – was all he could say. - Well, why are you?
In the ambulance, three bodies were already completely covered, and there was no longer any doubt that all these unfortunate people were already dead. So far, only one mother has survived, whose “awakening” I honestly admit, I did not envy at all. After all, seeing that she had lost her entire family, this woman could simply refuse to live.
- Dad, dad, and mom will wake up soon too? - As if nothing had happened, the girl asked happily.
The father stood in complete confusion, but I saw that he was struggling to gather himself in order to somehow calm his little daughter.
- Katenka, dear, mom will not wake up. She will no longer be with us,” my father said as calmly as possible.
- How will it not?! .. Are we all in the same place? We should be together!!! Isn't it? .. - little Katya did not give up.
I realized that it would be very difficult for a father to somehow explain to this little man - his daughter - that life had changed a lot for them and there would be no return to the old world, no matter how much she wanted to ... Father himself was in complete shock and , in my opinion, no less than a daughter needed consolation. The boy was the best so far, although I saw very well that he was also very, very scared. It all happened too suddenly, and none of them were ready for it. But, apparently, some kind of “masculinity instinct” worked for the boy when he saw his “big and strong” dad in such a confused state, and he, poor thing, purely like a man, took over the “reins of government” from the hands of his confused father into his own. small, shaking children's hands...
Before that, I had never seen people (except my grandfather) at the present moment of their death. And it was on that ill-fated evening that I realized how helpless and unprepared people meet the moment of their transition to another world! .. Probably the fear of something completely unknown to them, as well as the view of my body from the outside (but without their presence in it!) , created a real shock for those who did not suspect anything about it, but, unfortunately, already “leaving” people.
- Dad, dad, look - they are taking us away, and mom too! How can we find it now?
The little girl “shaked” her father by the sleeve, trying to attract his attention, but he was still somewhere “between the worlds” and did not pay any attention to her ... I was very surprised and even disappointed by such unworthy behavior of her father. No matter how frightened he was, a tiny man stood at his feet - his tiny daughter, in whose eyes he was the "strongest and best" dad in the world, whose participation and support she really needed at the moment. And to such an extent to become limp in her presence, in my opinion, he simply had no right ...