Sculpture of Italy in Russia under Catherine II the Great. Monument to Catherine the Second Image of the “enlightened” empress

The idea of ​​erecting a monument to Catherine 2 in St. Petersburg came to the minds of nobles during her reign. Who else if not her? The queen herself was against this. However, by the centenary of her accession to the throne (September 22, 1762), the idea began to be realized.

A century from idea to implementation

The question of installing a monument to the Empress was raised in April 1863. The initiator was Baron Fredericks, the son of a Russian count, baron, noble family. He was supported by all class branches of the City Duma and the United Commission on the benefits and needs of the public. The initiators proposed erecting a monument on Alexandrinskaya Square between the Alexandrinsky Theater and the Public Library, located in a building that belonged to the late queen. Until this time, the monument to Catherine 2 had not been erected in St. Petersburg.

Project

In 1862, a competition was announced for best project monument. It was won by the artist and sculptor Mikhail Mikeshin, already known throughout the country thanks to the Millennium of Russia complex, erected according to his design in Veliky Novgorod. His new work in the Rococo style received a medal of honor at the World Exhibition in London. But the monument to Catherine 2 in St. Petersburg was originally planned to be installed in Tsarskoe Selo. And for this purpose M. Mikeshen made a model in 1861. After the decision to install the structure in the city on the Neva, changes had to be made to the layout, although the general idea remained the same. In 1864, a new figure was cast by master Sokolov. This model was later placed in the Grotto pavilion in Tsarskoe Selo.

Serious approach

The general management of the work was entrusted to the architect D.I. Grimm, academician, one of the founders of the “Russian style”. The team for the construction of the monument included another architect, V. A. Schröter, and two sculptors: A. M. Opekushin (author of the monument to A. S. Pushkin in Moscow) and M. A. Chizhov. The slightly altered model of the monument received the highest approval. Work has begun. The very figure of the empress, standing with a regal bearing and graciously smiling at the first persons of the state, was sculpted by Matvey Afanasyevich Chizhov. The monument to Catherine 2 in St. Petersburg resembles in its general outline the “Millennium of Russia” - the same bell shape, the central statue crowning the entire monument, at the foot of which are figures of significant figures for the country. They were sculpted on Catherine's obelisk and the figures of the most prominent figures of the glorious era of Catherine the Great's reign were cast at the Nichols and Plinke factory, the best bronze casters.

In total, the monument to Catherine 2 in St. Petersburg (photo in the article) required 50.8 tons of bronze. This metal was also used to make a laurel wreath encircling the foot of the marble pedestal (the marble was brought from the Karelian Isthmus), for the floor lamps of the candelabra of 4 lanterns located along the perimeter of the monument, and for the plaque on which it is written that the monument was erected during the reign of Alexander II. The author of all the bronze details and the granite pedestal itself was D.I. Grimm. Ornamental details of the lanterns were made based on the drawings of his student Victor Schröter.

One queen on high

With a total height of the monument of 10 meters, the figure of Catherine II herself is 4.35 meters. The Empress is depicted with reverence - she is not a despot, she is the mother of the state. Majestic, but affectionate, wisely ruling the country. In her hands is a scepter, and instead of an orb - laurel wreath, which symbolizes not only power, but also glory. After all, all of Europe knew that the Russian Empress was a wise and enlightened woman. An ermine robe is draped over the royal shoulders - one of the regalia of power. Second - Crown Russian Empire- lies at her feet. On the chest of Catherine II is another symbol of royal power - a diamond sign on a chain and the star of the Order of the Apostle Andrew the First-Called, established by Peter I.

A cohort of good companions...

The gracious queen smiles at her nobles, who did everything for the greatness of Russia during her reign. Who are these people whom the whole country knew, and not just St. Petersburg? The monument to Catherine 2 immortalized their names.

Facing Nevsky Prospect are the figures of Pyotr Rumyantsev-Zvdunaisky, who ruled Little Russia under Catherine, and His Serene Highness Prince Georgy Alexandrovich Potemkin-Tavrichesky, who took Ochakov and annexed Novorossiya to Russia. The legendary Generalissimo Alexander Suvorov is the third figure in the group. All of them contributed to the expansion of the borders of the Russian Empire. As we move forward, the figures of the poet and Ekaterina Dashkova, the president of the Russian Academy, appear, who contributed to the formation of a great power. Next were Prince Alexander Bezborodko, who led the entire state, and Ivan Betskoy, president of the Academy of Arts. They face the Public Library (St. Petersburg). The monument to Catherine 2 is complemented by two more figures located opposite the Alexandrinsky Theater. These are naval commander Vasily Chichagov, polar explorer, and the legendary Alexey Orlov-Chesmensky.

July 7 is considered the day of military glory of Russia, when the Russian fleet under the command of Alexei Orlov won a brilliant victory over the Turks in Battle of Chesma. These are truly of their time, and no urban legends will detract from their merits, just as the importance of Great Catherine will not be diminished by the familiar name of the park surrounding the monument - “Katkin’s Garden”.

Legends of the central attraction

One of the most famous landmarks of our country is the monument to Catherine 2 in St. Petersburg. Its description can be continued with some statistical data. It cost the state 316 thousand rubles. The opening ceremony and graduation increased this amount to 456,896 rubles. The monument took more than 10 years to build. Legends surround it, just like any other landmark. One of them is connected with the moment construction began - following the example of one hysterically enthusiastic lady who tore a ring off her finger and threw it into the pit, several other women did the same. Well, how many of them there had to be for the legend of “countless treasures” buried at the foot of the monument to be born in the minds of St. Petersburg residents. By the way, were samples of gold and silver coins of the rulers of Russia mounted into the piles during construction?

The monument to Catherine 2 in St. Petersburg, whose address is: Central District, Nevsky Prospekt, 56, is located in the historical center of the city. Nearby are Catherine Square and Alexandrinsky Theater. It can be easily reached by public transport; you need to go to the Gostiny Dvor metro station.

History of the monument

In the early 1860s, the idea arose to erect a monument in the city to mark the 100th anniversary of Catherine II’s accession to the throne. One of the monument options, made to scale 1 ⁄ 16 life-size, located in the Grotto pavilion in Tsarskoe Selo. In the center of the park on Alexandria Square, a monument to Empress Catherine II was opened in 1873. Its author is the artist Mikhail Mikeshin.

In the late 1960s, vandals snatched and stole the sword from the hands of Alexander Suvorov. It was reproduced again twice - attempts on the sword continue to this day.

Authors

The artist Mikhail Mikeshin took part in the construction of the monument, the sculptural work was carried out by Matvey Chizhov, who sculpted the statue of Catherine, and Alexander Opekushin, who created the figures surrounding the pedestal. The author of the project for the pedestal of the monument and the laurel wreath around its foot, the floor lamps, candelabra, and the inscription board under the foot of the monument is the architect David Grimm, who supervised all work on the creation of the monument. The ornamental details of the lanterns were made according to the drawings of the architect Victor Schröter.

Technical data

Around the pedestal there are nine figures of prominent figures of Catherine's era: Field Marshal Pyotr Rumyantsev-Zadunaisky, statesman Grigory Potemkin and commander Alexander Suvorov facing Nevsky Prospect, poet Gabriel Derzhavin and President of the Russian Academy Ekaterina Dashkova facing Anichkov Palace, Prince Alexander Bezborodko and President of the Russian Academy artists Ivan Betskoy - to the Public Library, polar explorer and naval commander Vasily Chichagov and statesman Alexei Orlov-Chesmensky - to the facade of the Alexandrinsky Theater. On the front façade of the monument there is a bronze plaque decorated with attributes of the sciences, arts, agriculture and military affairs. On the book, standing among these attributes, the word “law” is written and the inscription is made: “To Empress Catherine II during the reign of Emperor Alexander II, 1873.”

According to the original plan, the monument was to be installed in Tsarskoe Selo, but later it was decided to install it in St. Petersburg in front of the Alexandrinsky Theater. Between the Alexandrinsky Theater and the monument to Catherine II there is a square called Catherine's.

Events recent years The reign of Alexander II - in particular, the Russian-Turkish War of 1877-1878 - prevented the implementation of the plan to expand the memorial of the Catherine era. D. I. Grimm developed a project for the construction in the park next to the monument to Catherine II of bronze statues and busts depicting figures of the glorious reign. According to the final list, approved a year before the death of Alexander II, six bronze sculptures and twenty-three busts on granite pedestals were to be placed next to the monument to Catherine.

The following should have been depicted full-length: Count N.I. Panin, Admiral G.A. Spiridov, writer D.I. Fonvizin, Prosecutor General of the Senate Prince A.A. Vyazemsky, Field Marshal Prince N.V. Repnin and General A. I. Bibikov, former chairman of the Code Commission. The busts include publisher and journalist N. I. Novikov, traveler P. S. Pallas, playwright A. P. Sumarokov, historians I. N. Boltin and Prince M. M. Shcherbatov, artists D. G. Levitsky and V. L Borovikovsky, architect A.F. Kokorinov, favorite of Catherine II Count G.G. Orlov, admirals F.F. Ushakov, S.K. Greig, A.I. Cruz, military leaders: Count Z.G. Chernyshev, Prince V. M. Dolgorukov-Krymsky, Count I. E. Ferzen, Count V. A. Zubov; Moscow Governor General Prince M.N. Volkonsky, Novgorod Governor Count Y. E. Sivers, diplomat Ya. I. Bulgakov, pacifier of the “plague riot” of 1771 in Moscow P. D. Eropkin, who suppressed the Pugachev rebellion Count P. I. Panin and I. I. Mikhelson, the hero of the capture of the Ochakov fortress I. I. Meller-Zakomelsky.

Urban legends

Wits say that the bronze figures of Catherine’s favorites around the pedestal on the monument to Catherine demonstrate with gestures the size of their advantages. Only Derzhavin throws up his hands guiltily. And above them rises the majestic depraved empress with a sly smile and a standard scepter in her royal hands. In fact, of those depicted on the monument, Catherine’s favorite (according to some sources, even her secret husband) was only

Monument to Catherine II

Pam. monumental

arts (federal)

1863-1873 - architect. Grimm David Ivanovich - pedestal, general layout

Hood. Mikeshin Mikhail Osipovich -

Sk. Opekushin Alexander Mikhailovich - 9 statues on a pedestal

Sk. Chizhov Matvey Afanasyevich - figure of Catherine II

Arch. Schröter Viktor Alexandrovich

Back in the early 60s, academician of sculpture Mikeshin proposed to the Emperor a project for a monument to Empress Catherine II, to be erected in St. Petersburg. This project, however, did not please the Tsar and was sent for consideration to the Imperial Academy of Arts, which, after hearing the conclusion of D.I. [Grimm], drew attention to the lack of proper monumentality in the project and pointed out the need for its complete reworking. The second project, reworked by ak. Mikeshin, and again presented to the Academy of Arts, suffered the same fate. Then, already in the 70s, Sovereign Emperor Alexander II instructed D.I. to draw up, together with Academician Mikeshin, a new project. This last one was approved by the Highest and immediately accepted for execution. In 1872, the monument to Empress Catherine, erected on the subsequently named Catherine Square in St. Petersburg, was solemnly consecrated and D.I., as a sign of special Royal approval, received the rank of Privy Councilor.

<…>Work on the construction of a monument to Empress Catherine II in St. Petersburg until 1871 was carried out according to a project approved by the Highest on February 4, 1865. On December 24, 1870 and February 15, 1871, the Highest orders followed, according to which the design of the monument changed, namely: according to the first Highest order, the slope of the bowstrings and steps was increased by three inches, according to the second, the base and cornice were expanded by six inches and enlarged volume of the pedestal. The latter was caused by the need to place around the pedestal, in addition to the seven statues specified in the 1864 project, two more - Count Orlov-Chesmensky and Chichagov. In addition, on July 6 of this year, the Most High ordered to build a square around the monument and build a sidewalk next to it, and surround the monument with pedestals, connecting them with bronze chains, and install four candelabra. As a result, the cost of building the monument increased by 215,156 rubles against the originally calculated amount (241,740 rubles). 85 k., thus amounting to 456,896 rubles. 85 kopecks. For work on the construction of the monument, 327,428 rubles were allocated until 1872 inclusive. 67 k. Currently, the remaining 134,468 rubles are being requested for allocation for 1873. 18 k. (Moscow Ved.)

“Architect”, 1872, Vol. 12, p. 195

Let us now turn to an extensive article by D.I. Grimm’s closest assistant, Nikolai Maximilianovich Bikhele:

Construction of the monument to Empress Catherine II

<…>As you know, in 1860 the Academy of Arts announced a competition [on the occasion of the centenary of the accession to the throne of Empress Catherine II] for the creation of a design for a monument to Empress Catherine II, scheduled for staging in Tsarskoe Selo; projects were submitted for competition by a certain deadline. professors: Jensen and von Bock, academicians: Strohm, Zaleman and Mennert and the artist Mr. Mikeshin. The last project was approved by the experts of the Academy of Arts, and in 1862 the Emperor deigned to honor the artist Mikeshin with the order of a monument to Catherine II, based on the model he submitted to the competition in 1861. Almost simultaneously, at one of the meetings of the St. Petersburg City Duma, the question of constructing a monument to Empress Catherine II in the Alexandrinsky Square belonging to the capital was sympathetically accepted, and the Duma expressed the desire that the image of the actual Privy Councilor Betsky be placed on the pedestal of the monument; the former Governor-General, Prince of Italy, Count Suvorov-Rymniksky supported this idea, and the Duma’s petition, on May 29, 1863, received the Highest approval. Taking into account the area chosen for erecting the monument in St. Petersburg, Mr. Mikeshin compiled a new sketch of the monument, with details in the style of the times of Louis XVI; This sketch was presented to the Emperor in September 1863, along with a review of it by the rector of the Academy of Arts, Privy Councilor Ton, who found it necessary to change the height of the monument proposed by Mr. Mikeshin and reduce the bronze pedestal in the lower part by ⅓ against the drawing, through which the figure of the empress would have gotten a more majestic look. By order of the Highest, the artist Mikeshin redid the drawing in November 1863, but this sketch was not approved by the council of the Academy of Arts; finally, in August 1864, a new draft of the monument was prepared, which on August 19, His Majesty deigned to inspect and on February 4, 1865, this project received the Highest approval. Following this, the Ministry of Railways provided Mr. Mikeshin with the execution of only the artistic part of the monument, that is, the production of clay and plaster models in real size.

The construction of the monument was supposed to be completed in three years, starting from 1866, but until 1869 the State Council refused to allocate funds for the execution of the monument, the work was limited to the production of part of the plaster models in the artist Mikeshin’s workshop. Then, after the funds had been allocated, work began on the construction of the monument. The general supervision of the work on the construction of the monument, with the exception of sculptural work entrusted to Mr. Mikeshin, was entrusted, with the permission of the Sovereign Emperor, to the professor of architecture D. I. Grimm; On the part of the Ministry of Railways, engineer and state councilor Lesnikov was appointed inspector of work, and upon his retirement (in June 1870), engineer state councilor Stremoukhov was appointed.<…>

I. Construction of the foundation and granite pedestal.

The builder of the monument was provided with original design drawings and estimates based on them; Professor Grimm, starting to consider the project from the constructive side, could not ignore the following necessary corrections and additions, which are very important for the monumental structure, namely:

a) Piles must be driven under the foundation.

b) According to the project, the rubble masonry of the foundation below the surface of the earth is to be faced with granite, which is not only unnecessary, but also harmful<…>.

f) The internal masonry of the monument is made of slab backfill with lime mortar; there is no doubt that the internal rubble masonry, with all the desire to connect it firmly with the granite facing, cannot provide the strength that should be expected from a completely homogeneous material, and the inevitable settlement of the masonry of small stones can have a harmful effect on the entire structure: and therefore the builder proposed to build the entire monument entirely from granite stones, so as to avoid, if possible, the use of staples, pyrons and other metal fasteners.

f) The pedestal under the figure of the Empress, according to the project, is to be made of a pillar of red granite, with a square base, with its outside lining with Kyiv labradorite; Not finding here a sufficient guarantee of the strength of the labradorite cladding of granite stone, the builder found it more appropriate to abolish the use of labradorite altogether, and make the pillar itself from dark gray granite.

g) A rubble foundation should also be laid under the sidewalk around the monument and the sidewalk itself should be made<…>from granite.

With these changes and additions, the amount of 241,740 rubles initially calculated for all three categories of work increased by 53,342 rubles.

On July 5, 1869, work began on the construction of the monument: trees and bushes were cleared, and earth excavation began.<…>

Having reached the proper excavation depth, namely 4½ arches, we began driving piles.

The base of the foundation under the monument and the sidewalk forms a circle,<…>the sole area is 57.3 square meters. soot; 293 pine piles were driven on this surface<…>.

After driving the piles and leveling their tops under the spirit level, the soil loosened on the surface was taken out between them and the entire base began to be compacted by driving between the piles onto the edge of the installed rubble slab<…>.

After checking the horizontality of the entire artificial sole, the rubble laying of the foundation began<…>.

For the entire pedestal, including the pedestal, 72,260 poods of red, light and dark gray granite were used,<…>all bronze figures and other parts and decorations weigh 2,815 pounds. Consequently, the weight of the entire monument is 200.222 pounds<…>.

The laying of the foundation was carried out so successfully that by October 23, 1869, i.e., by the day originally appointed for the ceremonial laying of the monument, everything was prepared and for the laying itself in the foundation the place necessary for the ceremony was left unmarked; the appointed day, however, was postponed for almost a month, i.e., on November 24 [on this day church calendar St. Catherine's Day is celebrated; in addition, 1869 marked the 140th anniversary of the birth of Catherine the Great]. Granite was used for the foundation stone, in which a nest was hollowed out to place a bronze ark with medals and coins: this ark was made at the factory in the city of Kokhuna, according to the drawings of Professor D. I. Grimm. In addition to gold, silver and copper coins, the following 8 medals were invested in it: for the reign of Empress Catherine, for the accession of Catherine II to the throne, gold, and bronze: for the annexation of Crimea and Taman to Russia, for the entry of Georgia into Russian citizenship and for the return Russian regions from Poland; the reign of Emperor Alexander II - for the coronation of the Sovereign Emperor, gold, and bronze: for the opening of the millennium monument, in memory of the liberation of peasants from serfdom and as a reward to the troops for the conquest of the Western Caucasus. The Sovereign Emperor, having locked the ark, handed over the key to it to Count Bobrinsky and with his own hand lowered the box into the place prepared for it, which was covered with a bronze board attached to a marble slab. On this board there is an inscription:

“In the summer of Christ 1869, the fifteenth reign of the All-Russian Emperor Alexander II, His Majesty laid this main stone of the monument to Empress Catherine II on the 24th day of the month of November.

While serving as Minister of Railways, the retinue of His Majesty, Major General Count Bobrinsky, and the compiler of the project, the artist Mikeshin.”

On top of this board, 32 bricks were placed in one row, specially prepared for this sandstone object; After they were laid, the Sovereign Emperor, members of the August Family and other persons pushed up a covering granite stone, placed it on the pyrons and filled it with lead - this is the only stone in the entire monument reinforced with pyrons.

The silver Byzantine dish with the relief monogram of Empress Catherine II, a silver spatula and a hammer with engraved monograms, used during the laying, were taken from Sazikov; a mason's box (workbench) and a nut made of walnut wood, with bronze hoops and relief bronze monograms, made by the carpenter Schütz; all the objects used during the laying, such as an iron spade, an iron sword, an oak tub, a towel, etc., were decorated with a monogram image of the Empress.

With the onset of winter, a temporary roof was erected over the entire foundation.<…>

The entire pedestal is made of a solid mass of granite stones delivered from Finland, Vyborg province, Serdobol district, from the islands of Lake Ladoga, namely: red granite, used for the lower part, from the stones on the island of Putsala [now Putsaari], belonging to the Valaam monastery, gray the granite used for the middle part of the monument, i.e., the base and the cornice above it, was delivered from the island of Yanitsar [Yanisari], owned by local residents, and finally, for the pillar, dark gray granite was delivered from the island of Syskesalomi [Sneskesalmi], which is the property Valaam Monastery.

The stones were delivered to St. Petersburg from Lake Ladoga by water, on ships specially adapted for transporting large stones. The main unloading was carried out on the Palace Embankment, between the house of His Imperial Highness Prince Peter Georgievich of Oldenburg and the Summer Garden, and from there the stones were dragged along the Swan Canal, along Tsaritsyn Meadow, across the Engineer Bridge and along Bolshaya Sadovaya Street to the work site, using a specially designed portable railway. <…>Another pier for unloading was located near the monument to Peter I, on the embankment near the water pumping station: here it was intended to unload small stones, each weighing no more than 500 pounds, since the transportation of stones to the work site across the Police Bridge could only be allowed on the condition that the transported the cargo did not exceed 500 pounds.<…>

Of the granite stones used in the construction of the monument, red granite from Putsala has a completely different structure than the Peterlak granite, usually and almost exclusively used in St. Petersburg; True, the finishing of Putsala granite is a little more difficult, but its surface can withstand the highest polishing.<…>

The light gray stone is a completely homogeneous mass, and although we here in St. Petersburg are accustomed to seeing Serdobol granite as nothing other than gray, nevertheless, the place of breakage sometimes gives the stone hallmark, for example: a stone from the breaking of Yanitsar has a kind of fibrous structure in its structure, it has, so to speak, an end, which is clearly visible from the finished sample, where both lobar fibers and their ends are visible<…>.

Dark gray granite from the breaking of Syskesalomi, due to its uniformity in all respects, i.e. both in color and in mass, deserves attention, and although in its structure it is inferior in strength to red granite, nevertheless, its hardness is not much inferior to Yanitsarsky.<…>

As already mentioned, the pedestal of the monument is made of three colors of granite stones: a base made of red Putsala granite, consisting of 4 bowstrings arranged crosswise at a right angle, and between them there are 4 steps in height, on the upper platform of the stairs there is a plinth, above it a light gray granite with brittle Yanitsar base with a fillet and a cornice above it. The transition from this cornice to the pedestal at the height of the bench, completely lined with bronze on the outside, is made of red granite: then the pedestal above the bench and the foot of the statue of the empress are made of dark gray granite from the Syskesalomi brittle.<…>

All granite masonry of the monument, including the granite sidewalk around it, with 26 pedestals, was carried out in a tent built in the early spring of 1870<…>.

II. Artistic models.

According to the project approved by the Highest on February 4, 1865, the monument to Catherine II was to consist of a colossal figure of the Empress and the figures of her associates: Prince Potemkin, Count Rumyantsev, Prince Suvorov, Princess Dashkova, Derzhavin, Prince Bezborodko and Betsky, four brackets, a cornice, the front shield with a monogram and crown and the back of a cartouche with an inscription; Subsequently, namely in 1869, it was planned to place two small medallions: Orlov-Chesmensky and Chichagov, in bronze frames, on the sides of the pedestal, where there are two free places.

The artist Mikeshin was given the opportunity to create models in clay and plaster. By 1869, he had made statues of the Empress, Derzhavin and Dashkova; as they were produced, they were witnessed by the light of the Academy of Arts. In March of the same year, he again made models of statues: field marshals Prince Suvorov and Count Rumyantsev; in February 1870, a clay model of Prince Potemkin was ready.

His Highness, a comrade of the President of the Academy, reported to His Majesty about the examination by the light of the Academy of Arts of the statue of Potemkin made in clay, to which the Sovereign Emperor deigned to respond that, when presenting a bronze model of this monument, His Majesty drew attention to the pose of Potemkin and then, having found it was too familiar, he personally ordered Mikeshin to change it and then His Majesty ordered to immediately begin remaking the said figure. The remaining figures - Bezborodko and Betsky - were completed much later. From the artist’s workshop, all models were transported to the Nichols and Plinke plant.<…>. The Sovereign Emperor inspected the finished plaster model on February 15, 1871 and, in agreement with and in addition to the opinion of the Academy Council, deigned to command:

1) the inscription designed for the monument should be placed from the front facade on the base, below the statue of Count Rumyantsev and Prince Potemkin;

2) from the rear façade, instead of the large medallion in which it was proposed to make an inscription, place two statues - Count Orlov-Chesmensky and Chichagov, and remove the side medallions with images of the latter completely;

3) draw the folds of the porphyry more harmoniously and in accordance with the elasticity of the material usually used for porphyry;

4) bring the ornamental decoration of the monument into a more uniform character befitting the monument;

5) expand, as far as possible, the base of the monument and, accordingly, move apart all the lower figures somewhat;

6) carefully check the proportions of each statue relative to the others and correct all errors in this regard, and especially pay attention to the body of Prince Suvorov;

7) replace the pillow under Prince Potemkin’s foot with some military attribute;

8) Count Rumyantsev’s hat should be reduced in proportion to his head;

9) straighten the statue of Derzhavin, which is too curved back, a little, in accordance with the two new statues.

To fulfill the 4th point of the Highest command, His Highness, Comrade of the President of the Academy of Arts, instructed professors: A. I. Rezanov, D. I. Grimm, A. I. Krakau, R. A. Gedike and K. K. Rachau to consider this is the case and present your opinion.

Gg. The professors, having examined the Highest approved drawing and small model of the monument, came to the following conclusion: that the cornices, brackets, cartouches, etc. were executed in the drawing and in the small model with full knowledge of the matter and can be considered completely satisfactory, with the following minor corrections:

1) give the upper cornice above the main figure more height and decorate it in the style of Louis XVI;

2) give the lower part of the cartouche with the monogram of the Empress a more strict form corresponding to the time of Louis XVI;

3) the upper part of the brackets separating the groups of figures should be slightly wider, in accordance with the upper bracing;

4) pay attention to a smoother transition at the junctions of the brackets with the cornices, while maintaining the above-mentioned style.

When comparing all these parts with the real-size model, it turned out:

1) that the architectural parts, neither in character, nor in shape, nor in ornamentation, nor in size, agree with the Highest approved project and the small model;

2) that all parts, such as cornices, brackets, cartouches, were not executed with due care.

As a result of the above, it is necessary: ​​to redo all the mentioned parts of the large model, in accordance with the Highest approved small model and the comments made on it.

The artist Mikeshin took up exclusively the corrections of the plaster statues, while the Minister of Railways entrusted the execution of the architectural and ornamental parts of the monument to Academician Schröter, according to a sketch he made on the instructions of the Council of the Academy of Arts. At the end of all this work, on May 12, 1872, they were again inspected by His Highness the President's Comrade and members of the Academy Council, and on June 14, 1872, the models of the monument were examined by the Sovereign Emperor, after which the molding of the model for bronze casting began.

III. Casting and installation of bronzes.

The casting and installation of the bronze parts of the monument to Catherine II was undertaken, in accordance with the concluded contract, by R. Ya. Kokhun, the firm "Nichols and Plinke".

Having received from the treasury the plaster models of the monument installed at his factory, Mr. Kokhun began to mold, but having examined the models from the point of view of the manufacturer, he could not ignore some, apparently minor, awkwardness in the models, which, however, , would give the bronze an unfinished look; so eg the fur edge of the porphyry was so sketchily made that when looking at part of the edge removed for molding, one had to guess that it was supposed to represent fur, the only sign of which was the tails characteristic of an ermine. The wigs and hair on all the figures were also not completely finished, as well as the embroidery on the uniforms, the eagles on the purple and in general little things that would not catch the eye at first glance<…>. And so the work began to boil: in a few days the models were properly cleaned, all small errors were corrected and they began to cut them for molding, which began with the main figure.

The statue of the Empress is divided and shaped for casting as follows: head, upper torso, both arms almost from the elbows; then the middle part of the body, the legs with the foot and, finally, the train. By cutting all the other figures, they were separated into parts that would simplify the molding and would not complicate the subsequent assembly and placement of the statues.<…>

... the bronze work went so successfully that within 9 months, namely by June 1873, all parts were not only cast, but assembled and installed in a prefabricated workshop, where they were, before being sent to the construction site examined by the Sovereign Emperor.

The bronzes dismantled for transportation to the site of the monument's construction were weighed.<…>

In total [the weight of the bronze parts was] 2650 pounds. 33 lbs.<…>

With the installation of the empress statue, the height of the entire monument is 6 fathoms. 2 arsh.

<…>It took just over two and a half months to install all the bronze parts of the monument and to finally clean them from dust.

At the monument, against four bowstrings, according to the design of Professor D.I. Grimm, four bronze candelabra, each with four lanterns, are arranged on granite plinths, in the style of the times of Louis XVI. The base of these candelabra consists of rubble masonry, into which cast iron pyramid-shaped bases are embedded; the height of the granite plinths is 10 inches, the height of the candelabra with a lantern is 9 inches. 12 tops; The bronze weight of each candelabra is 111 pounds. 16 lb.

The cost of constructing the monument is 456,896 rubles.<…>

According to the highest approved ceremony, the grand opening of the monument was scheduled for November 24, 1873.<…>

In memory of the grand opening of the monument to Catherine II, a medal and a token were knocked out. The design of the medal was made by academician M. O. Mikeshin, the front side was cut by medalist A. Semenov, the back side was cut by P. Meshcheryakov.

N. M. Bikhele.

“Architect”, 1874, Vol. 7, pp. 83—90

On November 24, a monument erected in memory of the deeds of Catherine the Great followed in St. Petersburg.

The opening ceremony took place with the usual ceremonies, in the presence of the Sovereign Emperor and persons of the August family. Good weather favored the celebration; in the evening the city was luxuriously illuminated and decorated with banners and flags; Nevsky Prospekt and Bolshaya Morskaya Street, flooded with the light of gas and sparklers, represented a vast avenue occupied by masses of pedestrians and carriages.

In front of the City Council building, what attracted attention was a massive crown placed on a lamp post, studded with colored glass along a wire skeleton; the burning gas hidden inside the crown spilled light onto the glass; light rays, refracted in faceted beads, produced thousands of brilliant sparks that flickered spectacularly on the crown due to the vibrations of the gas flame.

The gas burning on the building of St. Isaac's Cathedral, in the corners, did not produce the expected effect.

The monument to Catherine II was illuminated by four devices (in the form of pipes), which reflected the light of a flame of a special flammable composition onto the surface of the monument. There was a lot of soot and smoke, but there was no effect. The light turned out to be weak, did not reach the top of the central figure, and the pedestal found itself in twilight.

By the way, we note that the iron grating that surrounded the lawns around the monument was completely broken - you can see where it is thin, it breaks...

“Architect”, 1873, Vol. 10-11, pp. 126

<…>When seeing the monument, the first impression is quite pleasant, and it would be even more pleasant if the lower part of it, occupying half of the entire height, was of more interest. General form resembles the monument to the millennium of Russia, by the same author. The same round shape at the base, the same division, only instead of Vera and Russia there is the figure of Catherine II, and the eras of Russian history are replaced by nine figures depicting famous figures of that time.

The Empress is depicted in porphyry, falling in wide, rich folds, covering part of the pedestal behind: in her right hand, slightly extended forward and bent, a scepter is placed, in her left hand, calmly lowered, there is a laurel wreath, half-hidden by folds of porphyry. The movement of the figure is indefinite, so to speak, ambiguous. If we look at the statue en face, it stands; from the outside, she either flies or falls, since the movement of her legs is hidden under the folds of her clothes. This duality harms the character of the statue: there is no calm grandeur that the viewer expects to see in the image of the great Empress. The idea of ​​a laurel wreath in the hand is also incomprehensible; it would have meaning on the forehead of the great Empress, but in the hand it has none.

On front side of the monument, below the statue of Catherine II, the viewer sees a group of three famous field marshals: Prince Potemkin in the middle, on the right side is Count Rumyantsev, on the left is Suvorov Rymniksky. Prince Tauride is depicted sitting in the ceremonial court costume of that time, with his head thrown back, facing Prince Suvorov. Rumyantsev-Zadunaisky, also in a sitting position, leaned forward and apparently listened to the conversation between Potemkin and Suvorov, who stood with his right knee leaning against the bracket, and with his left hand resting on his naked sword. Count Suvorov's pose is very uncomfortable, and the viewer is surprised by the naked sword in a group of field marshals peacefully talking. The group of two figures: Bezborodko and Betsky, placed in the monument from the side of the Public Library, was incomparably better conceived. The motive is a mutual discussion of the plan for an orphanage, one of the charitable institutions of Catherine II. There is a lot of life in the group: Betskoy holds the plan on his knees and explains its location to Count Bezborodko.

From the side of the Anichkov Palace, next to Count Rumyantsev, a young lady can be seen sitting coquettishly, with her head bowed and a book on her lap. This statue is very attractive, but it is hardly possible to recognize in it the character of the energetic president of the Academy of Sciences, Countess Dashkova. Standing next to her in a heroic, partly theatrical, pose is the famous poet Derzhavin, with a sheet of poems in his hand. In our opinion, both statues would have been closer to the truth if the artist had depicted the poet Derzhavin more modestly and given more energy to the image of Countess Dashkova. On the side of the Alexandrinsky Theater, near the porphyry trail, there are two figures depicting famous admirals: Count Orlov-Chesmensky and Chichagov. Both figures are in a sitting position; Orlov - with a naked sword in his hand, Chichagov - with a sea telescope. The statues of Catherine II's associates are disproportionate, at least the statue of the standing Count Suvorov is slightly higher than the seated Prince Potemkin. If such a difference in height is historically correct, then the artist personifying them in the monument should have avoided such disharmony. We also find the space reserved for nine figures ungrateful. Due to the nature of the location, the figures had to be depicted with their legs bent under the seat, which may be natural, but ungraceful. Whether it was possible to avoid this and how - we will not talk about it.

The monument was composed by academician M. O. Mikeshin; the shortcomings we have pointed out prove that the author of the monument, for all his talent, is not flawless in his writings. He still composes monuments as everyday scenes. His drawings are very good, elegant, full of taste; but for a monument on the square all this is not enough. Here it is necessary to strictly consider every movement, to express the character historical figures, and Mr. Mikeshin, with his talent, is able to accomplish this if he seriously developed his abilities and did not get carried away by success.

The models of the statues were made with great taste and knowledge, according to the drawings of M. O. Mikeshin, academicians of sculpture M. L. Chizhov and A. M. Opekushin.

In any case, the monument to Catherine is still one of the best monuments in St. Petersburg, and the area near the Alexandrinsky Theater and along Nevsky Prospekt has benefited enormously from the construction of the monument, the layout of the square, the installation of candelabra, etc. It is absolutely impossible to recognize what was here before, and how beautifully the buildings of the Alexandrinsky Theater and the Public Library stood out. Now all that remains is to wait for the empty spaces to be built on the same area.

“Architect”, 1873, Vol. 12, p. 143

Later, already in 1879, D.I. [Grimm] proposed a new layout of the area plan, that is, the sector, near the monument itself, distributing in it a whole series of statues and busts of the empress’s associates; but, due to unfavorable circumstances in this case, I had to abandon this grateful idea.

“Architect”, 1898, Vol. 11, p. 83

The following should have been depicted full-length: Count N.I. Panin, Admiral G.A. Spiridov, writer D.I. Fonvizin, Prosecutor General of the Senate Prince A.A. Vyazemsky, Field Marshal Prince N.V. Repnin and General A. I. Bibikov, former chairman of the Code Commission. The busts include publisher and journalist N. I. Novikov, traveler P. S. Pallas, playwright A. P. Sumarokov, historians I. N. Boltin and Prince M. M. Shcherbatov, artists D. G. Levitsky and V. L. Borovikovsky, architect A.F. Kokorinov, favorite of Catherine II Count G.G. Orlov, admirals F.F. Ushakov, S.K. Greig, A.I. Cruz, military leaders: Count Z.G. M. Dolgorukov-Krymsky, Count I. E. Ferzen, Count V. A. Zubov; Moscow Governor General Prince M. N. Volkonsky, Novgorod Governor Count Y. E. Sivers, diplomat Ya. I. Bulgakov, pacifier of the “plague riot” of 1771 in Moscow P. D. Eropkin, who suppressed the Pugachev riot Count P. I. Panin and I. I. Mikhelson, the hero of the capture of the Ochakov fortress I. I. Meller-Zakomelsky.

Derzhavin.

All photos - 02.11.2013

The monument to Catherine II is included in the list of historical and cultural heritage federal (all-Russian) significance, located in St. Petersburg, as a monument of monumental art. (Resolution of the Government of the Russian Federation No. 527 of July 10, 2001)

Erect a monument in the city. One of the monument options, made to scale 1 ⁄ 16 life-size, located in the “Grotto” pavilion in Tsarskoye Selo. In the center of the park on Alexandria Square, a monument to Empress Catherine II was unveiled in 1873. Its author is the artist Mikhail Mikeshin.

In the late 1960s, vandals snatched and stole the sword from the hands of Alexander Suvorov. It was reproduced again twice - attempts on the sword continue to this day.

Authors

The artist Mikhail Mikeshin took part in the construction of the monument, the sculptural work was performed by Matvey Chizhov, who sculpted the statue of Catherine, and Alexander Opekushin, who created the figures surrounding the pedestal. The author of the project for the pedestal of the monument and the laurel wreath around its foot, the candelabra floor lamps, and the inscription board under the foot of the monument is the architect David Grimm, who supervised all the work on the creation of the monument. The ornamental details of the lanterns were made according to the drawings of the architect Victor Schröter.

Technical data

Around the pedestal there are nine figures of prominent figures of Catherine’s era: Field Marshal Peter Rumyantsev-Zadunaisky, statesman Grigory Potemkin and commander Alexander Suvorov facing Nevsky Prospect, poet Gabriel Derzhavin and President of the Russian Academy Ekaterina Dashkova Anich Kova Palace, Prince Alexander Bezborodko and President of the Russian Academy artists Ivan Betskoy - to the Public Library, polar explorer and naval commander Vasily Chichagov and statesman Alexey Orlov-Chesmensky - to the pediment of the Alexandrinsky Theater. On the front façade of the monument there is a bronze plaque decorated with attributes of the sciences, arts, agriculture and military affairs. On the book, standing among these attributes, the word “law” is written and the inscription is made: “To Empress Catherine II during the reign of Emperor Alexander II, 1873.”

According to the original plan, the monument was to be installed in Tsarskoe Selo, but later it was decided to install it in St. Petersburg in front of the Alexandrinsky Theater. Between the Alexandrinsky Theater and the monument to Catherine II there is a square called Catherine's.

The events of the last years of the reign of Alexander II - in particular, the Russian-Turkish War of 1877-1878 - prevented the implementation of the plan to expand the memorial of the Catherine era. D. I. Grimm developed a project for the construction in the park next to the monument to Catherine II of bronze statues and busts depicting figures of the glorious reign. According to the final list, approved a year before the death of Alexander II, six bronze sculptures and twenty-three busts on granite pedestals were to be placed next to the monument to Catherine.

The following should have been depicted in full size: Count N. I. Panin, Admiral G. A. Spiridov, writer D. I. Fonvizin, Prosecutor General of the Senate Prince A. A. Vyazemsky, Field Marshal Prince N. V. Repnin and General A. I. Bibikov, former chairman of the Code Commission. The busts include publisher and journalist N. I. Novikov, traveler P. S. Pallas, playwright A. P. Sumarokov, historians I. N. Boltin and Prince M. M. Shcherbatov, artists D. G. Levitsky and V. L Borovikovsky, architect A. F. Kokorinov, favorite of Catherine II Count G. G. Orlov, admirals F. F. Ushakov, S. K. Greig, A. I. Cruz, military leaders: Count Z. G. Chernyshev, Prince B . M. Dolgorukov-Krymsky, Count I. E. Fersen, Count V. A. Zubov; Moscow governor-general Prince M. N. Volkonsky, Novgorod governor Count J. E. Sivers, diplomat J. I. Bulgakov, suppressor of the “plague riot” of 1771 in Moscow P. D. Eropkin, suppressed the Pugachev riot Count P. I. Panin and I. I. Mikhelson, the hero of the capture of the fortress Ochakov I. I. Meller-Zakomelsky.

Urban legends

Wits say that the bronze figures of Catherine’s favorites around the pedestal on the monument to Catherine demonstrate with gestures the size of their advantages. Only Derzhavin throws up his hands guiltily. And above them rises the majestic depraved empress with a sly smile and a standard scepter in her royal hands. In fact, of those depicted on the monument, only G. A. Potemkin was Catherine’s favorite (according to some sources, even her secret husband).

One of the legends claims that “countless riches” are buried under the monument. During the laying of the monument, one of the exalted ladies tore off her ring and threw it into the pit. Other ladies followed her example. If you believe the city rumors, then in Soviet era the authorities wanted to conduct excavations in the Catherine Garden. However, the matter did not go beyond office conversations.

The monument to Catherine is the most unfortunate monument in the city. His sculptural details are constantly disappearing (bronze chains, orders, swords); restorers even found fragments of glass bottles on the empress’s head. And once Ekaterina was seen in a vest with a bottle in her hand. They say that this was done by drunken sailors.

Description

The monument to Empress Catherine II was erected in the center of Ostrovsky Square in St. Petersburg on Nevsky Prospekt. Especially for the landscape design of the monumental and sculptural composition, Alexandrinsky Square was laid out around it.

Ostrovsky Square is framed by masterpieces of Russian architecture from different eras; in the depths of the square along the central axis is the Alexandrinsky Theater, with its main pediment depicting an equestrian quadriga ruled by the ancient Greek god Apollo, the patron of the arts; the theater building is an example of the art of Russian classicism. On the right side of the square is the St. Petersburg Public Library, founded by Empress Catherine II, an architectural monument of the 18th and 19th centuries, a repository of historical artifacts expressing the ideas of world human thought. On the left side the Anichkov Palace, the former noble estate 18th century, which was owned by dignitaries in different historical periods. To create a new square, the center of which was to be the monument to Catherine II, part of the buildings of the Anichkov Palace estate were demolished.

The idea to erect a monument to Empress Catherine II arose during her lifetime, but the queen rejected this idea, the decision to perpetuate the image Great Catherine The second came during the anniversary date - the 100th anniversary of the accession to the throne of the all-merciful empress.

In the newly opened space, by decree of Emperor Alexander II, a monument was laid on November 24, 1869; the date was not chosen by chance, November 24 is St. Catherine’s Day. The foundation for the monument was built in a complex manner; first they drove oak piles, laid a rubble layer on top, then a granite layer.

The pedestal, round in plan, made of various types of Karelian granites, is wide at its base, composed of four parts from largest to smallest in ascending order, completes the composition with a bronze figure of the empress. It is located on a bronze round pedestal, which carries a main granite pedestal.

The stone pedestal ends with a wide shelf on which sculptures of the Companions are located around the main figure. She stands omnipotent, majestic, full of dignity and peace, she is surrounded by her companions - people who brought to life the ideas of the magnificent Catherine’s century. With their talent and labor in the military and national fields, they created the greatness and independence of the Russian Empire.

A creative team of architects, artists, sculptors, and foundry workers worked on the monument to Catherine II. Project management was entrusted to the architect D. I. Grimm, the sculptural compositions were performed by the artist and sculptor M. O. Mikeshin, sculptor A. M. Opekushin, foundry master M. A. Chizhov (performed the sculpture of Catherine), architect V. A. Shreter worked on the bronze frame of the monument.

On the front side of the pedestal there is a bronze plaque with a dedicatory inscription “To Empress Catherine II during the reign of Emperor Alexander II, 1873.” The board is framed with objects symbolizing the activities of the Empress and her associates, these are the military land and sea exploits of commanders, the outstanding discoveries of new lands by Russian navigators, the development of sciences, art, the improvement of the state structure and law of the Russian Empire.

The figure of the empress is harmoniously perceived from all angles; from the front side, in her exact portrait likeness, dressed in flowing robes, she appears before us as an all-powerful queen. In her right hand she calmly but firmly holds the staff of imperial power, in her left hand rests a laurel wreath - a symbol of the greatness and strength of statesmen of all times and peoples. Her figure is both solemn and graceful, she is calm, but wants to move forward. This movement is enhanced by the flowing mantle, the visible image of which tells us what an overwhelming burden of responsibility for her country the Mother Empress bears. Like a true woman, Catherine appears before us wearing an elegant crown; at her feet is an imperial crown, under which is a scroll with a personal monogram.

The sculptural composition of the monument to Catherine II consists of two parts; on the lower granite circular shelf there are figures of companions; the monument is crowned by the figure of the Empress herself, located on a bronze pedestal.

Who were these people, with their intelligence, work, exploits, talent, devotion to their homeland, who created the greatness of Russia.

On the front side of the pedestal there are figures of P. A. Rumyantsev-Zadunaisky, G. A. Potemkin and V. A. Suvorov, amazing portrait likeness great commanders of different periods of time during the reign of Catherine. There is a lively dialogue between the characters about the fate of peoples and the fatherland.

A group of sculptural images by A. A. Bezborodko and I. I. Betsky narrate the development of state building in the language of art.

The poet and outstanding statesman G. R. Derzhavin and the President of the Russian Academy, one of the most educated women in Europe, E. R. Dashkova, are talking about the flowering of educational thoughts and the formation of the Russian poetic movement.

A separate group is represented by V. Ya. Chichagov and A. G. Orlov-Chesmensky. These people lived in different times. Orlov-Chesmensky defended the freedom of his homeland and historically close Orthodox Christian peoples. Chichagov was an outstanding explorer and navigator who dedicated his entire life to serving Russia.

The monument to Catherine the Second was inaugurated on November 24, 1873 in the presence of the sovereign. The event was accompanied by a military parade and fireworks. The entire architectural and sculptural complex was built over the course of 12 years; the strength of the creators, their will, perseverance and faith in victory were crowned with a brilliant result. The monument, 15 meters high, is skillfully integrated into the relatively small space of Ostrovsky Square in front of Nevsky Prospekt. Empress Catherine the Second, with a gaze filled with greatness, peers into the future, her associates also think about the main thing - about the future of their native country.

Contacts

• Address

  St. Petersburg, Ostrovsky Square, Ekaterininsky Square

How to get there?

• Metro

  Gostiny Dvor

• How to get there

  To the Gostiny Dvor metro station, exit to the right along Nevsky Prospekt, in 2 minutes you will find yourself in front of the monument to Catherine II