Vasily ba same new. Russian architect Vasily Ivanovich Bazhenov: the best works and interesting facts. Big Kremlin project

BUILDINGS BY ARCHITECT V. I. BAZHENOV
ALBUM AUTOTYPES MOSCOW - 1950
Introductory article by E. A. BELETSKAYA

One of the most prominent representatives of advanced culture and art of the 18th century was the wonderful Russian architect Vasily Ivanovich Bazhenov (1737-1799).
The significance of Bazhenov’s creativity in the history of Russian culture is not limited to the creation of beautiful works of architecture and majestic architectural projects. It is also contained in his deeply patriotic social activities aimed at educating and training domestic artists, at introducing knowledge to the wider population. Bazhenov’s creative and life path was illuminated by the high ideals of serving his Motherland and his people.
Bazhenov’s activities took place in the era of the formation of national science and culture. He was the first to raise architecture to the level of an advanced science for his time, giving a deeply substantiated presentation of architectural theory and a generalization of practical experience. He developed the laws of architectural construction and design methods, introduced innovative engineering and construction techniques, and resolved the problems of organizing construction and training the younger generation of architects.
Bazhenov was one of the most educated people of his time. Having achieved comprehensive knowledge through hard work in conditions of poverty and deprivation during his childhood and youth, Bazhenov did not confine himself to the circle of personal and purely professional interests. Having achieved world fame at the age of 27, being a member, academician or professor of Russian and three foreign academies, he continued to improve his skills as an architect, artist, and civil engineer. Having mastered the art of architecture, he tirelessly sought to pass on his knowledge to others. In this respect, Bazhenov was a direct follower of his great contemporary, Lomonosov. Bazhenov has in common with Lomonosov a love for his people, a consistent, deeply principled struggle for the development of Russian culture, against the dominance of foreigners in Russian science, and intransigence in defending creative beliefs.
The breadth of Bazhenov’s creative interests was reflected in his creation of an architectural school, where the poor studied for free, and in his proposal to organize an art museum and open a printing house for printing books on art, and in the preparation of a multi-volume edition of drawings of structures and projects of domestic architecture.
A man of bold dreams, often daring for his time, Bazhenov was at the same time a true practitioner who understood the urgent need for the tasks put forward by life. For example, his note on the reorganization of the Academy of Arts was a scientifically developed program based on vast experience.
Bazhenov’s creativity was subordinated to the idea of ​​serving the people. His speech at the foundation stone of the Kremlin Palace was imbued with an ardent patriotic feeling and awareness of the social significance of the architect’s work: “My mind, my heart and my knowledge will not spare either my peace or my health,” he said.
Bazhenov’s patriotism was reflected in his deep respect for the history of his people and love for their rich, varied creativity. Just as the ardent patriot and revolutionary, Bazhenov’s great contemporary Radishchev, knew and loved Russian folk songs, Bazhenov highly valued the works of Russian folk architecture.
Standing firmly on Russian national soil, the architect knew how to take a critical approach to the creativity of the peoples of other countries, highlighting what was of social significance and not accepting architectural images that were alien and distant to him.
As an artist of great creative generalizations, Bazhenov could not help but reflect in his work the ideas that worried the minds of the leading people of his era. This is the progressive significance of the activities of great masters of art in all periods of human history.
The class limitations of Catherine's noble empire, in which Bazhenov lived, narrowed the scope of the architect's activities and created insoluble conflicts between Bazhenov's most majestic plans and the possibility of their implementation. His inspired creative work was not implemented - the design of the Kremlin Palace, which has survived to this day in drawings and a grandiose model; One of the most poetic ensembles, the Tsaritsyno estate near Moscow, was also not completed.
Bazhenov occupies an exceptional place in the history of architecture. Along with Kazakov and Starov, he can be called the founder of Russian architectural classics, who not only influenced the work of his contemporaries, but also indicated the path of development of architecture to subsequent generations of Russian artists.

1. Pashkov House, now the V.I. Lenin Library, in Moscow. 1784-1786 General form.

2. Pashkov's house. Fragment of the central part of the main facade.

3. Pashkov's house. Fragment of the main facade (side pavilion).

4. Pashkov's house. Courtyard facade.

5. Pashkov's house. Gates.

6. Pashkov's house. Fragment of the gate.

7. Tsaritsyno estate. 1775-1785 "Opera House".

8. Tsaritsyno estate. "Figured" gates.

9. Tsaritsyno estate. “Small” or “Semicircular” palace.

10. Tsaritsyno estate. Fragment of the wall of the “Semi-Circular” Palace.

11. Tsaritsyno estate. Gate of the "Bread" house.

12. Tsaritsyno estate. "Figured" bridge.

13. Tsaritsyno estate. Bridge over the ravine.

14. Church in the village of Znamenka. 1768

15. Mikhalkovo estate. 1779 Entry.

16. Church in the village of Bykovo. 1789 General view.

G., as vice-president of the Academy of Arts. Bazhenov had a natural talent for art, which he discovered as a child, sketching all kinds of buildings in the ancient capital. This passion for drawing attracted the attention of the architect Dimitry Ukhtomsky to B., who accepted him into his school. From Ukhtomsky's school B. moved to Acad. artist Here he turned out to know architecture so much that the teacher of this art, S.I. Chevakinsky, made the talented young man his assistant in the construction of the St. Nicholas Naval Cathedral. On Sept. Mr. B. was sent to Paris for the final development of his talent. Having become an apprentice to Professor Duval, B. began making models of architectural parts from wood and cork and completed several models of famous buildings. In Paris, for example, he made, with strict proportionality of parts, a model of the Louvre Gallery, and in Rome - a model of the Church of St. Petra. Studying architecture on models led Bazhenov to study the work of the Roman architect Vitruvius. Upon returning to Russia, living in Moscow, B. compiled a complete translation of all 10 books of Vitruvius’s architecture, published in 1790-1797. in St. Petersburg, in the printing house of I. A. Kh. Thoroughly familiar with his art theoretically, B. was one of the best practical builders of his time, distinguished as much by the art of planning as by the grace of the form of the designed buildings, which he showed upon his very return to fatherland, for the celebration of the “inauguration” of the building of the Academy of Arts (June 29). He owned the decoration of the main facade of the building from the Neva. The project for the building of the current palace in the Ekateringof park, with greenhouses, a menagerie, carousels and other luxury projects of that time, was composed by B. according to the academic program, for the degree of professor. The implementation was considered quite worthy by the Academy's council, but the author of the project was retained with the title of academician, which he had received three years earlier, while abroad. This injustice forced B. to take a leave of absence from academic service, and Prince G. G. Orlov assigned him to his artillery department as chief architect, with the rank of captain. In this position, B. built an arsenal building in St. Petersburg on Liteinaya Street. (now the building of judicial institutions), and in Moscow, in the Kremlin, the building of the arsenal and senate along Znamenka, Pashkov's house (now the Moscow Rumyantsev Museum), and in the vicinity of the capital - the palace in Tsaritsyn and the Petrovsky Palace, built by Kazakov, his assistant. In the Kremlin, instead of walls serving as enclosures for shrines and palaces, Bazhenov designed a continuous row of buildings, which were ceremoniously laid, at the behest of Catherine II, who in fact, however, did not even think of carrying out the idea of ​​a skilled architect. At the end of the Turkish War, the Empress needed to be given food for speculation about spending tens of millions on a grandiose palace, and the artist was given a theme that he developed on a model with great talent. The effect was proper, but the construction was postponed and then abandoned completely. The same fate befell the Tsaritsyn Palace. B. Catherine, in the summer of the year, came to the ancient capital for three days, visited the work on the construction of the palace in Tsaritsyn and, finding it gloomy, ordered the construction to be stopped. Bazhenov did not receive another appointment, and, left without any means of subsistence, opened an art institution and began working on private buildings. The change in his career and Catherine’s disfavor is explained by his relations with Novikov’s circle, which instructed him to report to the heir to the crown prince about his election by the Moscow Freemasons as Supreme Master. In these relations with the Tsarevich, Catherine suspected political goals, and her anger fell on B. earlier than on others, but the matter did not go further than expulsion from the service, and in the city he was again accepted into the service by the Admiralty Collegium and transferred his activities to St. Petersburg. B. built a palace and a church for the heir on Kamenny Island and designed various special buildings for the fleet in Kronstadt. Upon accession to the throne, Paul I appointed him vice-president of the Academy of Arts. and instructed him to draw up a project for the Mikhailovsky Castle, prepare a collection of drawings of Russian buildings for the historical study of Russian architecture, and, finally, provide an explanation on the question: what should be done to inform the proper course of development of the talents of Russian artists at the Academy of Arts. Bazhenov eagerly began to carry out the gracious instructions of the monarch, the patron of Russian art, and, without a doubt, could have done a lot if death had not completely unexpectedly cut short his life.

The article reproduces material from the Great Encyclopedic Dictionary of Brockhaus and Efron.

V. I. Bazhenov. Project for the reconstruction of the Moscow Kremlin. 1767-75. Plan. Historical Museum. Moscow.

Bazhenov, Vasily Ivanovich(-99), architect of the transitional style from Baroque to Classicism. Bazhenov is one of the most talented Russian architects. B.'s main works: an unfinished palace in Tsaritsyn (near Moscow), Pashkov's house, later the Rumyantsev Museum, now the Lenin Library (presumably), a project (unfulfilled) of a grandiose Kremlin palace.

Literature: Grabar I., History of Russian Art, vol. III, M. (b. g.).

The article reproduces text from the Small Soviet Encyclopedia.

V. I. Bazhenov. Wooden model of the Kremlin Palace in Moscow (fragment). 1773. Research Museum of Architecture named after. A. V. Shchuseva. Moscow.

Bazhenov Vasily Ivanovich, Russian architect, draftsman, architectural theorist and teacher; representative of classicism. Born into a sexton's family. Studied: in Moscow with D.V. Ukhtomsky (1753-55) and at Moscow University (1755); in St. Petersburg - with S. I. Chevakinsky (from 1756), in the Academy of Arts (1758-60) with A. F. Kokorinov and J. B. Vallin-Delamot; as a pensioner of the St. Petersburg Academy of Arts - at the School of Fine Arts in Paris (1760-62) with C. de Wailly. In 1762-64 he visited Italy, where he was elected professor at the Academy of St. Luke in Rome and a member of the Academy of Arts in Bologna and Florence. Academician from 1765, vice-president of the St. Petersburg Academy of Arts in 1799.

Bazhenov was the first Russian architect to begin to think of a building in its connection with its surroundings, as a volumetric composition that actively organizes the space of the city. His project (1767-75) of a palace for the Moscow Kremlin (with simultaneous reconstruction of the entire ensemble and Red Square) was noted for the breadth of his urban planning plans. With this project, the Kremlin was transformed into a grandiose public forum with a main oval square, to which the main radial streets of Moscow converged. The connection between the Kremlin and urban development was strengthened by the removal of the main facade of the palace (laid in 1773; a wooden model is in the A. V. Shchusev Scientific Research Museum of Architecture in Moscow) to the line of the Kremlin walls. At the same time, the powerful rusticated base of the palace and the solemn colonnade as high as the two upper floors were supposed to hide behind them the ancient buildings of Cathedral Square, which would significantly disrupt the traditional appearance of the Kremlin.

V. I. Bazhenov. "Bread Gate" in Tsaritsyn (Moscow). Between 1779 and 1787.

Architect Vasily Ivanovich Bazhenov was born in 1737 on March 1 in the Kaluga province (according to other sources - in 1738 in the city of Moscow). He comes from the family of a psalm-reader, who was transferred to the Mother See after the birth of his son.

Since childhood I loved to draw. His first works were drawings of temples and churches, tombstones and various buildings that he saw around the house.

The father of the future architect wished that his son would continue his work and assigned him to the Strastnoy Monastery. But the talent and desire could not be appeased: Bazhenov, at the age of 15, managed to persuade a local painter, who was already at a very advanced age, to take him to study.

Bazhenov, although he studied painting within the monastery walls, was still a self-taught painter who managed to master one of the most complex techniques of painting - etching. Thanks to his talent, at the age of less than eighteen he became a 2nd class painter.

During the restoration of Golovin's palace, which was damaged in a fire, Vasily Bazhenov was noticed by an architect and invited to the architectural school he created as a free listener. This status helped a young man who did not have enough money to attend only the classes he needed, and earn extra money the rest of the time. Ukhtomsky himself helped Vasily earn additional income, having recognized his student’s talent.

In 1755, Vasily Bazhenov began studying at Moscow University, where he became interested in foreign languages. Directly in art classes, the young man studied painting, sculpture, and architecture.

Under the patronage of I.I. Shuvalov in 1757, the young man was sent to the Academy of Arts of the city of St. Petersburg, where he was admitted to a course with the architect Savva Ivanovich Chevakinsky. There he showed his abilities to the fullest, and was invited by the teacher as an assistant to the construction of the Naval Cathedral.

For the success achieved, in 1759, the Academy of Arts sent Bazhenov to Paris, putting him on full board. There, the young man studied European architecture and in 1760 entered the Paris Academy of Arts, where he studied with Professor Charles Devailly, an adherent of the classicism style.

In 1762, Vasily Ivanovich went to Italy, where ancient monuments became the subject of his study.

During this period, the architect Bazhenov was accepted as a member of the Bologna and Florence academies, and the Academy of St. Luke in the city of Rome awarded him an academician's diploma and awarded him the title of professor.

The return to Paris took place in 1764.

The architect returned to St. Petersburg in 1765 and received the title of academician at his alma mater. He was supposed to receive a professorship, but the leadership at the academy that had changed refused him this. Other obligations were not fulfilled, after which the architect Vasily Ivanovich Bazhenov resigned from academic service.

The move to Moscow took place in 1767, where the master was supposed to begin construction by decree of Catherine II. In the period from 1767 to 1773, he created a grandiose project involving the reconstruction of the entire ensemble of the Moscow Kremlin. The project was generally approved, and a groundbreaking ceremony took place in 1773.

In the same year, Bazhenov made a model in wood of the Grand Kremlin Palace planned for construction. On 120 sleighs it was sent to the then capital and exhibited for inspection in the Winter Palace. It is not clear what happened, but the empress did not approve the building project (the model is kept in the present day).

While working in Moscow, the architect also created an entertainment complex, which was erected on Khodynskoye Field for celebrations to mark the anniversary of the signing of the peace treaty between the Russian Empire and Turkey. Churches, palaces, medieval fortresses and castles were built on the area in different architectural styles (Russian, classical, and Gothic).

Another order of Catherine the Second was the construction of her residence in the settlement of Chernaya Gryaz near Moscow (now Tsaritsyno Park). The complex was built in a pseudo-Gothic style and included about 17 buildings, including the Grand Palace, the Bread House and the Opera House. Unfortunately, the place did not become the residence of the Russian Tsarina. In addition, on her instructions, most of the existing buildings were simply razed to the ground.

All these ups and downs, both with the Kremlin Palace and with Black Mud (Tsaritsyno), affected the health of the talented architect and unsettled him for a long time.

Bazhenov Vasily Ivanovich (1737 or 1738-1799), architect.

Born on March 12, 1737 or 1738 in the village of Dolskoye near Maloyaroslavets (Kaluga province); according to other sources, in Moscow.

Bazhenov’s childhood and youth were spent among the ancient buildings of the Moscow Kremlin, where his father served as a sexton of one of the churches. He received his initial education in the “architectural team” of D. V. Ukhtomsky. This was followed by admission to the gymnasium at Moscow University.

In 1758, Bazhenov brilliantly passed the entrance exams to the Academy of Arts in St. Petersburg. Upon completion of his studies in 1760, as the best student, he was sent to Italy for academic funds.

Returning to Moscow in 1765, the architect received the title of academician for the project of the “pleasure house in Ekateringof”, and two years later he began creating a grandiose project for the Kremlin Palace in Moscow (1767-1775). The complex included the imperial residence, the buildings of the Colleges, the Arsenal, the theater, the main square with an amphitheater for spectators, and the ancient Kremlin cathedrals were, as it were, framed by the newest buildings.

The project required enormous expenses, which the country could not afford - there was a Russian-Turkish war of 1767-1774. In addition, the beginning of the dismantling of the Kremlin wall (which Bazhenov insisted on) caused a sharp protest from the clergy. Very soon, Catherine II cited design flaws and banned further construction.

Disappointment did not prevent the talented architect from continuing to implement new creative ideas, among which the palace and park ensemble in Tsaritsyn near Moscow (1775-1785) occupies a special place. Tsaritsyn buildings combined elements of Gothic and Old Russian architecture. The fate of the estate in Tsaritsyn was also sad. Despite the beauty and originality of the architectural design, Catherine, who came to view her residence near Moscow, ordered the demolition of a number of buildings of the ensemble, and entrusted the construction of the central palace to M.F. Kazakov, saying that Bazhenov’s construction looked more like a prison than a palace.

After another failure, the architect plunged into work on the next project - the Pashkov House (1784-1786; now the old building of the Russian State Library). According to Bazhenov's drawings, the Dolgov house on 1st Meshchanskaya Street (1770), now Mira Avenue, the bell tower and refectory of the Church of All Who Sorrow Joy on Bolshaya Ordynka and the Yushkov house on Myasnitskaya Street (all 80s of the 18th century) were built. . In addition, the architect developed the design of the Mikhailovsky (Engineering) Castle in St. Petersburg (1792-1796); it was built in 1797-1800. architects V.F. Brenna and E.T. Sokolov.

In 1799, Bazhenov was appointed vice-president of the Academy of Arts, but did not have time to implement his plans - he died on August 13 of the same year in St. Petersburg.

In the history of art, the name of this architect is associated with the formation and establishment of Russian classicism.

Vasily Ivanovich Bazhenov is a Russian architect with a bright, extraordinary talent and a peculiar mysterious destiny. History ascribes to him many beautiful, powerful buildings, while in reality he could not have been their inspirer and creator. On the other hand, the authentic works of the architect Bazhenov amaze with the unique creative imagination of the author, the originality of his style and the boldness of his plans.

Who really was this outstanding mysterious architect? What is he famous for? And what is his true contribution to Russian art? Let's find out.

A childhood shrouded in mystery

The future architect Vasily Bazhenov was born in Moscow, into the family of a low-ranking clergyman - a sexton, who performed his duties in one of the small court churches of the Kremlin.

The year of birth of the future architect is not fully known. Many researchers are inclined to believe that this is the 1738th, although in some scientific literature it can be found as the 1737th and even as the 1732nd.

Be that as it may, little Vasya began to experience an attraction to fine arts from childhood. He loved to draw and sculpt various kinds of buildings and figures, although at the behest of his parent he had to become an ordinary singer. Young Vasily even studied for this position in the monastery, and only chance dramatically changed his traditionally prepared fate.

The path to urban planning

A local artist (whose name remained unknown) drew the attention of Bazhenov’s children’s immature works and took him on as his apprentice.

It was during this period that the imperial chambers in the suburbs of Moscow burned down, and then all the surrounding craftsmen were convened in order, by order of Elizabeth Petrovna, to restore the buildings as quickly as possible.

The sixteen-year-old future architect Bazhenov also contributed to the restoration of the noble mansion. Prince Dmitry Vasilyevich Ukhtomsky, the chief architect of Moscow at that time, drew attention to his talented, original painting of walls. Thanks to this acquaintance, the gifted aspiring architect had the opportunity to attend a course of lectures from his mentor, take an honorable place in his team and work under his supervision.

Mastery Technique Training

An influential benefactor gave Bazhenov the opportunity to independently carry out some orders, and after some time he helped him enter the art class of the gymnasium created at Moscow University.

During his studies, the talented Vasily confidently declared himself to be the best and most diligent student. His zeal and talent did not go unnoticed by the famous philanthropist of that time - Ivan Ivanovich Shuvalov, the favorite of the current Empress Elizabeth. Thanks to the patronage of the new patron, the aspiring architect Bazhenov was accepted to study at the Academy of Arts.

There the young man's talent acquired the necessary virtuosity and literacy, thanks to which he became the first assistant to his teacher Chevakinsky (chief architect of the Admiralty) when he worked on an extension to the Nikolsky Naval Monastery.

After some time, the gifted young architect Bazhenov was sent to improve his skills abroad.

Study abroad

Deepening his knowledge and better understanding the art of architecture, the talented architect worked for several years in Paris and Rome, where he not only improved his design skills, but also developed his own projects. For his efforts and skills he was awarded several foreign certificates and diplomas.

They say that Louis XV himself invited the architect Bazhenov to work at his court. However, Vasily Ivanovich refused, placing high hopes on his homeland. There he was promised a professorship, a solid salary and many additional orders.

First works in Russia

Returning to Moscow, architect Bazhenov was unpleasantly surprised. The Academy of Arts, where by that time the management had changed, no longer needed him, they did not award him the title of professor, and even forced him to prove his professionalism in the form of a free trial project.

However, nothing can resist real talent. The project was created in the shortest possible time. He aroused so much admiration and delight that the imperial family drew the attention of the young architect.

Catherine the Great instructed Bazhenov to develop a plan for the first women's educational institution in Russia, located at the Smolny Monastery, and the heir to the throne entrusted the architect with building his own palace on Kamenny Island. And although such luck could have brought the architect a lot of money and recognition, he was a complete fiasco.

His project for a women's institute was praised, but rejected, and the construction of the Kamennoostrovsky Palace was entrusted to several more talented craftsmen, so the name of the novice Bazhenov was lost in the crowd of distinguished architects.

Then the skilled craftsman suffered another disappointment. Empress Catherine ordered the reconstruction of the Moscow Kremlin. Vasily Ivanovich’s project was approved again, but then problems began - due to digging pits, ancient monuments could be damaged.

How could the unlucky master console himself?! Catherine's favorite Grigory Orlov secured for his friend the rank of captain and the place of chief architect in the artillery list. In this position, the architect created several military buildings and began the construction of majestic structures.

Residence Tsaritsyno

One of these important imperial orders was a ten-year construction project for a palace and park ensemble in the south of Moscow. The architect Vasily Ivanovich Bazhenov gave his whole soul to him.

He lived at the construction site with his whole family, purchased materials himself, selected workers himself, and managed the finances himself.

It is noteworthy that when constructing the palace, the architect did not adhere to a specific style. He easily and boldly combined Baroque with Gothic, notes of folklore with state symbols.

The Empress was delighted with the architect’s project, she called him “my Bazhenov” and wanted to see a worthy residence in Tsaritsino for her pleasures as soon as possible.

The master tried as hard as ever. In accordance with the empress's tastes, as well as his own, he abandoned the monumentality and majesty of a single palace, creating a real town from white stone and red brick (such distinctive materials from each other). The building ensemble included several magnificent palace buildings for the imperial family, as well as various original and elegant houses for the nobility and servants. All this was decorated with other, small and exquisite objects located in the park area: the Figured Gate, the Cavalry Corps, the Opera House, the Big Bridge, the Bread House. Let's take a closer look at these structures.

Figured Bridge

This part of the palace complex, located on a steep slope, was perceived as an entrance gate that unobtrusively hid the panorama of the entire building ensemble.

Made of red brick according to the principle of a viaduct and decorated with various geometric reliefs and St. George's crosses, the bridge became an echo of knightly times and old romantic legends.

It has survived to this day unreconstructed, clearly displaying the power of its creator’s talent.

Cavalry Corps

This is the name of three buildings in Tsaritsino, very similar to each other: small in size, one-story in height, with obvious geometric proportions.

The first of them has the shape of a square with a flaw, the second is built in the form of an octagon, and the third is a round structure built in the shape of a semi-rotunda.

It was this building, built on a hill and topped with a belvedere turret, that was made so elegantly and luxuriously that the empress herself used it.

The story of other buildings by architect Bazhenov erected in Tsaritsyno is sad and depressing. For subjective reasons, Catherine the Great did not like them, and she ordered them to be destroyed. Most likely, the empress’s decision was influenced by the Masonic symbols that the famous architect used in the design. Or perhaps the empress did not like the genius himself due to his frequent communication with the heir to the throne.

Be that as it may, Bazhenov was removed from construction and fell out of favor. Tsaritsyn's main architect was his student, Matvey Kazakov.

Private buildings

After his disgrace, Vasily Ivanovich began designing for private individuals. Among the works orally attributed to his authorship is the Pashkov House, an impressive building erected on an elevated hill.

In relation to the main street, the house is set slightly at an angle, which makes it more special and unusual in appearance. The mansion, having a “U”-shaped layout, amazes with its splendor and interesting silhouette. The principle of contrast applied by the architect is also impressive, where the large and small sizes of the entire complex are contrasted.

The design of the facades of Pashkov's house is also noteworthy - a large order, three porticoes, a colonnade, a balustrade, a belvedere. All this is harmoniously combined into one composition, directed upward.

Another private building of the architect Bazhenov is the Dolgov house, decorated with the Doric order in the form of facade decoration with pilasters.

The windows of the estate are distinguished by their large volumes, topped with massive cornices and decorative attics.

Religious buildings

The building, clad in white stone, has two floors and combines a fantastic combination of Gothic and Baroque forms.

The church in Bykovo, designed by architect Bazhenov, is equipped with a magnificent, impressive staircase with two steps and a light rotunda decorated with a high spire. The interior and exterior decor of the temple is unusually rich and varied.

The Master's Fate

How did the life of the great architect end? Having experienced several bitter disappointments and failures, having lost his son and the royal favor, in his old age Vasily Bazhenov was favored by Paul I. He was given an honorary position at the Academy of Arts and was offered to engage in epoch-making architectural research. The talented architect was ready to devote himself entirely to a new important task.

Perhaps he could accomplish a lot and achieve a lot. But his life ended abruptly. At the age of sixty-two, surrounded by caring and loving children, Vasily Ivanovich Bazhenov died.