GIACOMO QUARENGHI

September 20, 1744 by representatives of two well-known Italian families Giacomo Antonio Quarenghi and Maria Ursula Roth was born the second son, named after his father Giacomo Antonio. It happened in a small picturesque village Kapiatone district Roth d′Imanya entering the province of the north Italian city of Bergamo.

As he wrote later than the architect himself, he had "since childhood showed a sincere call to the arts", but his parents were preparing another career. The family had a long tradition: if born three sons, two of them should take the rank of the cleric, as well as Giacomo was the second of three sons, the parents insisted on the observance of the established traditions and looks at what it will take a well-ryasu . Primary Giacomo was in the large and well known in Bergamo College "Charity. " My father insisted that he studied philosophy and jurisprudence. Quarenghi recalled: ": I can not sufficiently express my disgust with which I indulge in such exercises. But I will not deny that in the course of rhetoric, I felt a special inclination towards poetry, and that to me before the excesses enjoyed three fine Latin poet - Catullo, Tibull and more than all Virgil, of which I translated into Italian verse a few pieces: but the inclination, I strongly vlekshaya for the Arts, does not allow me to become either a poet or philosopher, nor a spiritual person, was the reason that I have learned little or no fruit derived from such exercises. "

Seeing passion for the son of the fine arts, Quarenghi father decided to give his son an opportunity to learn to draw from the best artists of the city of Bergamo - Giovanni Paolo Bonomini and Raji. However Quarenghi was dissatisfied with their leadership as their way out of date.

At this time the young man came under the influence of junk, according to the father′s company. In seeking to isolate the bad son of friends, parents began to provide him a strong pressure to ensure even the fact that he left the monastery of San Cassino.

But in the end, surrendered to the father. He agreed with the urgent desire of a son. Quarenghi went to Rome. There, in the first four of five years, he has changed the creative workshops and has not received any systematic knowledge of art or of architecture, but as you can tell from his words, architectural studios were a suitable place to paint. That figure is the main area of his work, which Quarenghi continually developed.

Full of doubt about the correct methods of study of architectural art, prepodnosimyh his Roman teachers Quarenghi met once a treatise on the famous architect Andrea Palladio The Four Books on Architecture. " He found a close and in tune with his philosophy of art methodology and disclosure tectonics architecture.

In the late 1760′s by the Irish sculptor Christopher Yukstona, improve in Rome, Giacomo has received an order for two draft mansions "for the British Masters, and carry out with success" to the satisfaction of the above gentlemen. " Since then he has developed projects fireplaces, as well as utilitarian buildings such as warehouses, also for the British. Quarenghi soon gained recognition and Italian customers.

In a letter to Markezi Quarenghi wrote: "More important than the project for the England job was that I received in 1770 by Benedictine monks, and in which they are asked to update their old church of Santa Skolastika.

Photo — «Giacomo Quarenghi»

I would have great difficulties to overcome before to reach a decision, because I had put a condition not to touch any of the old stone buildings, although throughout the church there was not one of which would be consistent with the other. After careful examination of building and spent a large amount of effort, I finally reached a draft of a new church within the old. "

Quarenghi, who was then about twenty-nine years old, had to decide, indeed, one of the most difficult tasks in the architecture associated with the reconstruction of existing medieval buildings. And he fulfilled it well. The first stone was laid May 3, 1770, but ceased construction in autumn 1773.

Quarenghi was satisfied with his first implemented the plan. ": Through the study of plodding work, and I coped with the business plan and built a new church within the old" - he wrote. According to the Italian historiographer Giovanni Petrinja, "The interior of the church of St. Skolastiki is one of the first and most valuable examples of Neoclassicism: the motives of rich artistic and historical significance: the only Latsiume.

Marriage Giacomo Quarenghi and Mary Fortune Matstsoleni held in Bergamo in the Church of Santa Agata Del Carmina July 31, 1775. After a short period of time the wife arrived in Rome. The following year they had a daughter born, named for the Roman Catholic tradition of multiple names - Teodolinda Camilla Dzheltruda Luigi.

Just a long list of architectural works Quarenghi said of his recognition as the architect of our customers - and fellow иноземцами. It worked for Rome and Bergamo, the drafts were sent to England, Sweden, in the late 1770′s it was go in circles of the Roman nobility. Ability to travel provided enough of its wealth, which is after the marriage has been strengthened. Both the Quarenghi, and his wife have been influential in the north of Italy and secured families.

When he offered to enter service in Russia, Quarenghi accepted almost immediately. Here he hoped to make extensive use of their knowledge and abilities. In January 1780 the architect came to Moscow.

According to its position "architect court of Her Majesty" Quarenghi was obliged to serve in the first orders of Catherine II. The first work of the architect in the restructuring of the Imperial Moscow was called the Catherine Palace at Yauze. By this time Catherine II has already appreciated the remarkable ability of the architect, and in February 1782 he requested the drafting of all the interior furnishing Moscow palace, "as well as the facade, the colic can be rectified. "

Architect had to develop their proposals, do not read at first hand with the Moscow building, and only studied in St. Petersburg who was an old project that had already been largely implemented. In these circumstances, the possibility remained for Quarenghi only "hair" on the new building ready.

The architect with the honor came out of this difficult situation. He suggested that the central focus of the longitudinal facades long colonnades large orders. Entablature of the order, he continued along the perimeter of the entire palace, and concluded its balustrade along the edge of the roof. Concise methods Quarenghi has emphasized the horizontal system of architectural design.

In 1780 years Quarenghi worked hard. Sam Markezi architect reported that the built in 1785 has five churches - one in Slavyanka, one at Pulkovo, one of Fedorovsky Posad, one in Sofia cemetery for burial: ".

Photo — «Giacomo Quarenghi»

A fifth church Quarenghi believed mausoleum Lanskoe.

One of the most significant buildings Quarenghi is simple, but majestic building of the Academy of Sciences on the embankment of the Neva. Its construction was due to the lack of residence, becoming the prestige of institutions represented Russian science and culture. Work commenced in 1783.

Building with Ionic portico vosmikolonnym warrant and pediment, decorated with statues in the draft, raised to the ground floor. It was at the very edge of Nevsky, while not yet processed the river, which has forced the architect to deploy outside of the grand staircase at the front for two vanishing. This temple of science and the striking image and is now clearly a strong plastic main facade, of course, of a perception from the other bank of the river on Senate Square.

In connection with the redevelopment of the Winter Palace Theater tiers of boxes, have surrounded the palace rooms, has become inconvenient, and September 3, 1783 came a decree on the early construction of "at the Hermitage Theater stone: on the plans and under the architect nadziraniem Gvarengiya.

Before the architect was a difficult task - to place the theater in a very straitened place - in the courtyard of the Small Hermitage, on Konyushennaya case. This is dispositive of the relatively small size construction and, perhaps, its configuration.

In 1787 in St. Petersburg a luxury edition with engraved drawings just built the Hermitage Theater, and description in French, performed by the Quarenghi. He wrote that "tried to give the theater an antique look, coordinating it at the same time with modern requirements: All seats are equally honorable, and everyone can sit where he pleases: in semicircular form of theater, I stopped for two reasons: first, it is most convenient in relation to visual and, secondly, each of the spectators from their seats all around can see that with the full room offers a very pleasant sight. I tried to give the noble architecture of the theater and strong character. So I took advantage of the best in each other and to the idea of building decorations. The columns and walls are made of fake marble. Instead, I put the plate in the Corinthian capitals scenic masks, following the models of the ancient capitals:

In the late 1780′s Quarenghi attended a small private competition, announced by the Count NP Sheremetev. The House on Nikolskaya was not built. Earl decided to confine itself to restructuring its suburban residence in Ostankino. To participate in this work, he invited several architects, including Quarenghi. Designing Home Theater Sheremetev was particularly pleased to Quarenghi, because he was personally familiar with the PI Kovaleva Zhemchugovoy leading actress of the group, past the fortress, and then the wife of Count Sheremetev.

The process of designing the famous Alexander Palace and the search for his final decision taken at Quarenghi only one year, as has already been 5 August, 1792 were started bidding for the construction.

The inability of the outside areas allocated for the palace to receive the necessary front to disclose the composition Quarenghi forced to abandon the creation of a broad spatial band. Office kitchen like a shell, he placed asymmetrically closer to the street from the side elevation, away from the composite connection with the palace.

Alexander Palace - a free-standing structure in the park open, unified composition with a regular part of the new garden - appeared as the antithesis closed ensemble of the Catherine Palace Rastrelli.

Photo — «Giacomo Quarenghi»

Bands Catherine and Alexander Palaces of steel striking embodiment of the two architectural philosophies: Baroque - with closed ensembles and classicism - an open ensemble, forming the surrounding space.

Quarenghi As he wrote himself, in his work often interfered Catherine II: "Her majesty sometimes takes work throw me his designs and sketches and handwritten wishes, however, that I had complete freedom and the opportunity to involve all those artists who I needed as performers. " Such intervention is sometimes the architect put in a difficult position, but his say-so, he won a place in the Empress brilliant embodiment of all its demands and its own ideas, let him work around sharp edges and put in the correct architectural framework, all give destiny. Quarenghi managed to maintain its high standing and a successor to the queen of Paul I, and then at the Emperor Alexander I, was stimulated by the successful completion of the new palace in Tsarskoe Selo.

After completion of the Hermitage Theater architect was asked to "view: a large family and the troubles caused by the disease, to live in one of the premises of the building, as viewed in the windows of the Neva. Permission has been received. There he lived until his death.

Before 1793 life companion Quarenghi remained Maria Fortunata. Their first product - a daughter Teodolinda remained in Italy and brought up in a Milan monastery. Of the children born in St. Petersburg, the two girls died during the epidemic in 1788. The next year was born the son of Federico and another a year later - Julio, who, like his father, became an architect and played a crucial role in the popularization of his works.

In 1793 the family Quarenghi occurred tragedy: she died in childbirth of his wife, leaving his father at the hands of a helpless newborn baby girl and four young children. By caring for them, he said, Quarenghi was not suitable. " Condolences friends, fellow and even the Empress not facilitate the participation of widowed Quarenghi. He agreed with her children to travel to Bergamo to be closer to relatives and family Matstsoleni. In the winter of 1793-1794 the architect′s left Petersburg.

In autumn 1796 Quarenghi back. He entered into a second marriage with Anna Catherine Conradie. Anna Konradi was Lutheran, and because of this marriage relatives in Italy reacted negatively. Quarenghi with a new wife to Italy and did not go.

By the time Quarenghi known as an outstanding architect of the court of Catherine II was published outside Russia. This is reflected in the fact that 26 Jan, 1796 he was elected a member of the Swedish Royal Academy of Arts. High-election was not carried out without the participation of his Swedish friends - T. Sergeli sculpture and architects FM Pipera and F. Blom. Quarenghi often send their drawings and pictures, thus keeping them abreast of their work.

Formal recognition of the architect of St. Petersburg Academy of Arts, strangely enough, occurred much later. Only 1 Sept. , 1805 at an extraordinary meeting of Academy Quarenghi was elected "honorary obschniki free. "

In the early years of the new century Quarenghi designed and built almost simultaneously two large buildings of educational educational purposes. One of them - Catherine institution - there is now. It was built in 1804-1807 on the embankment of the Fontanka River.

Photo — «Giacomo Quarenghi»

The construction of another started in 1806 and two years later were already finishing. This is - well-known building of the Smolny Institute.

The site, which will place the building of the Catherine Institute, was occupied by a large garden belonging to the so-called Italian palace. Having at his disposal a large garden and space is running old palace, designed by Quarenghi extensive closed ensemble of four shells, covering a square yard, which is placed in the center of a round domed church related vestibule with two side hulls.

The project has been too expensive, and the architect presented the new version as a single body, supplied along the embankment. At the axis of the building in the garden Quarenghi provided low domed rotunda of the church, and two single-household structures. Then, the architect made another version of the main facade, enriched by the pediment of the portico of eight Corinthian half raised Arcado rusticate first floor. Unlike previous versions of the project, approved in June of 1804, was not a church.

Draft building Smolny Institute Quarenghi developed in late 1805 - early 1806, and in May this year, has already held a solemn tab. Realizing the need to enter their building in the ensemble by Rastrelli, Smolny monastery and Institute Alexandrovsky Felten, located on the other side of the monastery, Quarenghi made quite an accurate drawing of the existing buildings, and in their harmonious ensemble introduced designed building institution. The main facade of Smolny been deployed to the west - in the same direction, which were converted, and the entrance to the monastery, and the main facade of the Alexander Institute.

The building has a clear layout and simple composition, but elegant form of architecture on the main facade with colonnade perfect composite style, she proudly lifted high arcade portico. The solemn nature of the Smolny Institute for Architecture and the decision of the ensemble with the architecture of neighboring buildings and the banks of the Neva allow it to see the phenomenon of high classicism and put in a number of the best works of this style, erected in St Petersburg.

In those same years established an excellent Quarenghi monumental building Konnogvardeyskiy manege responsible place in the center of St. Petersburg. The building was included in a set of barracks Konnogvardeyskiy Regiment and ends with a deep portico facade closed far to the west of the prospect of an emerging area in front of the Winter Palace. Construction of manege for years 1804-1807 was an important element in the radical transformation of the center of the city.

We know that Quarenghi was a man of honest, friendly and responsive. In one of his letters he writes about his character is too hot, which he, above all, he and suffering: "For all its explosive disorder othodchiv I can not even hurt a fly. And if the opportunity to provide any benefits to those who worked with me, I never miss. "

In another letter, he wrote: "There are many people who were in a difficult situation, and I vytaschennyh of extreme poverty. But these same people are willing to break me to pieces and to me the way I do not. But I do not draw attention to the very tricks of these people. On the contrary, I mschu them only because I do good, and when I got the opportunity. "

Quarenghi second marriage lasted about ten years. In 1811 the Quarenghi again went for a short time in Italy to settle the case with real estate and attend the marriage of a beloved daughter, Katina.

Photo — «Giacomo Quarenghi»

In the same summer he became the third marriage with Maria Laura Bianco Sottokasa. He was then sixty-seven years. A. Matstsi the biography of the architect writes that "Sottokasa married not for a beautiful appearance Quarenghi. You may think that she decided to take this step, hoping to live in the same palace where the royal family lived, the largest state in Europe, and enjoy the same benefits. " After marriage Quarenghi returned to St. Petersburg and soon "realized that was wrong and was not followed in time the advice of his friends not to enter into this hasty marriage. " The marriage of the wife was of convenience.

Many disappointing caused Quarenghi and his children. In 1812, he wrote the friendship of the Swedish envoy to Russia Stedingu: "My trip to Italy has been fatal for me, not only from the complete collapse of all my cases, but especially because of the bad behavior of my children, who sold and scattered all a collection of my old drawings, and books, and Katina, who filed such hope, and so was well brought up, too, did nothing and got married, being very aware. Too exaggerated my delicacy and romance were the reason of my affection and my choice, which she did not deserve. "

Quarenghi began to lose faith in even the closest people. In the same letter, he complains, and Petersburg on the environment: "Despite all the good that is in. to me, all of his entourage thinks otherwise, and jealousy leads to the fact that they serve me everywhere bad service and so far I have not found anybody who would have dared to inform and f. . into. My status: We must be ready for any trouble on the part of any exalted people. " Pessimism was due, on the one hand, the fact that the aged architect, indeed, is increasingly giving way to the creative life of the capital of a new generation of architects, and with another - the dramatic events that have occurred in Italy, and referring to him personally.

When in 1812 the preparation process for the campaign of Napoleon in Russia, the Italian king ordered all Italians to return to Italy. Quarenghi firmly refused. For this he was sentenced King to death and confiscation of all property. Italy as the homeland he has not. New motherland - Russia - took him to one of its famous sons.

But with the rise of youth, with what talent aged Quarenghi put Narva Triumphal Gates for winning the Russian army, returning in 1814 from France! With what enthusiasm and skill, he was the project "the church in memory of 1812" for buildings in Moscow!

But build it prevented the death. 2 Mar, 1817 he died in St. Petersburg and was buried at the cemetery Volkova. In 1967, the remains reburied in the necropolis of XVIII century Alexander Nevsky Monastery. In the same year in his honor was a monument in front of Assignatsionnogo bank.

An important part of the heritage of Quarenghi tinted watercolor paintings with views of Moscow and St. Petersburg, as well as projects of furniture and utensils.