What a monument to catherine 2 looks like. A monument to catherine the second

Monument to Catherine II

Memory. monumental

arts (federal)

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

Hood. Mikeshin Mikhail Osipovich -

Sc. Opekushin Alexander Mikhailovich - 9 statues on a pedestal

Sc. Chizhov Matvey Afanasevich - the figure of Catherine II

Arch. Schroeter Viktor Alexandrovich

Back in the early 60s, the academician of sculpture Mikeshin proposed to the Sovereign Emperor a project for a monument to Empress Catherine II for staging in St. Petersburg. This project, however, did not like the Tsar and was sent for consideration to the Imperial Academy of Arts, which, after listening to the conclusion of DI [Grimm], drew attention to the lack of proper monumentality in the project and pointed out the need for its complete revision. The second project, revised 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 DI 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, a monument to Empress Catherine, erected on the named Catherine Square in St. Petersburg, was solemnly consecrated and D.I., as a sign of the Tsar's special approval, received the rank of Privy Counselor.

<…>until 1871, work on the construction of a monument to Empress Catherine II in St. Petersburg was carried out according to a project that was approved by the Highest on February 4, 1865. On December 24, 1870 and on February 15, 1871, the Imperial orders followed, according to which the design of the monument was changed, namely: by the first Imperial command, the slope of the bowstrings and steps was increased by three inches, by the second, the base and cornice were expanded by six vershoks and the volume of the pedestal. The latter is caused by the need to place around the pedestal, in addition to the seven statues determined according to the 1864 project, two more - Count Orlov-Chesmensky and Chichagov. On top of this, on July 6 of this year, the Highest ordered to build a park around the monument and arrange a sidewalk with it, and surround the monument with pedestals, connecting them with bronze chains, and erect four candelabra. As a result, the cost of building the monument increased against the originally calculated amount (241,740 rubles) by 215,156 rubles. 85 k., Thus amounting to 456.896 rubles. 85 k. For work on the construction of the monument, 327,428 rubles were released up to and including 1872. 67 k. Now the remaining 134,468 rubles are requested for appropriation for 1873. 18 k. (Mosk. Ved.)

"Architect", 1872, Vol. 12, p. 195

Let us now turn to an extensive article by Nikolai Maximilianovich Bichele, the closest assistant of D.I.Grimm:

Construction of the monument to Empress Catherine II

<…>As you know, in 1860 the Academy of Arts announced a competition [on the centenary of the accession to the throne of Empress Catherine II] for the composition of the project of the monument to Empress Catherine II, which was to be staged in Tsarskoye Selo; by a certain date, projects were submitted for the competition. professors: Jensen and von Bock, academicians: Shtrom, 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 Sovereign Emperor deigned to honor the artist Mikeshin by ordering a monument to Catherine II, according to the model he presented in 1861 for a competition. Almost simultaneously, in one of the meetings of the St. Petersburg City Duma, the question of erecting a monument to Empress Catherine II in the Alexandrinsky Square, which belongs to the capital, was sympathetically accepted, and the Duma expressed a 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, was awarded the Highest approval. Considering the area chosen for the erection of the monument in St. Petersburg, Mikeshin drew up 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, together with the opinion of the rector of the Academy of Arts, secret adviser 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 get a more majestic look. By the Imperial command, the artist Mikeshin remade 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 project of the monument was made, which His Majesty deigned to inspect on August 19, and on February 4, 1865 this project was awarded 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 carried out in three years, starting in 1866, but as before 1869 the state council refused to allocate funds for the execution of the monument, the work was limited to making part of the plaster models in the workshop of the artist Mikeshin. Then, according to the appropriation of funds, work began on the construction of the monument. The general management of the production of work on the construction of the monument, with the exception of the sculptural ones, entrusted to the city of Mikeshin, was entrusted, with the permission of the Sovereign Emperor, to the professor of architecture DI Grimm; from the side of the Ministry of Railways, an engineer, a real state councilor, Lesnikov, was appointed as a work inspector, and upon his retirement (in June 1870), an engineer state councilor Stremoukhov.<…>

I. Arrangement of the foundation and granite pedestal.

The builder of the monument was provided with the original design drawings and estimates based on them; Professor Grimm, starting to consider the project from a constructive point of view, could not disregard 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 laying 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 filling with lime mortar; there is no doubt that the internal rubble masonry, with all the desire to connect it firmly with the granite cladding, cannot provide the strength that should be expected from a completely homogeneous material, and the inevitable settlement of masonry from small stones can have a harmful effect on the entire structure: and therefore the builder suggested that the entire monument be built entirely of granite stones, so as to avoid, if possible, the use of brackets, pyrons and other metal fasteners.

f) The pedestal under the figure of the empress is to be made from a pillar of red granite, with a square base, lined with a Kiev labrador from the outside according to the project; Not finding here a sufficient guarantee in the strength of the Labrador facing of the granite stone, the builder found it more common to abolish the use of Labrador at all, and make the pillar itself of dark gray granite.

g) Under the sidewalk around the monument, it was also necessary to lay a rubble foundation and make the sidewalk itself<…>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: on the cleaning of trees and bushes, the excavation of land began.<…>

After reaching the proper depth of excavation, namely 4½ arch., The pile driving began.

The underside of the foundation under the monument and the sidewalk makes a circle,<…>the sole area is 57.3 sq. soot .; 293 pine piles are driven on this surface<…>.

After driving the piles and aligning their tops under the spirit level, the soil loosened on the surface was taken out between them and the entire sole was compacted by driving between the piles on the edge of the set rubble slab<…>.

To check the horizontality of the entire artificial sole, rubble laying of the foundation has begun<…>.

For the entire pedestal, including the pedestal, used red, light and dark gray granite 72,260 poods,<…>all bronze figures and other parts and ornaments 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, that is, by the day originally designated for the solemn laying of the monument, everything was prepared and for the laying of the foundation itself, the place necessary for the arrangement of the ceremony was left unaccounted for; the appointed day, however, was postponed for almost a month, that is, to November 24 [on this day according to the church calendar, St. Catherine's Day is celebrated, in addition, in 1869, 140 years since the birth of Catherine the Great were celebrated]. Granite was used on the foundation stone, in which a nest was carved for placing a bronze ark with medals and coins: this ark was made at the Kohun factory, according to the drawings of Professor DI Grimm. In addition to gold, silver and copper coins, the following 8 medals were invested in it: the reign of Empress Catherine, - for the accession to the throne of Catherine II 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 the peasants from serfdom and as a reward for the troops for the conquest of the Western Caucasus. The Emperor, having closed the ark, handed the key to it to Count Bobrinsky and with his own hand lowered the box into the place prepared for him, which was covered with a bronze board attached to a marble slab. On the board this inscription:

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

When he was correcting the post of the 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 laid in one row, deliberately prepared for this sandstone object; after laying them by the Sovereign Emperor, members of the August Family and other persons, a covering granite stone was pulled down, placed on pyrons and filled with lead - this is the only stone in the entire monument, fortified with pyrons.

A silver Byzantine dish with a 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 gangs, with bronze hoops and relief bronze monograms, are made of walnut by the carpenter Schütz; in general, all items 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 composed of a solid mass of granite stones brought from Finland, Vyborg province, Serdobolsk district, from the islands of Lake Ladoga, namely: red granite, used for the lower part, from quarries on the Putsala island [now Putsaari], belonging to the Valaam monastery, gray the granite used for the middle part of the monument, that is, for the base and the cornice above it, was brought from the island of Yanitsar [Yanisari], owned by local residents, and finally, for the pillar, dark gray granite was delivered from the island of Susquezalomi [Snesquezalmi], which is the property of Valaam monastery.

The delivery of stones to St. Petersburg was carried out from Lake Ladoga by water, on ships specially adapted for the transportation of 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 Engineering Bridge and along Bolshaya Sadovaya Street to the place of work, with the help of a specially arranged portable iron roads.<…>Another unloading pier was located near the monument to Peter I, on the embankment near the water station: here it was intended to unload small stones, each weighing no more than 500 pounds, since the transportation of stones to the place of work through the Police Bridge could only be allowed on the condition that the transported the cargo did not exceed 500 poods.<…>

Of the granite stones used in the construction of the monument, the red granite from the Putsala quarry represents a completely different structure than the St. Petersburg granite, which is usually and almost exclusively used in St. Petersburg; it is true that the lining of Potsal granite is a little more difficult, but its surface can withstand the highest polish.<…>

Light gray stone is a completely homogeneous mass, and although we here in St. Petersburg are accustomed to seeing Serdobol granite as gray, nevertheless, the place of breaking sometimes gives the stone a distinctive feature, for example: the stone from the break Yanitsar has as if a fibrous structure, it has, so to speak, an end, which can be clearly seen from the finished sample, where both the lobar fibers and their ends are visible<…>.

The dark gray granite from the Suskesalomi break in its homogeneity in all respects, that is, both in color and in mass, deserves attention, and although its structure is inferior in strength to red granite, nevertheless, its hardness is not much inferior to Janitsar.<…>

As already mentioned, the pedestal of the monument is made of three colors of granite stones: a base made of red Putsal granite, consisting of 4 bowstrings arranged crosswise at right angles, and between them at a height of 4 steps, at the top of the stairs there is a basement, above it is made of light gray granite with breaks Yanitsar base with a fillet and cornice above it. The transition from this cornice to the pedestal at a height up to the bench, as if 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 from dark gray granite from the Susquezalomi quarry.<…>

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

II. Artistic models.

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

Artist Mikeshin was provided with the execution of models in clay and plaster. By 1869 he had made statues of the Empress, Derzhavin and Dashkova; as they were made, those were evidenced 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 the model of Prince Potemkin was ready in clay.

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 in clay 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 Potemkin's pose and at the same time, finding it was too familiar, ordered Mikeshin to change it personally, and then His Majesty ordered to immediately proceed with the alteration of the aforementioned figure. The rest of the figures - Bezborodko and Betsky - were completed much later. From the artist's workshop, all models were transported to the factory of the company "Nichols and Plinke"<…>... The sovereign Emperor examined the finished plaster model on February 15, 1871 and, in accordance with the opinion of the Academy Council and in addition to it, He deigned to Command:

1) the inscription, designed for the monument, should be placed on the front face on the plinth, below the statues of Count Rumyantsev and Prince Potemkin;

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

3) fold the porphyry folds more harmoniously and correspondingly to the elasticity of the matter usually used for porphyry;

4) to bring the ornamental decoration of the monument into one more character, decent to the monument;

5) to expand, as far as possible, the base of the monument and, accordingly, to push apart slightly all the lower figures;

6) carefully check the proportions of each statue in relation 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 the foot of Prince Potemkin with some military attribute;

8) reduce the hat of Count Rumyantsev in proportion to his head;

9) the statue of Derzhavin, too bent back, to straighten a little, in accordance with the two new statues.

To fulfill the 4th point of the Imperial command, His Highness, the assistant to 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 submit your opinion.

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

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

2) give the lower part of the cartouche with the Empress's monogram a stricter form, corresponding to the time of Louis XVI;

3) slightly broaden the upper part of the brackets separating the groups of figures, in accordance with the upper ripping;

4) pay attention to a smoother transition at the joints of the brackets with the cornices, while maintaining the aforementioned style.

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

1) that the architectural parts, neither in character, nor in form, nor in ornamentation, nor in size, do not agree with the Highest approved project and the small model;

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

As a result of the above, it follows: to remake all the mentioned parts of the large model, according to the Highest approved small model and the remarks made on it.

The artist Mikeshin was engaged exclusively in correcting the plaster statues, while the Minister of Railways entrusted the execution of the architectural and ornamental parts of the monument to Academician Schreter, according to a sketch made by him on the instructions of the Council of the Academy of Arts. At the end of all these works, on May 12, 1872, they were again examined 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 they began to shape the model for bronze casting.

III. Casting and installation of bronzes.

The casting and installation of the bronze parts of the monument to Catherine II was undertaken, according to the contract, by R. Ya. Kohun, by the firm "Nichols and Plinke".

Having accepted from the treasury the plaster models of the monument installed at his plant, Mr. Kohun began to mold, but having examined the models from the point of view of the breeder, he could not ignore some, apparently insignificant, awkwardness in the models, which, however , would give the bronze the appearance of incompleteness; so ex. the fur edge of the porphyry was so sketchy that when looking at the part of the edge removed for molding, one had to guess that it should 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 sewing on uniforms, eagles on porphyry and in general little things that at first glance will not catch your eye<…>... And so the work began to boil: in a few days the models were cleaned properly, 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 molded for casting as follows: head, upper torso, both arms almost from the elbows; then the middle part of the body, legs with a foot and, finally, a 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 setting of the statues.<…>

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

Bronzes disassembled for transportation to the site of the monument were weighed.<…>

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

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

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

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

The cost of building the monument is 456.896 rubles.<…>

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

In memory of the inauguration of the monument to Catherine II, a medal and a badge were struck The drawing of the medal was made by Academician M.O. Mikeshin, the front side was cut by the medalist A. Semenov, the reverse side - by P. Meshcheryakov.

N.M.Bikhele.

"Architect", 1874, no. 7, pp. 83-90

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

The opening ceremony took place with the usual, on occasions, ceremonies, in the presence of the Sovereign Emperor and persons of the August family. The good weather was favorable for the celebration; in the evening the city was luxuriously illuminated and decorated with banners and flags; Nevsky Prospect and Bolshaya Morskaya Street, flooded with gas and Bengal lights, represented a vast gulche, occupied by masses of pedestrians and carriages.

In front of the building of the City Council, attention was drawn to a massive crown set on a lamppost, studded with colored glass over a wire skeleton; burning gas hidden inside the crown poured light over the glass; the light rays, refracting in faceted beads, produced thousands of brilliant sparks that flickered spectacularly on the crown, due to the oscillation of the gas flame.

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

The monument to Catherine II was illuminated by four devices (in the form of pipes), reflecting the light of a flame of a special combustible 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 semi-darkness.

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

"Architect", 1873, no. 10-11, p. 126

<…>At the sight of the monument, the first impression is quite pleasant, and it would be even more pleasant if the lower part of it, which occupies half of the entire height, was of more interest. The general form resembles a 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 - the figure of Catherine II, and the epochs of Russian history are replaced by nine figures depicting famous figures of that time.

The empress is depicted in porphyry, falling down in wide rich folds that cover part of the pedestal behind: a scepter is inserted in her right hand, slightly extended forward and bent, and a laurel wreath, half-hidden by folds of porphyry, in her left, calmly lowered. The movement of the figure is indefinite, so to speak, dual. If we consider the statue en face, it stands; from the side - it either flies or falls, since the movement of the legs is hidden under the folds of clothing. 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 hand is also incomprehensible; it would have meaning on the forehead of the great Empress, but in the hand it has nothing.

On the 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 of his count Rumyantsev, on the left - Suvorov Rymniksky. Prince Tauride is depicted sitting in a ceremonial court dress of that time, with his head thrown back, facing Prince Suvorov. Rumyantsev-Zadunaisky, also in a seated position, bent forward and apparently listens to Potemkin's conversation with Suvorov, who is standing with his right knee leaning against the bracket, with his left hand resting on a naked sword. Count Suvorov's pose is very uncomfortable, and the viewer is surprised by the naked sword in a group of peacefully talking field marshals. The group of two figures, Bezborodko and Betsky, placed in the monument from the side of the Public Library, is incomparably better conceived. The motive lies in the mutual discussion of the plan of the orphanage, one of the beneficent institutions of Catherine II. There is a lot of life in the group: Betskoy holds the plan on his knees and explains to Count Bezborodko its location.

From the side of the Anichkov Palace, next to Count Rumyantsev, one can see a coquettishly sitting young lady, with her head bowed and with a book on her knees. 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. Next to her stands in a heroic, partly theatrical, pose - the famous poet Derzhavin, with a sheet of poems in his hand. In our opinion, both statues would be closer to the truth if the artist portrayed the poet Derzhavin more modestly and gave more energy to the image of Countess Dashkova. From the side of the Alexandrinsky Theater, near the porphyry plume, 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 marine telescope. The statues of the associates of Catherine II are disproportionate, at least the statue of the standing Count Suvorov is slightly taller than the seated Prince Potemkin. If this difference in height is historically correct, then the artist who personified them in the monument should have avoided such disharmony. We also find the space reserved for the nine figures ungrateful. By the property of the place, the figures had to be depicted with legs bent under the seat, which may be natural, but inelegant. Was it 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 indicated prove that the author of the monument, for all his talent, is not impeccable in his works. He still composes monuments like everyday scenes. His drawings are very good, graceful, full of taste; but all this is not enough for a monument on the square. Here it is necessary to carefully consider each movement, to express the character of historical figures, and Mr. Mikeshin, with his talent, is able to accomplish this, if he seriously developed his abilities and was not carried away by success.

The models of the statues were made with great taste and knowledge, according to the drawings of M.O. Mikeshin, by 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 our country in St. Petersburg, and the area near the Alexandrinsky Theater and along Nevsky Prospect has greatly benefited from the construction of the monument, the layout of the square, the setting of the candelabra, etc. It is absolutely impossible to find out what was here before, and how beautifully the buildings of the Alexandrinsky Theater and the Public Library stood out. Now it remains to wait for the construction on the same area of ​​empty places.

"Architect", 1873, no. 12, p. 143

Later, already in 1879, DI [Grimm] proposed a new breakdown of the area plan, that is, the sector, near the monument itself, distributing in it a number of statues and busts of the Empress's associates; but, due to the unfavorable circumstances in this case, it was necessary to abandon this grateful idea.

"Architect", 1898, Vol. 11, p. 83

In growth, the following were to be depicted: 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 Stowage Commission. In the busts - 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.Kruz, military leaders: Count Z.G. Chernyshev, Prince V. M. Dolgorukov-Krymsky, Count IE Ferzen, Count VA Zubov; Moscow Governor-General Prince M.N. Volkonsky, Novgorod Governor Count Ya. E. Sivers, diplomat Ya. I. Bulgakov, suppressor 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 fortress Ochakov I. I. Meller-Zakomelsky.

Derzhavin.

Chichagov - Orlov.

All photos - 02.11.2013

The monument to Catherine II is included in the list of objects of historical and cultural heritage of 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 10.07.2001)

On Ostrovsky Square in St. Petersburg in 1873, a monument to Empress Catherine II was unveiled in the center of Alexandrovskaya Square. From the day he was introduced to the public, all sorts of legends circulated around the monument, and city witters in every possible way made fun of the statue of the Russian autocrat. They said that the statues of the Empress's favorites on the pedestal indicate the size of their merits with gestures, and Derzhavin just makes a helpless gesture that a treasure of tremendous value is buried under the pedestal - a ring, which a certain high-ranking lady threw into the pit when laying it down. As for the first story, it is fiction. Of all Catherine's favorites on the monument, there is only an image of G.A. Potemkin. But the second legend seemed to be taken seriously - under Soviet rule, excavations were going to be carried out in the Catherine Garden. True, they were never started.

Various curiosities and troubles constantly occurred with the monument to Catherine. Some details - chains, orders, swords - periodically disappeared, during restoration work, fragments of glass bottles were found in the crown on the head of the empress, a sword was pulled out of the hands of the sculpture of commander A. Suvorov several times, and the assassination attempts continue now, and once the jokers turned Catherine's outfit in a sailor's vest. Vandals were found in most cases. In the old days, chess players liked to gather in the Catherine Garden.

The idea of ​​installing the monument arose in 1860, 100 years after the accession of Catherine II. The author of the monument is the artist M. Mikeshin. The granite pedestal is made of stone, which was delivered to the Neva embankment by water from the Karelian Isthmus. Then, granite was delivered to the site along specially laid railway tracks.

The lower part of the pedestal is made of Putsalo quarry granite, the base and cornice are made of gray granite from the Yanisari quarry, and the pedestal is made of gray Snesquezalmi granite. The figures in the pedestal were cast by the bronze-casters of the Nichols & Plinke factory.

The cost of work on the construction of the monument was 316 thousand rubles. The production of commemorative medallions, the reconstruction of the square and the opening ceremony cost about 456 thousand rubles. The monument was manufactured and assembled in stages from 1862 to 1873. The consecration ceremony took place in November 1873.

Under Soviet rule, in the early 30s, the monument was planned to be dismantled, and a sculpture of Lenin was put in place of Catherine. Mount figures of 9 members of the Leninist Politburo into the pedestal.

Since 1988, the Catherine Garden has been taken under state protection. In the late 90s and early 2000s, the park was reconstructed and the layout of 1878 was returned.

The authorship of the monument belongs to the artists M. Mikeshin, A. Opekushin, M. Chizhov, architects D. Grim, V. Shterer. The height of the sculpture of Empress Catherine II is 4.35 m. In her hands is a laurel wreath and a scepter, at her feet is the crown of the Russian Empire. On the chest of the Empress is the Order of St. Andrew the First-Called. In the circle of the pedestal, the figures of the Empress's associates: statesman Alexei Orlov-Chesmensky, poet Gabriel Derzhavin, field marshal Peter Rumyantsev-Zadunaisky, commander Alexander Suvorov, statesman Grigory Potemkin, polar explorer Vasily Chichyagov, president of the Russian Academy of Arts Ekaterina Dashkova, President of the Russian Academy of Arts Yekaterina Bashkova , Prince Alexander Bezborodko.

It was planned to expand the memorial, but the Russian-Turkish war and other events of the reign of Emperor Alexander II prevented this. Architect D. Grimm presented a project according to which bronze statues of prominent public and political figures of the era of her reign were to be located next to the monument to Catherine II. Among them should have been the playwright A.P. Sumarokov, writer D.I. Fonvizin, Prosecutor General of the Senate A.A. Vyazemsky, Admiral of the Fleet F.F. Ushakov.

And the building of the Public Library. The idea to erect a monument to Catherine II first appeared in the early years of her reign. However, the empress herself was against this.

The reason for the implementation of such an idea was the 100th anniversary of the accession to the throne of the Empress, in 1862. Then a competition was announced for the design of the monument, which they originally wanted to install in Tsarskoye Selo, in the courtyard of the Tsarskoye Selo palace. The sculptor Mikhail Mikeshin became the winner of the competition. He made a model of the Rococo monument to Catherine II, which received an honorary medal at the World Exhibition in London.

In April 1863, the "Joint Commissions on the Benefits and Needs of the Public", all the estate departments of the City Duma and personally Baron Fredericks raised the question of erecting a monument to Catherine the Great on Alexandrinskaya Square, next to the building of the Public Library, "the institution of which belongs to the late Empress."

For the new location, the project had to be redone. According to Mikeshin's new drawing, master Sokolov cast his model in 1/16 scale. This model was later housed in the Grotto pavilion in Tsarskoe Selo. The general idea in the new project remains the same. The Empress is located on a high pedestal, around which her entourage are located. The personal wish of Baron Fredericks was:

"so that on the pedestal was placed the image of the real secret adviser Betsky, as the main employee of the Great Catherine in the organization of educational and philanthropic institutions and according to whose project ... the Most Merciful Charter on the rights and benefits of the cities of the Russian Empire, invaluable in its beneficial consequences," [Cit. by: 1, p. 141].

As a result, next to the Empress, the sculptor placed nine persons who are in their thematic groups: P.A.Rumyantsev-Zadunaisky, G.A.Potyomkin and V.A.Suvorov, G.R.Derzhavin and E.R.Dashkova, A. A. Bezborodko and I. I. Betskoy, V. Ya. Chichagov and A. G. Orlov-Chesmensky. On the front facade of the monument to Catherine II there is a plaque with attributes of sciences, arts, agriculture, military, land and naval affairs. On the book, which is among these attributes, the word "law" and the phrase "Empress Catherine II during the reign of Emperor Alexander II in 1873" are written.

The architect D.I.Grimm was appointed the head of all work on the creation of the monument to Catherine II. In addition to him and the sculptor Mikeshin, sculptors A. M. Opekushin and M. A. Chizhov, architect V. A. Shreter took part in the work.

The breaking of granite in Finland and the construction of the foundation of the monument began in 1869. All connections were made using tabs and sockets, without the use of nails, screws or iron strips.

"On the lower part of the pedestal of the pedestal, granite from the Putsalo quarry was used, the base and cornice of gray granite from the Yanisari quarry and on the pedestal - dark gray granite from the Snesquezalmi quarry ..." by: 1, p. 142].

While preparing the foundation, 1,200 eight-meter piles were driven into the ground. A foundation stone was laid on them with an ark inserted into it, created according to Grimm's drawing, with samples of gold and silver coins, medals during the reign of Catherine II, Paul I, Alexander I, Nicholas I and Alexander II. A plaque with the name of V.A. Bobrinsky, who was then the chief manager of communications and was present at the laying, was also laid under the foundation.

Granite for the monument to Catherine II was delivered from the Karelian Isthmus to St. Petersburg by water, unloaded on the embankment near the Summer Garden. Then the stone was transported on a special portable railway made at the San Galli plant. The figures for the pedestal were cast at the Kohun foundry (Nichols & Plinke). The pedestal consists of over 600 pieces of granite. The cost of the construction of the monument was 316,000 rubles, and together with the production of commemorative medals, the organization of the opening ceremony and the reconstruction of the Alexandrinsky Square - 456,896 rubles.

The opening of the monument took place on November 24, 1873. It was accompanied by a military parade and fireworks. After the opening ceremony, tables were laid in the Public Library to honor the authors of the monument.

Almost 20 years after the installation of the monument, damage was discovered at its base. They started talking about the need for restoration in the early 1890s, but it was not carried out even by the 200th anniversary of the founding of St. Petersburg (by 1903). Only in June 1904, the City Council commissioned the repair of the monument to a certain Barinov. The lanterns surrounding the monument were repaired by Werfel's firm, which completed work on November 3. By July 1, 1905, the monument to Catherine II was surrounded by a low iron fence, as reported by the architect Bobrov.

According to the monument to Catherine, the square in front of the theater is commonly called "Catherine's", or simply "Katkin's garden".

Legends of Catherine Square

Everyone's favorite Ekaterininsky Square in St. Petersburg is located in the city center on Nevsky Prospekt. The park is surrounded by the architectural ensemble of the Anichkov Palace. Ekaterininsky Square is also adjacent to the Russian National Library and the Alexandrinsky Theater.

Ekaterininsky Square was founded and opened in 1820-32 by the architect K.I. Rossi and the garden master Y. Fedorov. It was re-planned in 1873-80 by the architect DI Grimm and the botanist E and L. Regel.
The dimensions of the Catherine Park are 160 X 80 m. The last reconstruction of the Catherine Park was carried out at the end of the year. 20th century Among the relatively few trees there are extensive flower beds.

In 1873, a monument to Catherine II was erected in the center of the park (hence the name). ABOUT creation of a monument to Catherine II they thought about it even during her reign, but the great empress herself was against its construction. In 1860, the Academy of Arts announced competition for the model of the monument to Catherine II for Tsarskoe Selo. This competition won the project artist Mikhail Osipovich Mikeshina.

Later, in 1862 Alexander II made an order to create a monument according to this model. The monument to Catherine II in St. Petersburg was decided to be installed to the 100th anniversary of her accession to the throne. And the governor-general, Prince AA Suvorov, the grandson of the famous commander, made a proposal to erect this monument in the park opposite the "Alexandria Theater in St. Petersburg, in view of the Public Library, the institution of which belongs to the wise empress."

By 1864 artist Mikeshin developed a model of the monument, which was somewhat different from the monument that was installed in Tsarskoe Selo. This model has received the Highest approval.

Inauguration of the monument was timed to the day of St. Catherine - the name day of the Empress - November 24 (December 6) 1873.

Composition of the monument to Catherine II in St. Petersburg

The majestic bronze figure of the great Empress Catherine II with a slight smile looks at the Northern capital. In her hands is a symbol of imperial power - scepter and laurel wreath, reclining at the feet crown of the Russian Empire... An ermine robe falls from the Empress's shoulder, and on her chest we see order of St. Andrew the First-Called.

Around the "pedestal" are figures of prominent figures of the empress's reign.

The figures on the monument to Catherine II in St. Petersburg face four directions:

K:
Field Marshal Rumyantsev-Zadunaisky Pyotr Alexandrovich,
statesman Potemkin Grigory Alexandrovich,
commander Suvorov, Alexander Vasilievich.

To Anichkov Palace:
poet Derzhavin, Gavriil Romanovich,
President of the Russian Academy Dashkova Ekaterina Romanovna.

TO Public library:
Prince Bezborodko, Alexander Andreevich,
President of the Russian Academy of Arts Betskoy Ivan Ivanovich.

To the pediment Alexandrinsky Theater:
polar explorer Vasily Yakovlevich Chichagov,
statesman Alexey Orlov.

According to the project, approved a year before the death of Alexander II, another 29 figures of figures from the reign of the empress were to participate in the ensemble of the monument to Catherine II. In the Catherine Garden, a place was envisaged for placing another six bronze sculptures and twenty-three busts on granite pedestals. However, the Russo-Turkish War (1877 - 1878) intervened in these plans.

On the front facade of the monument there is a bronze plaque decorated with attributes of 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 ΙΙ in the reign of Emperor Alexander ΙΙ-th 1873".

Legends and facts of the monument to Catherine II

One of the many legends that arose around the monument to Catherine II says that treasures are kept under the monument. It was said that the laying of the monument made such a strong impression on one of the spectators that she, not knowing how best to express her emotions, tore off a diamond ring from her finger and threw it into the pit, as a token of gratitude to the great empress for her deeds. The noble ladies and gentlemen present at the ceremony followed her example, and soon at the bottom of the pit lay many earrings, rings, brooches, bracelets and necklaces. The ceremony of laying the monument lasted beyond the planned time, since there were many who wanted to "donate" to Catherine II their precious jewelry. Rumor has it that the treasures still lie under the monument in the Catherine Garden.

An interesting fact related to the monument to Catherine II is that during the "reign" of the All-Union Communist Party of the Bolsheviks (1930s), the party organs of Leningrad recognized the monument as an old regime and planned instead of the figure of the empress, install the figure of V.I.Lenin, and instead of the figures to seat the representatives of the Politburo of the Central Committee of the CPSU.

Since the 1960s, the sword in the hand of A.V.Suvorov periodically disappears and has to be restored. But this is not all lost. At the monument to Catherine II various sculptural details often disappear(bronze chains, orders). And somehow the empress was seen in a vest. Most likely, the St. Petersburg sailors had a lot of fun.

There is a legend that the figures of the figures of Catherine's era with gestures hint at the size of their own merits... But Derzhavin shrugs his shoulders.

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There are many historical sights in St. Petersburg. But there are some among them that not a single tourist has the right to pass by. And the monument to Catherine II is just from this list. This is a 10-meter-high monument on Ostrovsky Square, erected at the end of the 19th century, in the year of the centenary of the beginning of the reign of the great empress.

Construction history

The idea to erect a monument to Catherine was in the air even during her reign. Some of the courtiers were so in love with their empress that they wanted to immortalize her image in granite and bronze forever. But she herself was categorically against it. She considered it worthless to make a stone copy of her when the Autocrat was alive.

They returned to this idea only 60 years after the death of Catherine - in 1862, when the 100th anniversary of the empress's accession to the throne was celebrated. The initiator of the erection of a monument to Catherine II in St. Petersburg was made by Baron Fredericks, who was a member of the inner circle of Alexander II.

To determine what the future monument to Catherine II will look like, a competition was announced, which as a result was won by the sculptor Mikhail Mikeshin. At that time, this master was very famous, since according to his project the Millennium of Russia architectural complex was erected in Veliky Novgorod. And this work even won an award at an international exhibition in London. By the way, if you look at the monument to Catherine 2 in St. Petersburg, his photo will somehow resemble a Novgorod sculpture, after all, the hand of one master affects.