Stackenschneider Mariinsky Palace. The meaning of Stackenschneider Andrei Ivanovich in a brief biographical encyclopedia. Leaving work and going into private practice

STAKENSCHNEIDER, ANDREY IVANOVICH(1802–1865), Russian architect, one of the founders of romantic historicism in Russian architecture.

Born on the Ivanovka manor near Gatchina on February 22 (March 6), 1802 in the family of a landowner; his grandfather was a master tanner, a native of Germany. From 1815 he studied at the St. Petersburg Academy of Arts, from which he graduated in 1821. He served as a draftsman in the Committee for Buildings and Hydraulic Works, then (from 1825) - under the supervision of O. Montferrand in the Commission for the construction of St. Isaac's Cathedral. Lived in St. Petersburg and Ivanovka.

He became famous for his reconstruction of the Fall estate near Revel (Tallinn), which belonged to A.H. Benkendorf (1831–1832); At the request of the customer, the main house was given the appearance of a medieval castle. Introduced by Benckendorff to Nicholas I, the architect from that time on enjoyed the constant sympathy of the court. His work, like the work of K.A. Ton, largely determined the reorientation of Russian architecture from “Alexander’s classicism” to romanticism, which more freely varied different styles of the past, during the years of Nicholas’s reign, with the difference that Stackenschneider dealt almost exclusively with palace and secular , not church building. The master also enthusiastically studied ancient Russian art (this is evidenced, in particular, by the unrealized project of the palace in Kolomenskoye, 1837). However, in the most famous buildings of Stackenschneider, his St. Petersburg palaces - the Mariinsky (1839-1844), Beloselsky-Belozersky (1846-1848), Nikolaevsky (1853-1861) and Novo-Mikhailovsky (1857-1861), the palette of Western European styles is completely dominant - from ancient classics to the Renaissance-Baroque and Rococo. The viewer here finds himself inside unique historical theaters, striking with a bizarre combination of exquisite luxury with the archaeological accuracy of stylistic retrospections. Combining general pictorial diversity with the ensemble subordination of parts and the whole, the architect turned to decorative design (floor lamps made of malachite and bronze according to his sketches, 1836, Hermitage), as well as various construction innovations (metal beams and rafters of the Mariinsky Palace, etc. ).

Thanks to Stackenschneider, Peterhof acquired a new, romantic hue. Here, according to his designs, the Tsaritsyn, Holguin and Pink (Ozerki) pavilions were erected in the Upper Park (1842–1849), the Belvedere Palace on the Babigon Heights (1853–1856), the seaside “Own Dacha” (1858), and the Farmers’ Palace, which he repeatedly rebuilt in Alexandria Park (1838–1855), Lion Cascade in the Lower Park (1853–1857). Among his other works are the Kursaal in Pavlovsk (1836; he was also restored after a fire in 1843–1844), the reconstruction of the Strelninsky Palace near Peterhof (1848–1850; all these buildings were badly damaged or were completely destroyed - like the Lion Cascade and the Pavlovsk Kursaal - during the Second World War). During construction in Peterhof he also acted as a master of landscape gardening art. The palace created by the architect in Oreanda (1842–1852; burned down in 1882) seemed to recreate the ancient Greek appearance of Crimea. Stackenschneider carried out enormous restoration and design work in the Winter Palace complex (especially in the 1850s–1860s), creating a number of remarkable interiors here, the most famous of which is the white marble Pavilion Hall of the Small Hermitage (1850).

Andrei Ivanovich Stackenschneider (born February 22 (March 6), 1802 on an estate near Gatchina, died August 8 (20), 1865 in Moscow) - a famous St. Petersburg architect.

The grandson of a tanner sent to Russia by Emperor Paul I from Brunswick, he was born at his father’s mill, near Gatchina, on February 22, 1802, and at the age of thirteen he entered the Imperial Academy of Arts as a student of his own accord. Having not shown particularly brilliant success during the course, he immediately upon completion, in 1821, received a position as a draftsman in the committee of buildings and hydraulic works, from which, four years later, he transferred to serve as an architect-draftsman in the commission for the construction of St. Isaac's Cathedral.

Involved by Auguste Montferrand to work in the Winter Palace. In 1831, Stackenschneider left service in the above-mentioned commission in order to freely engage in private buildings, mainly the construction of a manor house for Count A. H. Benckendorff on his estate Fall, in the vicinity of Revel. Pleased with his architect, the count recommended him to the emperor, and from that time on happiness began to smile more and more on Stackenschneider. He quickly gained the favor of Nicholas I and began to receive important assignments from him one after another, and soon became a privileged builder of royal and grand-ducal palaces. Having begun his court service with the rank of architect at the court of Grand Duke Mikhail Pavlovich, at the end of his life he was the chief architect of the department of appanages, the architect of His Majesty's Own Palace and the head of construction for the country palaces of the Empress.

In 1834, for the project of a “small imperial palace” drawn up by Stackenschneider according to a given program, the Academy awarded him the title of academician. In 1837–1838, he made a trip for his improvement to foreign lands with benefits from the government, and visited Italy, France and England. In 1844, the Academy elevated him to the rank of professor of the 2nd degree of the St. Petersburg Academy of Arts without fulfilling the program task on his part, as an artist who already had great fame. Since 1848 - architect of the imperial court. Worked in St. Petersburg, Tsarskoe Selo, Peterhof, Novgorod, Moscow, Taganrog, Crimea. The Stackenschneider House in St. Petersburg on Millionnaya Street was the center of cultural and social life of the capital's artistic intelligentsia.

Stackenschneider's numerous works are very diverse in terms of styles, which he, however, did not observe in full rigor, introducing into them, in order to achieve greater luxury, arbitrary changes and additions. The main and best of his creations is the Mariinsky Palace (now the seat of the Legislative Assembly of St. Petersburg). In addition to him, in St. Petersburg he built the palaces of Grand Duke Nikolai Nikolaevich the Elder (Nikolaevsky Palace on Truda Square) and Grand Duke Mikhail Nikolaevich (Novo-Mikhailovsky Palace on Palace Embankment), a children's hospital, a chapel on Nikolaevsky Bridge, some of the buildings of the court departments and several private houses, including the house of Princess Beloselskaya (later converted into the palace of Grand Duke Sergius Alexandrovich). Peterhof and its immediate surroundings are especially rich in its buildings. Here he owns: a rural house near the Reserve Pond, pavilions on the Tsaritsyn and Olginsky Islands and on the Samsonovsky Canal and a church on Babigon, Maria Nikolaevna’s dacha palace in Sergievka, His Majesty’s own dacha, etc., palaces on the Mikhailovskaya and Znamenskaya dachas, the Renella pavilion on this the last one and so on.

In Tsarskoe Selo, Stackenschneider built a monument to Grand Duchess Alexandra Nikolaevna, in the Sergiev Hermitage near Strelna - the church-tomb of Count G. G. Kushelev (son), in Gostilitsy, Peterhof district - the house of Count Protasov, in Taganrog - the palace of Achilles Alferaki, in Oreanda, in Crimea - the palace of Empress Alexandra Feodorovna and so on. Among Stackenschneider’s other works, the buildings produced in the Winter, Marble and Anichkov palaces, the interior decoration of the Old Hermitage, for the expected stay of Tsarevich Nikolai Alexandrovich in St. Petersburg, as well as some alterations in the Oranienbaum and Strelninsky palaces, deserve to be mentioned.

Prominent representatives of the first generation of eclectic architects in Russia were A. P. Bryullov (1798-1877), A. I. Stackenschneider (1802-1865), K. A. Ton (1794-1881) and others.

Andrei Ivanovich Stackenschneider (February 22, 1802, Stackenschneider estate, Gatchina district, St. Petersburg province - August 8, 1865, Moscow) - Russian architect who designed a number of palaces and other buildings in St. Petersburg and Peterhof.

The grandson of a tanner sent to Russia by Emperor Paul I from Brunswick, he was born at his father's mill, near Gatchina.

As a boy, he loved to draw and enthusiastically built toy structures. The father paid attention to his son's inclinations and sent thirteen-year-old Andrei to the St. Petersburg Academy of Arts, from which he graduated in 1820.

On February 22, 1802, he entered the Imperial Academy of Arts as a student of his own.

Having not shown particularly brilliant success during the course, he immediately upon completion, in 1821, received a position as a draftsman in the committee of buildings and hydraulic works, from which, four years later, he transferred to serve as an architect-draftsman in the commission for the construction of St. Isaac's Cathedral.

Involved by Auguste Montferrand to work in the Winter Palace. Working with the famous architect was not just a good school for the young architect.

Auguste Montferrand noticed him and became his patron. He attracted A.I. Stackenschneider to remodel the rooms of Empress Maria Feodorovna in the Winter Palace, already as an architect's assistant, helped to get his first independent job - the construction of a pavilion in the form of an ancient temple on the estate of Baron Nikolai near Vyborg.

A.I.Stackenschneider. Peterhof. Belvedere Palace on Babigon. Main facade. Design drawing. 1850

In 1831 A.I. Stackenschneider resigned from the Commission, having received, again on the recommendation of O. Montferrand, an order to rebuild the estate and manor house of Count A.Kh. Benckendorf on his Fall estate near Revel (Keila-Joa), now Tallinn - the capital of Estonia. Pleased with his architect, the count recommended him to the emperor, and from that time on happiness began to smile more and more on Stackenschneider. Nicholas I, having become interested in the work of the young architect, attracted him to palace construction in St. Petersburg.

The architect quickly gained the favor of Nicholas I and began to receive important assignments from him one after another, and soon became a privileged builder of royal and grand-ducal palaces. Having begun his court service with the rank of architect at the court of Grand Duke Mikhail Pavlovich, at the end of his life he was the chief architect of the department of appanages, the architect of His Majesty's Own Palace and the head of construction for the country palaces of the Empress.

Novo-Mikhailovsky Palace - Years of construction: 1857-1861.. Architect Andrei Ivanovich Stackenschneider...

In 1833, Andrei Ivanovich worked on one of the islands of St. Petersburg - Kamenny Island, which belonged to Grand Duke Mikhail Pavlovich. The track record notes that the work on this important order was carried out with perfect skill, strength and in compliance with “savings”.

In 1834 A.I. Stackenschneider made a series of designs for chandeliers and candelabra commissioned by the Imperial Glass Factory. An example of the architect's works in applied art are the malachite and bronze floor lamps stored in the Hermitage, created according to his drawings in 1836.

In 1834 A.I. Stackenschneider received the title of Academician of Architecture. In the same year, he married Maria Fedorovna Kholchinskaya, the daughter of a St. Petersburg official.

In 1834, for the project of a “small imperial palace” drawn up by Stackenschneider according to a given program, the Academy awarded him the title of academician. In 1837-1838, he made a trip for his improvement to foreign lands with benefits from the government, and visited Italy, France and England. In 1844, the Academy elevated him to the rank of professor of the 2nd degree of the St. Petersburg Academy of Arts without fulfilling the program task on his part, as an artist who already had great fame.

Since 1848 - architect of the imperial court. Worked in St. Petersburg, Tsarskoe Selo, Peterhof, Novgorod, Moscow, Taganrog, Crimea.

Andrei Ivanovich’s unusual diligence is striking. In addition to the fact that he worked a lot and fruitfully himself, fulfilling orders from the court and private orders not only in St. Petersburg and its suburbs, but also in different parts of Russia (in particular, he worked a lot in the Crimea), in addition to teaching, he is a member of various commissions and committees, had to participate in meetings, participate in the acceptance of buildings of other architects.

There was even more work and worries when A.I. Stackenschneider was appointed to manage all work on the countryside imperial palaces. He himself worked a lot there as an architect. Andrei Ivanovich played a decisive role in the park construction of Peterhof in the 19th century. Based on his designs, many fountains were updated and new ones were created in the Lower Park, and the fountains along the Sea Canal were redone. The development of stone-cutting art made it possible to replace dilapidated fountains made of lead-coated wood with new ones made of granite and marble. Two fountains of Marble Benches appeared in front of the Grand Cascade, and it turned out that after 113 years, in 1854, the wish of Peter I came true.

According to the projects of A.I. Stackenschneider not only renovated the old ones, but also built new palaces and pavilions. The architect built on the eastern wing of the Great Peterhof Palace and very carefully updated the decoration of many of its rooms.

Large works according to Andrei Ivanovich's projects were carried out along the road from St. Petersburg to Peterhof, along which, since the time of Peter I, there were palaces and parks of members of the royal family and nobles. Here, as in Peterhof, a lot was updated and a lot of new things were built, taking into account what had been done previously, the nature of the area and the requirements of the time and owners.

This work was still ongoing, work was carried out in Pavlovsk, another suburb of St. Petersburg, and A.I. Stackenschneider is entrusted with a new important and responsible task - the reconstruction of the palace of the Beloselsky-Belozersky princes, located on the corner of Nevsky Prospect and the Fontanka embankment. Today this palace attracts attention with its majestic appearance. But, distinguished by its originality, it does not suppress the neighboring buildings and fits well into the appearance of Nevsky Prospekt. The interior decoration of the palace, especially the state rooms, is also interesting.

Not far from the palace of the Beloselsky-Belozersky princes on Nevsky Prospekt, in a house at the Lutheran Church of Peter and Paul, the Stackenschneiders’ apartment was located for several years. For the large family of the architect, it became cramped. And in 1852, the Stackenschneiders bought an old house not far from Palace Square, which was completely rebuilt according to the project and under the leadership of the owner himself. The three-story mansion became not only the home of a large family, but also the place of the drawing workshops of the architect himself and his assistants.

This house gradually became one of the centers of cultural life in St. Petersburg. Writers and poets, artists and actors, sculptors and architects gathered here on Saturdays. A home theater was also organized in the house.

The Stackenschneider House in St. Petersburg at 10 Millionnaya Street (the second façade faced 9 Moiki Embankment) was the center of cultural and social life of the capital's artistic intelligentsia.

The architect purchased it from titular advisers M.E. and D.E. Petrov and rebuilt it for his family in 1852-1854. Stackenschneider’s “Saturdays” were held in the mansion, where poets, writers, actors and painters gathered and amateur performances were staged. V. G. Benediktov, I. A. Goncharov, F. M. Dostoevsky, I. S. Turgenev, Ya. P. Polonsky and others were here.

In 1865, the Stackenschneiders sold this house due to the owner's illness. The building was rebuilt into an apartment building. Stackenschneider also had a country estate - the Ivanovka manor, located not far from Gatchina and inherited from his father in the late 1850s.

First, their own dacha in Peterhof, built according to the architect’s design, was sold, and then the family parted with the house, moving to the architect’s favorite Ivanovka, which they received as a gift from their father. A. I. Stackenschneider was born here, and here he spent the last three years of his life.

By the time the Stackenschneiders moved to Ivanovka, the construction of the Novo-Mikhailovsky and Nikolaevsky palaces, named after their owners, had been completed: the first of them was created for Grand Duke Mikhail Nikolaevich, and the second for Grand Duke Nikolai Nikolaevich.

When constructing palaces, A. I. Stackenschneider used all the technical innovations of that time. In all city and country palaces, the architect built a water supply system, which was not yet mandatory even for city buildings; For heating he used not only fireplaces, but also pneumatic stoves. However, this did not deprive the buildings of their individuality.

The Novo-Mikhailovsky Palace is located on Palace Embankment, its main façade faces the Neva. The central entrance with a light canopy resting on thin cast-iron columns is decorated with openwork grilles with twisted columns for lanterns. On the second and third floors there are windows with elegant frames. A unique balcony with decorative vases completes the main façade of the palace. The interior decoration is consistent with their name. The second floor is especially solemn with formal living rooms, a dining room, dance and banquet halls.

The Nikolaevsky Palace, built on Blagoveshchenskaya Square, which faces the Neva, resembles Novo-Mikhailovsky, but its appearance is more austere, it is not so monumental. This palace also has three floors. As in Novo-Mikhailovsky, in the Nikolaevsky Palace the ceremonial rooms were located on the second floor, so it is highlighted by high windows. The main facade of the Nikolaevsky Palace faces the square. Above the main entrance there is a large balcony with an openwork lattice. The front yard is separated from the square by a high fence on a granite base - the openwork lattice is supported by cast iron pillars with decorative vases. When decorating the ceremonial premises, A. I. Stackenschneider widely used stucco decorations, and in the decoration of the palace church - motifs of pre-Petrine Russian architecture.

The process of separating the internal volume of a building from its external artistic expression, which began already in Rossi’s later works, led to the birth of screen facades and plane facades. If in classicism such flatness was interrupted by strong plastic accents, then in the new direction leveling and smoothing of details led to the fact that the volume seemed to be composed of several planes placed at an angle to each other.

The clearly readable edges of the facades formed a kind of shell, rather than the body of the building, which no longer seems like a solid volume. At the same time, and this was one of the features of eclecticism, the need to build a composition deep into the block led to the formation of completely special methods of constructing the internal space, which, with rare exceptions, did not receive any reflection in the design of the facades.

Moreover, even a kind of surprise effect was built on this, striking the viewer when, upon entering the relatively small, low doors, lost against the background of a multi-tiered, monotonous, monotonous facade, he suddenly saw a free, airy space permeated with light. This completely new method of solving internal space, typical of eclecticism, predetermined the composition of a number of very diverse buildings of the second half of the 19th century, ranging from rich apartment buildings and mansions with their skyward spaces of grand staircases, city palaces, with perspectives of state halls and ending with large public buildings - theaters, banks, arcades with their endless covered galleries. During the period under review, this technique found its most vivid, impressive expression in a number of Stackenschneider’s works, mainly in large palaces - the Mariinsky (1839-1844), Nikolaevsky (1853-1861), Novo-Mikhailovsky (1857-1861), very similar in character, despite the difference in the chosen style.

Both the “classical” details of the facades of the Mariinsky Palace, and the “baroque” ones of the Novo-Mikhailovsky Palace, and the “Renaissance” ones of the Nikolaevsky Palace are very graphic, thin and dryly drawn and seem to be glued to the plane of the facades. In these buildings one can trace how those features and those contradictions gradually take shape that will later be the defining qualities of eclecticism. On the one hand, the emphasized multi-tiered division of the facades seems to be intended to reveal the tiered structure of multi-story buildings. On the other hand, behind these long, monotonous endless facades due to the repeating rhythm of identical windows and pilasters, there are often hidden fundamentally new, bold spatial solutions that do not correspond to the structure of the facades.

It is difficult to guess, for example, that behind the flat walls of the Mariinsky Palace with its relatively small windows, with its symmetrically balanced, still classical composition of the main facade, there is hidden a rare bold spatial composition of a whole series of ceremonial halls, and in the Nikolaevsky Palace with its rows of identical windows on extended planar facades, the gaze of the person entering suddenly reveals the space of the main staircase, permeated with light and air, as if flying into the depths of the building, “pushing apart” its walls. These new techniques spoke of the emergence of a completely new attitude towards architectural space.

In the enfilades of the Baroque, in the chain of ceremonial halls of classicism, the space of each hall was actually isolated from each other, visible together only from one point, along the central axis of the entrances. The effect of the Baroque enfilade structure was based on the infinity of perspective and the repetition of the motif of open doors. The main halls of classicism were built on the principle of changing impressions, artistic contrasts when moving from one hall to another, differing from it in volume, architectural design, size, color, and sometimes height. The system of building halls in classicism, even in the Tauride Palace, the most unique in terms of spatial design, still remains axial and closed. In the Mariinsky Palace, despite the axial location of the hall, a completely new spatial effect is achieved.

Here, a whole system of halls of various shapes and sizes goes deep into the palace from the main staircase, which is offset from the central axis. The halls that open upon exiting it, fully visible from a variety of points, can be considered one, bizarrely shaped space, divided into separate volumes by light two-tiered end-to-end colonnades. This merging of the space of several rooms creates a completely extraordinary perspective. Each movement of a person creates new points of view on architecture, new perspectives, new angles, dynamic and unexpected. Their number is infinite. And at the same time, despite the huge “flowing” spaces, a person does not get lost in them, is not overwhelmed by them, because the proportions of these halls and their architecture are commensurate with him.

It is characteristic that there is no large order here, which usually unites the space of two-story halls of classicism. Two-tiered, placed one on top of the other, as if freely “floating” in the air, the open colonnades are almost identical in size and are not overwhelming in their scale. This two-tier structure, characteristic of Stackenschneider's state palace halls, is very symptomatic. There is a certain pattern in the fact that with an ever-increasing absolute size of buildings and ever more daring spatial solutions for interiors, architects began to strive to give them features that bring them closer to a real person, allowing him to find a place for himself in architecture. This, apparently, was one of the reasons that buildings growing in height acquired increasingly smaller divisions, commensurate with a person.

Perhaps the so often and rightly noted refinement of the details of the side domes of St. Isaac's Cathedral was a tribute to this tendency, which should soften the inhuman grandeur of the colonnades of the four porticos and the crowning dome, and find some average scale between them and man. It is no coincidence that the large order uniting two floors gradually completely disappears from the interiors and facades of buildings, and tiered divisions become decisive for most new buildings of the 1840-1850s. They are typical not only for large public buildings and apartment buildings, but also for small residential buildings and mansions. The desire for diversity and “grace” is becoming decisive in mass ordinary residential development, which is gradually changing the character of the city. At first, against the backdrop of classical St. Petersburg, these first new houses must have seemed even alien, sometimes overly pretentious, even tasteless. But from how enthusiastically each new building was greeted, how in detail all the innovations were described and even analyzed, one can see how sensitive contemporaries were to the slightest changes in architectural orientation.

“Of the houses built roughly on Nevsky Prospekt, the house of A. F. Shishmarev, designed by Academician Gornostaev, is remarkable for its facade and internal layout... The external facade is divided into four floors and has two light projections at the ends. In the middle of the facade there is a wide belt with extruded (eu creux) Greek ornament. The lower floor is decorated with rustic touches... The interior of the house, remarkable for its convenient location, bold staircase and beautiful shape of the mezzanine ceilings, will soon await a magnificent finish.”

Even judging by the description, it is clear that the appearance of this house was already very far from classicism, although it mentions a wide belt of “Greek” ornament. “Greek ornament”, “Greek house” - these concepts now had a completely different, narrower and more specific meaning than in the period of classicism.

In the last years of his life, Stackenschneider’s health, exhausted by constant intense labor, weakened significantly; for his recovery, in the spring of 1865, on the advice of doctors, he went to kumys treatment in the Orenburg province. The summer spent there seemed to benefit him, but on the way back to St. Petersburg he felt ill again and died in Moscow on August 8 of the same year. The architect was buried in St. Petersburg in the Trinity-Sergius Hermitage in the Church of Gregory the Theologian, built by him (the grave has been preserved).

Stackenschneider's numerous works are very diverse in terms of styles, which he, however, did not observe in full rigor, introducing into them, in order to achieve greater luxury, arbitrary changes and additions.

The main one of his creations is the Mariinsky Palace (now the seat of the Legislative Assembly of St. Petersburg), built in 1839-1844 on St. Isaac's Square.

Russian architect, creator of outstanding palace ensembles and brilliant ceremonial interiors, Andrei Ivanovich Stackenschneider was born on February 22, 1802 near St. Petersburg on the Ivanovka manor, near Gatchina. He came from a family of Russified Germans; his grandfather was a tanner, a native of Germany; his father, Johann, rented a plot of land near the Pudost River, built a house, and surrounded it with a small park. The estate began to be called Ivanovka. The future court architect spent his childhood here. Parents early noticed their son’s penchant for drawing, and when he reached the age of 13, they enrolled the boy in the Academy of Arts. The capable young man completed his architectural training course (1815-1820) easily and upon completion immediately received an order to draw up a monument in the form of an ancient Greek temple on the estate of the famous Baron Nikolai.

In 1824 A.I. Stackenschneider becomes a draftsman at the Committee for Buildings and Hydraulic Works. Four years later, he began his service as an architect and draftsman in the commission for the construction of St. Isaac's Cathedral. Simultaneously with his activities as part of this commission, the young specialist receives from the main builder of the temple O. Montferrand a separate job - the execution of a sketch of the Funeral Hearse “for Alexander I”. The result of creativity was noticed, appreciated, and the author received his first promotional gift. At this time, he was entrusted with remodeling the rooms of Empress Maria Feodorovna in the Winter Palace, and soon, as an architectural assistant, he was involved in the decorative design of the entire palace. The powerful chief of gendarmes, Benkendorf, draws attention to the talented and modest worker. The count entrusts him with the reconstruction of an ancient castle on his estate near Narva in “Gothic taste.” The customer was very pleased with the work done and introduced the young architect to the emperor. Having examined the construction, Nicholas I, a highly qualified engineer, unmistakably recognized the outstanding abilities of A.I. Stackenschneider.

I.I. Tikhobrazov “Architect A.I. Stackenschneider”, 1846. State Russian Museum.

From that time on, the architect’s career was quite settled. It became widely popular, orders followed one after another. In 1833, he was assigned to the court of Grand Duke Mikhail Pavlovich, carried out work on Kamenny Island, which belonged to the emperor’s brother, and, by order of Nicholas I, completed the “Rural House” project. In 1835, the project came to life - Nikolsky House appeared in the vicinity of Peterhof. The building, conceived in the “Russian style,” imitated the estate of a wealthy peasant, although in reality it was intended for a short-term rest for the royal family during walks in the park. Reflected in the water, the house fit perfectly into the landscape on the shore of a large artificial lake. A new reservoir was created in the southern part of Peterhof, and extensive parks arose in place of the swamps: Lugovoy and Ozerkovy. Architectural criticism of those years greeted this building with unambiguous approval.

At this time A.I. Stackenschneider becomes an academician and, by order of Prince P.G. Oldenburgsky (a relative of the emperor) re-decorates all the interiors of the dacha of Prince A. Dolgoruky on Kamenny Island (Malaya Nevka embankment, 11), which passed to the new owner.

At the same time, the architect is immersed in creative work - (created 18 projects) - to rebuild Catherine's palace II in the village of Kolomenskoye near Moscow. A.I. Stackenschneider intended to build a new palace in the traditions of ancient Russian architecture and create an entire ensemble on the river bank. The architect's interesting plan was not realized due to the cost of the planned construction being exceeded.

In 1836, the construction of the first railway in Russia, Petersburg - Tsarskoe Selo - Pavlovsk, was completed. To attract more passengers, it was decided to create an entertainment and entertainment establishment at the terminal station - a “voxal”. The announced competition for the design of the “voxal” building was won by A.I. Stackenschneider. After the opening of railway communication in 1837, Pavlovsk became one of the most popular summer vacation spots for the capital's inhabitants. The good acoustics of the pavilion, an interesting repertoire, and performances by European celebrities (composer I. Strauss and others) were successfully combined with the opportunity to have a wonderful walk through the alleys of the wonderful park.

Soon the old word “voxal” turned into “station” and changed its meaning, so passenger buildings at all railway stations in Russia began to be called.

During these years, the formation of two new neighborhoods began in Pavlovsk: Elinsky (in the area between the Slavyanka and Tyzva rivers) and Mariinsky (on the upper bank of the Marienthal pond plateau). The decorative fortress Bip became the planning dominant here. The central position of the proposed residential areas as connecting two parts of the city, in addition, the inclusion in the residential development of a landscape layout previously created by the architect Charles Cameron, required high artistic tact. The solution to this important task was entrusted to A.I. Stackenschneider and A.P. Bryullov, a significant period of whose creativity was associated with Pavlovsk.

Forming the Mariinsky Quarter, the architect completed ten projects of model houses with a classical construction system and “Gothic” decorative elements. One of the buildings - the house of Colonel Ivanov (Krupskaya St., 5) has survived to this day. The development of these quarters of Pavlovsk entailed the massive construction of new ones, as well as the alteration of old residential buildings.

In 1837, A. I. Stackenschneider was sent abroad by the Cabinet. He spent almost a year in Italy, France and England, studying monuments of world architecture, where he made many sketches with a brush and pencil. He spent whole days at the excavations of Pompeii, studying the proportions and designs of ancient Roman masters. The architect used the experience gained from becoming acquainted with outstanding architectural creations in Russia in the construction of his well-known buildings.

Returning home, A.I. Stackenschneider finished some of the work he started, continued many, and started others. In 1839-1844, he erected two beautiful pavilions - Tsaritsyn and Olgin - in the Kolonistsky Park of Peterhof on the islands of Olga's pond. This was one of the most consistent and successful stylizations in the “Pompeian taste.” The floor of the dining room of the Tsaritsyn pavilion was later decorated with authentic antique mosaics. Both pavilions, with the inherent skill of the architect, blended organically into the landscape. Behind Kolonistsky Park there are two more large parks - Ozerkovy and Lugovoy (Belvedere). The main building in the composition of Meadow Park is the Belvedere pavilion (“Beautiful View”) on the Babigon Heights. The large two-story structure resembles an ancient Greek temple in its appearance. Its first floor is designed as a massive high base made of monolithic blocks of pink granite.

The second floor of the Belvedere is decorated on all four sides with 28 polished silver-gray granite columns. The building is richly decorated with monumental sculpture. In 1856, two sculptural groups of P.K. were installed on granite pedestals in the corners of the main facade. Klodt “Horse Tamers”, made in galvanoplasty.

Belvedere, designed as an imperial hunting house, dominates the surrounding area. Its galleries offer a wonderful view of the Cascade Ponds, endless distances and the Gulf of Finland. The pavilion served as Alexander II’s favorite vacation spot; it was here that his first date with his 17-year-old maid of honor, Princess E.M., took place. Dolgorukova, who later became his morganatic wife - Your Serene Highness Princess Yuryevskaya,

One of the first buildings of A.I. Stackenschneider, after returning from a long trip abroad, became the Mariinsky Palace (St. Isaac's Square, 6), built for the Tsar's daughter, Maria Nikolaevna (hence the name of the palace), who married the Duke of Leuchtenberg. The emperor believed that the pomp and wealth of the royal court were the face of power, and did not spare enormous expenses on creating the external splendor of the imperial and grand-ducal palaces and mansions. The children of Nicholas I were at one time like demigods, and all had homes corresponding to their highest position. This was the time of the greatest flowering of the absolute monarchy in Russia.

The palace was built in 5 years (1840-1844), all this time the newlyweds lived in the Anichkov Palace - the own palace of Nicholas I, who moved to the Winter Palace upon his accession to the throne.

The Mariinsky Palace was built in the style of late classicism. It occupies a block on the left bank of the Moika near Voznesensky Prospekt. The facades of the palace are decorated with columns, their decorative design is very moderate. The enfilade begins with the Duke's front reception room, followed by the rotunda, illuminated by overhead light through the domed ceiling on the 2-tier colonnade. Adjacent to the rotunda is a square hall; behind it the architect placed a winter garden with steam heating. There is no running water in St. Petersburg yet, but A.I. For the first time, Stackenschneider installed plumbing equipment here, and then in all his palaces: lead water pipes and water tanks, filters and water closets. The architect’s great merit in the successful layout of the palace was that all the living spaces opened onto the garden, there was jubilant sun and silence all day long!

Remembering the catastrophic fire in the Winter Palace in the winter of 1837, A.I. Stackenschneider sought to make his building as fire-resistant as possible, arranging the structures of the floors and stairs from metal. The construction of the palace became the subject of sincere admiration of contemporaries. “The palace surprises with its sophistication and nobility of taste in decoration, rich variety in details.”

The architect’s successes did not go unnoticed - in 1843 he was elected a free associate of the Academy, and in 1844 for the construction of the Mariinsky Palace A.I. Stackenschneider was elevated to the rank of professor at the Academy of Arts. Later, in 1884, the palace was transferred to the treasury and adapted for meetings of the State Council. Nowadays deputies of the Legislative Assembly of St. Petersburg work here.

Simultaneously with the construction of the Mariinsky Palace, the architect is building a summer residence for Princess Maria Nikolaevna and her husband. On the shore of the Gulf of Finland between Peterhof and Oranienbaum on the Sergievka manor, acquired by Nicholas I from Naryshkin, a two-story palace is being built. A luxurious villa grows in the middle of the park, reminiscent of the buildings of ancient patricians. Excavations of Pompeii allowed A.I. Stackenschneider to study in detail the architecture of ancient residential buildings and use motifs and decorative techniques of the ancient Romans in his works.

The palace that was built had a completely magical appearance, was distinguished by the elegance of taste and was organically connected with the relief. The new summer residence of the Grand Duke began to be called the Leuchtenberg estate.

All these and subsequent years, the architect’s work was repeatedly in demand by the emperor and members of his family. Along with monumental structures, small buildings are also being erected. At the beginning of 1840, in Alexandria - the favorite summer vacation spot of Empress Alexandra Feodorovna - the architect added a dining room to the cottage, which organically added a new volume to the creation of the architect A.A. Menelas.

Since 1842, according to the project of A.I. Stackenschneider in Crimea, a palace with services and a park is being built for the emperor's wife in Oreanda. Construction lasted 10 years; the architect traveled to Crimea twice to supervise the work. The new beautiful snow-white building with a strict facade, with a classical pediment and caryatids looked clearly against the background of the southern sky. Eyewitnesses of those days spoke about him with admiration. Alas, the building did not survive; a devastating fire in 1882 destroyed the master’s wonderful creation. Nowadays, in its place there are buildings of a sanatorium.

Architectural, construction and gardening work in the vicinity of Peterhof did not stop. In 1843-1850, on the site of the seaside manor of Prince Dolgoruky in the Sergievka area, the architect turned an old house into an elegant miniature two-story palace. The building received the name “The Heir-Tsarevich’s Own Dacha” and was used for the summer holidays of Grand Duke Alexander Nikolaevich, the future Emperor Alexander II. The architect completely changed the internal and external appearance of the building, decorating it with exquisite luxury in the style of Louis XV. Years later, a prolific architect erected a stone temple here, on the site of a wooden church. “Own Dacha” opened a new direction in Russian architecture - the stylized “second baroque (neo-baroque)”.

Along with activities on the Finnish seaside, A.I. Stackenschneider also worked hard in St. Petersburg. At this time, he worked at the court of Grand Duke Mikhail Pavlovich and often carried out orders from his employees in the artillery department. In 1843, the architect rebuilt and decorated in a new style the residential building of Count Kushelev on the Fontanka. The house amazed guests with its luxury and has been well preserved to this day; it is located diagonally from the circus on the other bank of the Fontanka.

Next door, at the Samsonievsky Bridge (now the Belinsky Bridge), in the house 1/30 on the street. The Samsonievsky architect carried out a beautiful extension to the corner tower “Belvedere”. It was adjacent to the main building from the Fontanka side, but now, alas, it has been lost forever. Houses, like people, experience ups and downs, prosperity and decline throughout their existence.

The years 1840-1850 are the heyday of A.I.’s creativity. Stackenschneider is an already established master who has developed his own independent architectural style. He successfully advances in his career and becomes an actual state councilor. This civilian rank, according to the Table of Ranks, corresponded to the rank of major general or rear admiral; the architect was not deprived of awards.

Of course, the talent of A.I. During these years, Stackenschneider's work was especially clearly revealed during the construction of palaces in St. Petersburg. In 1846, he received an order from the Beloselsky-Belozersky princes to radically rebuild the mansion on the corner of Nevsky Prospect and the Fontanka embankment, erected in early 1800 by the architect Thomas de Thomon.

The architect got to work and surpassed himself - he created a real “Palazzo”, representative and majestic. The ancient palace of Count Stroganov on Nevsky Prospekt, built by the architect F.B., was taken as a prototype. Rastrelli. The facades of the new palace are made in the mature Russian Baroque style and are luxurious. The interiors of the palace are even more magnificent. Fine molding, abundant gilding, mirrors, inlaid wood floors create an unforgettable impression of luxury and grace. All the details of the decoration indicate high architectural skill. Contemporaries considered the majestic palace “perfection of its kind.”

At the end of the 19th century, the palace was acquired by the son of Alexander II, Grand Duke Sergei Alexandrovich. After his tragic death in 1905, his widow, Grand Duchess Elizaveta Feodorovna, became the owner of the palace. Soon, having retired from the bustle of the world and becoming the abbess of one of the communities, she handed over the palace to her pupil, the cousin of Nicholas II - Grand Duke Dmitry Pavlovich. It was in this palace that he was kept under house arrest for his participation in the murder of Grigory Rasputin.

To this day, the palace has well preserved its original features. The building is recognized as an architectural monument and is under state protection

In 1853 A.I. Stackenschneider receives another “highest order” - the design and construction of a palace for the emperor’s son, Grand Duke Nikolai Nikolaevich.

The palace, designed in the style of the mature Italian Renaissance, is located on the corner of Konnogvardeisky Boulevard next to the bridge (now the Lieutenant Schmidt Bridge) indented from the red line.

In front of it there is a front yard fenced with a cast-iron lattice. The appearance of the 3-story building is simpler and more moderate than the facades of the Beloselsky Belozersky Palace, as always, the layout of the premises, their relative position and connection were thoroughly thought out by the architect. The spacious rooms are decorated with great ingenuity. To the pampered, aristocratic style of royal France of the 18th century A.I. Stackenschneider had a special passion and did not miss an opportunity to apply it. The skill of an architect, his skill was brilliantly demonstrated in the design of the main staircase. This is one of the most interesting works not only of his work, but also in the entire world architecture of the 19th century.

In 1895, the palace came under the authority of Empress Maria Feodorovna, and in memory of the marriage of the eldest daughter of Alexander III, Grand Duchess Ksenia Alexandrovna, with Grand Duke Alexander Mikhailovich, the Kseninsky Institute was opened here. This closed educational institution for noble maidens for the education and upbringing of half-orphans from noble families had a 10-year course. For more than 20 years, on the facade of the palace between the 2nd and 3rd floors there was an inscription in large overhead letters “Kseninsky Institute”.

A.I. Stackenschneider was always busy with work, making new projects, checking all the details of his drawings (done by his assistants), creating unique interiors, visiting construction sites, and attending discussions of his drawings with customers. In 1854, the Academy of Arts invited him to teach in an architectural class. Already in the first year the new professor had over 20 students, a year later - 34, and in 1858 - over 60 people. The other two professors (A.I. Benois, A.A. Ton) combined have half as much. This testifies not only to A.I.’s enormous ability to work. Stackenschneider, as well as about the talent to teach and educate.

For more than 20 years, the gifted architect was married to Maria Fedorovna Kholchinskaya, from whom 8 children were born, but A.I. Stackenschneider still did not have government housing and rented apartments for many years. For a long time, the family lived in the house of the Lutheran Church of St. Peter on Nevsky Prospect, where every year it became more and more crowded. High fees for the execution of numerous architectural orders allowed him to purchase in 1852 and in 1854 to reconstruct house 10 on the street. Millionth. During the reconstruction, the front facade of the house received a new finish. One of the first architects to use a specific version of the architecture of Florence of the 16th century. Its decoration was complemented by bas-reliefs with figures of dancing muses, which have been well preserved to this day.

The house stretches across the entire block, with its southern side facing the Moika embankment, 9. The spacious house comfortably accommodates both the architect’s large family and his architectural workshop, which is quickly growing in staff. In this house A.I. Stackenschneider created designs for the palaces of the emperor's sons, as well as designs for other prominent buildings.

In 1855-1862, the architect's house was one of the most famous literary and artistic salons in St. Petersburg. Here, on “Saturdays,” architects and poets, artists and writers, artists and philosophers gathered. Later, due to Andrei Ivanovich’s illness, which worsened in the early 1860s, the family was forced to sell their house and move to their native Ivanovka. The building was rebuilt into an apartment building, and a multi-storey outbuilding was erected on the site of the winter garden, where bananas and other exotic fruits grew.

In the early 1970s, there were attempts by the architectural community and city authorities to pay tribute to the memory of the outstanding architect of the 19th century and create a memorial museum in his creative workshop. Alas, the good wishes were not destined to come true. Now in the 4-story building of A.I. Stackenschneider houses numerous departments of Lenstroymaterials, other premises are leased to a dental clinic, etc.

Not far from his own house on the eastern bank of the Winter Canal (33 Millionnaya St.), in 1853-1857, the construction of a barracks for the 1st battalion of the Life Guards Preobrazhensky Regiment was underway. The Emperor paid special attention to this building. The construction of the barracks was carried out under the supervision of Academician V.P. Lvov, with regular examination by members of the commission, which included the court architect. The barracks was inspected in 1857, and the commission members admitted: “As far as one can judge from the external inspection, it was built correctly, firmly, cleanly and in accordance with the highest approved drawings.”

For a long time (until the last days), historians called A.I. the author of the barracks project. Stackenschneider. Somewhat earlier, he carried out work in the Small Hermitage near the future barracks. In the White Hall with light marble arcades, the architect placed an octagonal fragment of an antique mosaic floor brought from Pompeii, which was destroyed in 79 by the eruption of Mount Vesuvius. In close proximity to this world famous A.I. Stackenschneider rebuilt the Old Hermitage in 1851-1859, completing important work on the main staircase leading to the premises of the State Council.

During these same years, not far from his own home, on French Embankment, he reconstructed the residential building 1/24. At the same time, orders are being carried out in Crimea and Novgorod, in Pavlovsk and Peterhof - from imperial and grand-ducal palaces and mansions to residential buildings and barracks, from pavilions to religious buildings. In his works, the architect eclectically used historical architectural styles, introducing elements of the past in new combinations.

Undoubtedly, the pavilions in the Kolonistsky Park of Peterhof are another creative success. On the islands of the Olga Pond, the architect erected two beautiful pavilions - Tsaritsyn and Olgin. Built in the “Pompeian taste”, they are one of the most consistent and successful stylizations. Both pavilions fit organically into the landscape.

Next to the Belvedere Pavilion, here on the Babigon Heights, the architect in 1851-1854 built the Church of the Holy Queen Alexandra - one of the most remarkable works of the “Russian style”. This building successfully repeated the silhouette structures and details characteristic of Moscow churches of the 17th century. The temple fits perfectly into the picturesque hilly landscape. During the Great Patriotic War, the church suffered greatly and needs the help of sponsors for urgent restoration.

Buildings of A.I. Stackenschneider and other architects in the center of St. Petersburg tactfully complemented the previously established ensembles and engineering structures. In 1854, at the junction of the draw span of the Annunciation Bridge, a chapel dedicated to St. Nicholas, the patron saint of sailors, was erected in the forms of the “Russian-Byzantine style” officially prescribed for religious buildings. The author of the project is the court architect A.I. Stackenschneider.

Among other well-known works of A.I., Stackenschneider, in the vicinity of Peterhof there are two famous grand-ducal estates - Znamenka and Mikhailovka, located west of Strelna, and the palace in Gostilitsy, which belonged to Prince A.M. Potemkin, the nephew of Catherine II's favorite.

The last major work of the talented architect was the construction of a palace for the youngest son of the Emperor, Grand Duke Mikhail Nikolaevich. The Novo-Mikhailovsky Palace, founded in 1857 at 18 Palace Embankment, was completed in 1861 simultaneously with the Nikolaevsky Palace.

The new grand-ducal palace is large in size, but does not play an active city-forming role; it joins the ranks of other palaces and mansions. The Novo-Mikhailovsky Palace is smaller than the Nikolaevsky Palace, but decorated even more magnificently. Cornices, pediments, platbands, etc. add sophistication and richness to the facade, distinguishing the building from the surrounding buildings.

Columns made of Carrara marble, perract sculpture, and caryatids give the palace, imitating the Baroque style of the 18th century, a ceremonial appearance. The interiors of the building include lush sculptures, decorative paintings, marble cladding, leather and gilded upholstery of walls, panels and valuable wood products. In front of the main entrance, the architect created a complex composition of railings and floor lamps. Nowadays the palace houses a branch of the Institute of Oriental Studies and the Institute of Archeology of the Academy of Sciences.

On a personal level, A.I. Stackenschneider was a sociable and friendly person. Many of his students, having become architects, continued to work with their teacher. For many creative years, the architect worked closely with the sculptor D.I. Jenson (1816-1902). Figures of Atlanteans, caryatids, bas-reliefs and other works of the talented master are embodied in the Mariinsky, Nikolaevsky, Novo-Mikhailovsky and other palaces and mansions. The result of the joint work of the architect and sculptor was a monument to the President of the Medical-Surgical Academy J. V. Willie, erected in 1859 at the corner of Sampsonievsky Prospekt and Samarskaya Street in front of the new academy building. The authors of the monument-masterpiece of Russian art are architect A.I. Stackenschneider and sculptor D.I. Jenson.

Yakov Vasilievich Willie, a brilliantly gifted personality, died in 1854. His two-story mansion was located on the English Embankment, 74. In 1830, he provided an apartment in the wing of his house to a graduate of the Medical-Surgical Academy, a talented surgeon, staff doctor A.D. Blanca. Here, on February 28, 1835, his daughter Maria Alexandrovna was born - the mother of Vladimir Ilyich Lenin.

Hard work A.I. Stackenschneider required enormous amounts of effort, but they ran out. In recent years, the architect suffered from lung disease; in the spring of 1865 he left his beloved Ivanovka for Saratov for treatment with kumis. On the way back he fell ill in Moscow, and here on August 8, 1865, the great worker died. He was buried near St. Petersburg in the Trinity-Sergius Desert - now here is the village of Volodarsky. A.I. Stackenschneider, who came from a family of Russified Germans, had a Russian wife, Russian friends, spent his whole life in Russia, felt Russian. The works of the outstanding Russian architect are among the few architectural monuments whose artistic value was preserved throughout the entire period of their existence.

In a number of cases, he initiated the development of many architectural styles and showed in his works the highest professional skill, brilliant erudition and a subtle sense of style. His work merged various forms; they clearly show the strong influence of Western taste, Russian material, climate and custom.

“And I. Stackenschneider, one of the most talented and fruitful Russian architects who worked in the 19th century, belonged to the generation of architects trained in the rigor of classicism and then devoted their energies to the most varied whims of taste.” (L. N Benoit, N E Lanseray).

Until now, projects, strictly documentary plans of sites, facades of buildings, interiors, executed by the great architect and located in the collection of the Scientific Research Institute of the Academy of Arts, whose graduate and teacher was Andrei Ivanovich Stackenschneider, invariably arouse special interest.

At the beginning of 1845, the Mariinsky Palace was accepted by the court office of Grand Duchess Maria Nikolaevna. “St. Petersburg Vedomosti” reported “We can say affirmatively that this Palace is one of the most elegant European buildings in terms of the artistic decoration of the halls. This architectural work is a whole poetic creation that will find a crowd of imitators and will have a beneficial influence on the architectural decoration of the interiors of magnificent buildings, not with elaborate decorations, not with masses of silver and gold, but with simple, maturely considered classical forms.”

The work of the architect Andrei Stackenschneider was highly appreciated by many of his contemporaries. The reigning customers did not remain in debt either. For the creation of the palace at the Blue Bridge, Andrei Ivanovich received the Order of St. Stanislav, 2nd degree and 5 thousand rubles in silver. “For his special art and excellent knowledge of architecture,” he was awarded the title of professor without performing a program at the choice of the Academy of Arts. This was an exceptional case.

Grand Duchess Maria Nikolaevna came up with a very special reward for him. According to the recollections of the rector of the Academy of Arts Fyodor Jordan, who was invited to a ball in the Ballroom of the Mariinsky Palace, Maria Nikolaevna called professor of sculpture Nikolai Pimenov to her at the ball and said, “You, Nikolai, should make me a bust of Stackenschneider, he deserves to show off in this hall.” Then F.I. Jordan wrote. “I heard that his bust was actually placed in the palace of the Grand Duchess.”

In 1885, this episode was confirmed by the newspaper “Petersburg Leaflet”. “In one of the halls of the Mariinsky Palace there is still a bust of Stackenschneider, placed here during his lifetime as a reward for the construction.”

The outstanding Russian architect Andrei Ivanovich Stackenschneider, like no other architect, was noted in this way. His architectural masterpieces continue to delight the 21st century generation of Russians and many guests of the Northern capital.

Stackenschneider is an architect whose last name is familiar to many residents of Russia and neighboring countries. Thanks to this talented person, numerous palaces, buildings, as well as other cultural buildings of Peterhof were designed. We will tell you about this wonderful person in this publication.

The early childhood years of the architect

Stackenschneider Andrei Ivanovich was born on February 22, 1802 on the territory of the powerful Russian Empire. The grandfather of the future architect was a native of one of the largest cities in the North of Germany - Braunschweig. He was a famous craftsman, capable of making various things from genuine animal skin. And when the fame of his skill reached the Russian Emperor Paul, he was invited to the capital. Later, my grandfather decided to stay in Russia. He got married, and Andrei Ivanovich's father was born.

Andrei himself was born within the walls of the family farm, where the entire Stackenschneider family previously lived. The little architect spent almost his entire childhood at the mill where his father worked. When the future master turned 13, he was sent to study at the Imperial Academy of Arts. However, due to the fact that he never showed any special talents, after graduation he was assigned to the committee of hydraulic works and buildings. This is where our architect Stackenschneider worked for some time as an ordinary draftsman.

Diversity of professional activities

After four years of working as a draftsman, our hero received a lucrative offer, thanks to which he got a new job. This time the position of architect-draftsman awaited him.

That's how he ended up on a special commission for construction headed by him. Here he showed himself as a talented architect. Stackenschneider was later noticed by another famous builder and architect Henri Louis Auguste Ricard. It was he who invited our hero to work on the Winter Palace.

Leaving work and going into private practice

At some point, the architect Stackenschneider decided that it was time for him to enter private practice. At the beginning of 1831, he resigned from the commission and took up private construction with great pleasure. One of his first independent works was the design of the count's house. The estate belonged to A.H. Benkendorf.

After our hero successfully completed the task assigned to him, the count told the emperor about him. As a result, the talented architect was invited to one of the richest houses in St. Petersburg. Stackenschneider almost immediately gained the favor of Nicholas I.

Increasingly, he began to receive individual orders from the emperor. And after some time, he became practically the only architect who was trusted to build not only huge estates, but also princely and royal palaces. And so it was until the death of the architect. He worked and designed real estate for royal and privileged persons for a long time, and received the honorary title of personal architect of His Majesty's palace.

First awards and study abroad

According to his biography, Stackenschneider first received recognition in 1834. At this very time, he was actively working on the project of the “small palace of the emperor,” for which he received the promising title of academician.

However, despite this, our hero felt that he was sorely lacking in experience. At the same time, he managed to achieve the support of the sovereign, and, at the expense of state benefits, went abroad to study. So, he visited England, France and Italy. And upon returning, he received the honorary title of professor of the second degree from the representatives.

Work on the Mariinsky Palace

During his life, Andrei Ivanovich designed and erected buildings of varying complexity. He managed to visit Moscow, Crimea, St. Petersburg, Novgorod, Taganrog, Peterhof and even Tsarskoe Selo. In all these places he worked and created quite successfully. Critics praised his work and argued about the peculiarities of his strict and at the same time democratic style. One of the most majestic buildings that an architect has ever managed to build is the Mariinsky Palace.

Our hero designed this building, located on the beautiful St. Isaac's Square, in 1839. Construction of the palace was completed in 1844. About what buildings and palaces Stackenschneider built, in addition to of this building, where the residence of the St. Petersburg Legislative Assembly is currently located, we will describe below.

Other outstanding creations of the great author

Thanks to his inquisitive mind and wonderful imagination, our hero created the Beloselsky-Belozersky Palace in St. Petersburg . Let us remember that this unique building in the neo-Baroque style was erected between 1846 and 1848.

Among the numerous works of the famous architect one can find not only palaces, but also children's hospitals, chapels, country residences and much more. For example, at the beginning of 1835, the private villa of the famous film actor Genies was modeled and then built. Exactly a year later, our hero was working on the construction of a summer cottage for the Zvantsovs. And in 1834 M.I. Mordvinova.

Famous buildings in Peterhof

The outskirts of Peterhof and the city itself became a wonderful place for inspiration for our master. Here he actively worked on plans for magnificent landscape parks: Lugovoy and Kolonistsky.

He then thought about some elements of Colonist Park separately. So, our author owns sketches of two pavilions at once: Holgin and Tsaritsyn. It is interesting that the Olga Pavilion was created by order of Emperor Nicholas I and in honor of his daughter. Her name was Olga. The building itself is similar to a Neapolitan tower, partially protruding with its base from under the water.

The Tsaritsyn pavilion was erected strictly at the request of the emperor’s wife Alexandra Fedorovna. In its external features, it looked more like an ancient Roman building than a classical building from the time of Nicholas I.

Majestic pavilions in various parks

Andrei Ivanovich was also involved in planning two other pavilions in the picturesque Lugovoy Park. One of them is the Pink Pavilion, or “Ozerki”. According to critics, it was he who was the central composition of the entire park. Its construction began in 1845 and ended in 1848. The second, Belvedere, was a two-story building built from fairly massive granite blocks.

At the beginning of 1727, our hero started the construction of a palace and park ensemble at Emperor Peter II's own dacha. Then, under the strict guidance of the architect, the Church of the Holy Trinity, a palace, a greenhouse and a gardener's house were built in the palace and park ensemble of the 19th century. Next was the palace in Znamenka, the Farmers' Palace and the Lion Cascade. We will tell you about this amazing object further.

A unique cascade in the Palace and Park ensemble of Peterhof

During the design of the Lower Park, the famous architect applied the principle of creating cascading fountains. It was believed that, in this way, the palace being built on the territory of the park would be complemented by a spectacular corner of wildlife. At the same time, the well-known Italian architect Nicolo Michetti initially worked on the project. But his idea to close the ring of the cascade within the Hermitage Alley was never brought to life.

Between 1854-1857, the design of the cascade was completely redone. This time, the project of A. I. Stackenschneider was taken as its basis. According to preliminary data, it involved a significant increase in the original size of the pool and the addition of 14 columns, each of which was 8 m in height.

12 unique marble bowls were also installed between the columns. From the old decorative elements, the author decided to leave mascarons (comic images of mythical animals) and large figures of lions, from whose mouths streams of water came out. In the middle of the columned pantheon there was a figured statue of “Nymph Aganipa”. Everyone who saw this cascade described it as something incredibly beautiful, strict and at the same time fabulous.

A few words about the personal life of the architect

The architect’s extreme busyness did not prevent him from improving his personal life. At the peak of his dizzying career, the author of numerous works met a woman with whom he immediately fell in love. It was Maria Fedorovna Khalchinskaya.

Some time after living together, the couple had 8 children. It is noteworthy that all of them, except for the youngest Zinaida, who died in childhood, became famous personalities. For example, the architect's daughter Elena began writing memoirs during her turbulent youth. Later she even opened her son, an architect, Nikolai, who lived in St. Petersburg for a long time. He loved to draw, was interested in architectural art, and even built one of the houses in Kharkov.

Another son of Andrei Ivanovich, Alexander, graduated from theater courses and became one of the favorite artists at the Imperial Theater. However, such a talented person as Stackenschneider had other children who did not devote their lives to art.

For example, this is exactly what his son Adrian was like. After receiving higher education, he went to work in the office. A little later, he moved to Kyiv, lived for several years in Kharkov, where he headed the judicial chamber. Son Vladimir also plunged headlong into jurisprudence. Daughters Maria and Olga married successfully and went to live abroad.

The memory will live forever

Andrei Ivanovich has been dead for a long time. He died in early August 1865. At the time of his death he was 63 years old. His memory continues to live in the hearts and minds of our compatriots. And his majestic creations will continue to delight tourists and local residents.