Gilardi Gilardi

Gilardi, a family of Russian architects. Italians by origin. Ivan Dementievich Gilardi (Giovanni Battista) (1759-1819), representative of the Empire. He worked in Moscow from 1787 or 1789 to 1817. He built the Widow's House (now the Institute for the Improvement of Doctors; 1809-11), the Catherine Institute (now Central House Soviet army; 1802) - both were rebuilt after the fire of 1812; the Mariinsky Hospital for the Poor (now the F. M. Dostoevsky Hospital; 1804-07), the Alexander Institute (now the Research Institute of Tuberculosis, 1809-11). Dementy Ivanovich Gilardi (Domenico) (1785-1845). Son of I. D. Gilardi. He studied with his father, then at the Milan Academy of Arts (1804-06). Until 1810 he studied the architecture of Italy. In 1810-32 he worked in Moscow. Actively participated in the building of Moscow after the fire of 1812, created a number of monumental, parade-ceremonial public buildings in the Moscow Empire style, which played an important role in shaping the architectural appearance of the city - the restoration of the university building (1817-19), the restructuring of the Widow's House (1821-23) and the Catherine Institute (after 1818 and in 1826-27), the Sloboda Palace (now the Moscow Higher Technical School named after N. E. Bauman; 1827-32). He built the Board of Trustees (now the building of the Academy of Medical Sciences of the USSR; 1823-26, with the participation of A. G. Grigoriev), residential buildings - Lunins (1818-23; now MINV), S. S. Gagarin (later the Horse Breeding House, now the Institute of World Literature named after A. M. Gorky; 1820s), the ensemble of the Usachev-Naidenov estate (now a hospital; 1829-31) and the Kuzminki estate.

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Literature: E. A. Beletskaya, Z. K. Pokrovskaya, D. I. Gilardi, Moscow, 1980.

(Source: "Popular Art Encyclopedia." Edited by Polevoy V.M.; M.: Publishing House "Soviet Encyclopedia", 1986.)

Gilardi

Dementy (Domenico) Ivanovich (1785, Montagnola, near Lugano - 1845, ibid.), Russian architect, Italian by birth; style representative empire. The son of the architect Giovanni Battista Gilardi, who worked in Moscow. Studied at Petersburg Academy of Arts(since 1796) and at the Academy of Arts in Milan (1803-06). In 1810-32. worked in Russia, becoming his father's assistant in the architectural department of the Moscow Orphanage.

He made a great contribution to the restoration of Moscow after the fire of 1812. During the restructuring of the created M.F. Kazakov building of Moscow University (1817-19) retained its design and main volume, but supplemented the decor with details that reflected the heroism of the victory (stucco ornaments in the form of lion masks, wreaths and torches; made by the sculptor G. T. Zamaraev according to the sketches of Gilardi). Light Ionic portico Kazakov was replaced by a massive Doric, the size of the dome increased, a grandiose semi-rotunda of the assembly hall was erected. Over 20 years of work in Moscow, he built and restored a number of buildings: the Catherine Institute (after 1812; now the Central House Russian army); Widow's House on Kudrinskaya Square (1818; now the Central Institute for the Improvement of Doctors); Board of Trustees on Solyanka (with the participation of A. G. Grigoriev; 1823-26; now Russian Academy medical sciences); Sloboda Palace (1827-32; now Bauman Moscow State Technical University); private houses of the Lunins on Nikitsky Boulevard (1818-23; now the Museum of the Peoples of the East) and S. S. Gagarin on Povarskaya Street (1820; now the Literary Institute named after A. M. Gorky). All Gilardi's buildings are distinguished by their monumentality, their ceremonial appearance is emphasized by powerful colonnades, a clear rhythm of sculptural decoration.

Gilardi also proved to be a brilliant master garden architecture. In the Golitsyn estate, Kuzminki (1820-23) rebuilt the wing of the manor's house, the kitchen building (Egyptian pavilion), the building of the Orange Orangery, the main entrance and the Red Courtyard, reconstructed the pier and park facilities (among them the Musical Pavilion of the Horse Yard - one of the best creations of the architect) . In the park of the Usachev-Naydenov estate on Zemlyanoy Val near Yauza (1829-30) he skillfully combined regular and landscape planning.

European CASTLE, a fortified dwelling of a feudal lord. Castles were built in Europe from the 10th century. The earliest ones have not survived. They were built of wood and represented a manor surrounded by a log fence and a moat, in the center of which a massive tower rose - a donjon. Later, donjons, and after them other castle buildings and fortress walls, began to be built of stone. The donjon served as a dwelling for the feudal lord and his family, and in the event of a siege it was his last stronghold, a fortress within the fortress. The walls of the tower were reinforced with buttresses; windows, resembling narrow loopholes, were protected by shutters and bars, so little sunlight penetrated into them. The castle was a visible embodiment of the power of the feudal lord. During the times of frequent wars and civil strife in the Middle Ages, it also became a refuge for the townspeople or peasants who lived near it.

Castle architecture flourished in the Romanesque and Gothic eras. The device of the castle was supposed to provide its owners, first of all, with security, protection from enemies. Fortified dwellings were erected in hard-to-reach places: on sheer cliffs (Montsegur in France, 12th century), in the bends of rivers (Château Gaillard in France, 1196-98), and on islands (Caernarvon Castle in England, 13th century). They were surrounded by ditches that filled with water; it was possible to get over them only by a wooden drawbridge or a portable ladder. The gates were supplemented with a portcullis. Many castles were surrounded by a double ring of walls. The outer walls were made lower than the inner ones: in the event of an assault, the enemies who climbed the first belt of fortifications fell under the arrows of archers standing on the inner walls. The inner and outer walls were completed by battlements (including those in the form of a swallowtail) and hinged loopholes protruding beyond their line - machicules (La Coca Castle in Spain, 12-15 centuries). The walls were additionally reinforced with towers. In case of a long siege, the castle was equipped with everything necessary. On its territory were not only the dwellings of the owners and servants, but also a chapel (chapel) for prayers, a well, barns and cellars, a garden with medicinal plants, etc.

Life in European castles was poorly equipped for a long time. The donjon consisted of several floors. Spacious halls were located one above the other. Fireplaces were not able to heat the vast premises. Private chambers, a dining room, separate rooms for the owner, hostess, children, appeared only in the late Middle Ages. In the halls they received guests, held feasts and dances, resolved issues of war and peace, and led everyday family life. The walls of the halls were decorated with paintings or carpets - tapestries. The floor was covered with fragrant herbs. Massive and solid benches, chests, chairs, armchairs stood mostly along the walls. Armchairs were intended for the owner and hostess; guests were offered to sit on pillows laid on the floor, replacing upholstered furniture. The decoration of the interior was elegant fabrics. Expensive, rare dishes were displayed on cabinets-suppliers. The banquet tables were often prefabricated, after the end of the meal they were removed. There were few dishes, including spoons; forks were a curiosity even at the end of the Middle Ages, when the fashion for them came from Byzantium. Noble lords ate primarily game caught on the hunt. Fruits were enjoyed right in the garden. Honey was used to make sweets; sugar and spices were rare, they were brought from the East. The entertainment of the inhabitants of the castle was hunting, which was the privilege of the feudal lords, jousting tournaments, reading richly illustrated handwritten books as well as chess and ball games. Itinerant jugglers performed in the castles, showing tricks and acrobatic stunts. Troubadours to the accompaniment string instruments sang songs in honor of beautiful ladies, told about the exploits of the valiant knights of the Round Table and the furious Roland, about the love of Tristan and Isolde.

The development of artillery made it useless to build castles as defensive structures. The harsh fortified buildings were replaced by palaces. Famous complexes in the Loire Valley in France (Chambord, first half of the 16th century; Amboise, 1492-98, etc.) combine the features of a castle and a palace.

(Source: "Art. Modern Illustrated Encyclopedia." Under the editorship of Prof. A.P. Gorkin; M.: Rosmen; 2007.)

See what "Gilliardi" is in other dictionaries:

- (Giliardi) Dementy (Domenico) Ivanovich (1785 1845), architect. Italian by origin. In 1810 32 he worked in Russia. After the fire of 1812 in Moscow, he restored the university building (1817 19), rebuilt the Board of Trustees (now the Russian Academy of Medical Sciences; 1823 26), ... ... Russian history

- (Gilardi) (Gilardi) Dementy (Domenico) Ivanovich (1785 1845), architect; Empire representative. Italian by origin. In 1810 32 he worked in Russia. After the fire of 1812, he restored the university building in Moscow (1817-19), rebuilt the Opekunsky ... ... Modern Encyclopedia

Domenico Gilardi Years of life Citizenship Switzerland Date of birth June 4, 1785 Place of birth Montagnola, canton ... Wikipedia

- (Giliardi) a dynasty of Swiss builders from Montagnola (Canton of Ticino), who worked in Moscow and Saint Petersburg from the middle of the 18th to the middle of the 19th centuries. Gilardi remained Swiss citizens, their children were brought up in their homeland, and themselves ... ... Wikipedia

Gilardi (Gilardi) Dementy (Domenico) Ivanovich (1788, Montagnola, near Lugano, Switzerland, 28.2.1845, ibid.), architect, representative of the Russian Empire. Italian by nationality, the son of the architect Ivan (Giovanni Battista) Dementievich ... ... Great Soviet Encyclopedia

GILARDI- [Gilardi; ital. Gilardi] Dementy Ivanovich [Domenico] (06/04/1785, Montagnola, near Lugano 02/26/1845, Milan), architect. 1st third of the 19th century, working in Russia. One of the main creators in the 10 30s. 19th century Moscow Empire style, which dominated ... Orthodox Encyclopedia

- (Gilardi), Dementy (Domenico) Ivanovich (1785 1845) Russian architect, a representative of the Empire. Italian by origin, in 1810 1832 he worked in Russia. After the fire of 1812 in Moscow, he restored the university building (1817 1819), rebuilt ... ... Construction dictionary

Gilardi D.- GILARDI (Gilardi) Dementy (Domenico) Ivanovich (1785–1845), architect. Italian by origin. In 1810–32 he worked in Russia. After the fire of 1812 in Moscow, he restored the university building (1817–19), rebuilt the Board of Trustees (now ... ... Biographical Dictionary

GILARDI (Gilardi) (Gilardi) Dementy Ivanovich (Domenico) (1785, Montagnola, near Lugano, Switzerland February 28, 1845, Milan), architect, representative of the Empire (see. Empire). An Italian by origin, in 1810 32 he worked in Russia. Hereditary ... ... encyclopedic Dictionary

GILARDI, Gilardi Ivan Dementievich (Giovanni Battista) (December 18, 1755, Montagnola, Switzerland February 13, 1819, ibid.), Italian architect. From 1787 (or from 1789) to 1817 he worked in Russia. Comes from a family of hereditary architects. encyclopedic Dictionary

Dementy Ivanovich (Domenico) Gilardi is one of the leading architects of Moscow in the first third of the 19th century. Swiss by birth, Italian by nationality, he has all his rich, but short creative life was associated with Russia, gave a lot of strength and talent to the revival of Moscow after the fire of 1812.

D. I. Gilardi was born in 1785 in Montagnola near Lugano, a small town in the Tessinsky canton in southern Switzerland. The Tessinsky canton has long been known as the birthplace of many architects, artists, stone craftsmen who worked in Russia. Unable to apply their creative powers in small Switzerland, they left in search of work in foreign lands. The wide scope of construction work, the growing importance of Russian architecture attracted the attention of architects to Russia. different countries, including Switzerland, throughout the XVIII and the first third of the XIX century. The Gilardi family has been associated with Russia, and in particular with Moscow, for many decades.

Since 1787, three Gilardi brothers worked in Russia, two of whom, Ivan and Osip, were the architects of the Moscow Orphanage. The most famous of the brothers was the eldest - Ivan Dementievich, who led the construction of the largest buildings in Moscow: the Mariinsky Hospital for the Poor on Novaya Bozhedomka (now the Moscow Research Institute of Tuberculosis on Dostoevsky Street); The hospital of N. P. Sheremetev designed by E. S. Nazarov and J. Quarenghi (now the Institute for Emergency Medicine named after N. V. Sklifosovsky), the Pavlovsk (now the 4th City) hospital designed by M. F. Kazakov and others. A significant building built by I. D. Gilardi according to his own project was the Alexander Institute on Novaya Bozhedomka (now the Moscow Regional Tuberculosis Institute), in which he used compositional techniques Russian classical architecture.

In 1796, Ivan Gilardi was visited by his eldest son, Domenico, who later became the most famous of the Gilardi family, from Montagnola. At that time he was eleven years old. Architecture did not immediately attract him, at first he dreamed of becoming a painter. Noticing his son's inclinations, his father sends fourteen-year-old Domenico to study painting in St. Petersburg, where he studies with the famous muralist Carlo Scotti; in 1803 Domenico leaves for Italy to continue painting at the Milan Academy of Arts.

While attending a natural class at the academy, studying perspective, he came to the conclusion that not painting, but architecture, was closer to him. This opinion of the young man was supported by the professors of the academy. However, the years devoted to painting were not in vain for Gilardi. They left an indelible mark on his work, made him pay attention to the surrounding landscape, to the combination of architecture with the features of an urban or rural landscape. Passion not only landscape, but also monumental and decorative painting helped him to create interiors, where such important role plays a combination of architectural forms, painting and sculpture.

In 1806, Gilardi graduated from the Milan Academy and for about four years continued to study the monuments of architecture and art of other Italian cities - Rome, Florence, Venice. In 1810, he returned to Russia and from January of the following year was assigned as his father's assistant in the department of the Moscow Orphanage, with which he was associated all the years of his architectural practice.

Perhaps the passion for landscape compositions prompted D. Gilardi to create the first work after returning to Russia - a project for a park for Pavlovsk, which he dreamed of implementing himself. Only the design of the pavilion has been preserved, made in the finest graphic manner with a touch of watercolor. To the development of the pavilion in the form of a semi-open gazebo, with a dome and arched openings of the side walls, Gilardi will resort more than once in his subsequent works.

The activities of D. Gilardi unfolded after the end Patriotic War 1812 and was mainly connected with Moscow.

In August 1812, when Napoleon's troops approached Moscow, Gilardi, together with another assistant to the architect of the Orphanage, Afanasy Grigorievich Grigoriev, older children and employees of the house, leaves for Kazan. In the autumn of the same year they return to Moscow. Immediately after the departure of the enemy, a huge work began on the restoration and development of the affected city.

At the same time, a competition was announced for the design of a monument for Moscow in honor of the victory in the Patriotic War of 1812, in which Gilardi took part. Unlike most of the other participants, he proposed to build a monument not in the form of a temple, but in the form of a triumphal column crowned with a globe with a statue of the winged Victory, or Russia, giving peace to Europe.

Work on the project of the monument, which falls on 1813 - 1814 - the time of the victorious march of Russian troops across Europe, is combined with Gilardi's daily practical activities to put in order the buildings of the Orphanage that suffered during the fire, design (together with his father) new pharmacy buildings and laboratories, with work in the Expedition of the Kremlin structure to restore the structures of the Kremlin.

The first major work that brought fame to the young architect was the restoration of the building of Moscow University. This building - the largest center of Russian education - was badly damaged during the fire: all ceilings, wooden stairs burned down, the assembly hall, library and museum were destroyed. For five years, the charred skeleton stood in the center of Moscow, and only in 1817 was it decided to allocate funds for its restoration. At the same time, D. I. Gilardi was appointed architect of the university.

According to the project of the Commission organized in 1813 in Moscow, the university, like other monumental buildings located around the Kremlin, was to be included in the front building of the center of Moscow.

Under the leadership of D. I. Gilardi, large-scale construction work was carried out; only the volume of the building, the layout of the main halls and the processing of the wall of the courtyard facade remained unchanged. Taking into account the city-planning role of the university, Gilardi made significant changes to the solution of the main facade - he gave it a more solemn, full of heroic pathos appearance. Gilardi took the path of enlarging the scale of the main articulations and details of the building. Instead of the characteristic of classicism late XVIII centuries of processing the walls with spatulas or pilasters, he emphasized the surface of the wall, significantly enhanced the monumentality of the forms and the plasticity of the portico, using the Doric order with powerful fluted column shafts, a massive pediment and entablature. In the renovated appearance of the building, the architect sought to emphasize the idea of ​​the triumph of sciences and arts, to achieve an organic combination of architecture, sculpture and painting.

The theme of art is dedicated to a beautiful bas-relief of the facade depicting nine muses - the work of the sculptor G. T. Zamaraev, made by him in collaboration with D. Gilardi (as well as other sculptural and painting works).

With exceptional skill, the architect rebuilt the assembly hall, striking with the unusual shape of the grandiose conch. The semicircle of the Ionic colonnade of the hall supports the choir, standing out against the backdrop of the wall and ceiling paintings, executed by the artist Uldelli based on the drawings of Gilardi. The frieze unfolded under the choirs with a generalized image of scientists attracts attention, and the group of Apollo and the muses above the windows completes the entire composition of the ceiling painting.

July 5, 1819 in the assembly hall took place Grand opening renovated university building. In the speeches of the professors, in the verses, words of pride and joy for the successes of the rapid revival of the city, praise of the renewed "Minervin Temple" sounded.

In 1817, the elder Gilardi, Ivan Dementievich, who had worked in Russia for twenty-eight years, left for his homeland for treatment, and soon, in 1818, due to old age and poor health, he was completely expelled. After his departure, his son, Dementy Ivanovich Gilardi, was appointed to the post of architect of the Orphanage. Along with the work on the restoration of the university and the current construction, installation and repair work on the house, Gilardi is also involved in more significant tasks.

In 1818, he was entrusted with the restructuring of the Widow's House in Kudrin and the building of the Catherine's School on Catherine's Square. Before D. I. Gilardi, his father worked on the adaptation of these buildings for these institutions, but he did not, however, make significant changes to them. Before D. I. Gilardi, the task was to increase the volume of buildings and give them a representative look that meets the architecture of new public buildings in Moscow.

The widow's (former Invalid) house burned down in 1812. During the reconstruction, Gilardi included the old house in the right wing of the new building. (The outlines of an old house with two ledges are visible from the side of the courtyard.) The diversity of the right and left parts of the building is hidden by the superstructure of the third floor made by Gilardi and the powerful portico-loggia that united the two wings. Its deep chiaroscuro, enhanced by the contrast with the plane of the side walls, the expressive plasticity of the smooth trunks of the large Doric order "hold" the composition of the extended building. The construction of the Widow's House was completed in 1823.

Rebuilding the building of the Catherine's School (now CDSA), located in the depths of the site, Gilardi "covered" its crushed facade with a monumental ten-column portico raised to the high arcade of the lower floor. During the major restructuring and expansion of the building, carried out by Gilardi in 1826 - 1827, wings strongly extended forward were added, forming a deep front courtyard.

The work of D. Gilardi on the creation of a large building of the Board of Trustees of the Orphanage on Solyanka falls on the 1820s, the construction of which, begun in 1821, was smoked in 1826.

Work on the restructuring of the Widow's House, the Catherine's School and the buildings of the Board of Trustees was carried out with the invariable fate of D. I. Gilardi's assistant A. G. Grigoriev.

Gilardi gave the building of the Board of Trustees the image of a monumental public building. The ensemble, consisting of a central volume covered with a dome, connected by a stone fence with two outbuildings, occupies more than 100 meters along the front of the street. The center of the facade of the main building is decorated with a light Ionic colonnade raised to a high podium with arcades, a wide staircase and a ramp. The colonnade seems especially airy against the background smooth surface side walls of the facade, devoid of window and door openings.

Twenty years later, in 1847, Academician M. D. Bykovsky rebuilt the building of the Board of Trustees, leaving only its central part unchanged with a colonnade, a dome and a multi-figured bas-relief by I. P. Vitali. The magnificent interiors of the house have been preserved almost unchanged.

Designed to receive visitors and conduct monetary transactions central halls Gilardi unites the Council of Trustees into a single space with the help of rhythmically repeating arches that replaced the longitudinal and transverse walls. The overall impression of the free space of the interiors is enhanced by the different heights of the outlines of the vaults. The main meeting room of the Presence of the Council, located in the depths of the building, is most grandiose - with a high semicircular vault, painted with grisaille, and majestic arches at the ends.

The theme of the pictorial and sculptural decoration of the interior symbolizes the purpose of the building of the Board of Trustees of the Orphanage - care for illegitimate children and orphans. The sculptures were made by sculptors I.P. Vitali and S.-I. Campioni, painted by artist P. Ruggio. Allegories of "Mercy" and "Education" are also dedicated to the sculptural groups on the stone gates made according to the project of Gilardi at the entrance to the Orphanage from Solyanka.

Simultaneously with the construction of the building of the Board of Trustees, Gilardi created one of his most perfect works - the house of Prince S. S. Gagarin on Povarskaya (now the Institute of World Literature and the Museum of A. M. Gorky).

A feature of the external appearance of this building is that the leading artistic technique in solving the facade of Gilardi is not a traditional columned portico, but an arched window with a wide archivolt and a two-column insert bearing an entablature. Three such windows occupy the entire space of the central ledge of the main facade. The arches are recessed into the wall, which, enhancing the play of light and shade, helps to reveal the architectural and sculptural elements of the composition.

The building is located indented from the red line, in front of a small front yard, which distinguishes it from the line of street development. In organizing the interior space of the building, Gilardi turns to contrasting techniques: from a low vestibule with four paired Doric columns carrying floor beams, a narrow staircase diverging on two sides leads to a solemn bypass gallery, blocked, like the Board of Trustees, by high sailing vaults with a light lantern in center. Magnificently designed arches with a sculptural group of Apollo and the Muses on the entablature occupy the walls on four sides of the gallery. Three doors open from here to the front rooms of the house. One of them leads to the so-called "open" living rooms located along the main facade, on the left side - to dance hall, on the right - in a suite of rooms completed by a spacious "large office" - a light lantern, a branch of paired Ionic columns.

The interiors of the Board of Trustees and Gagarin's house - one of the best in the work of Gilardi - have much in common in planning, in the methods of revealing the internal space achieved by different heights and outlines of vaults and ceilings, in the masterful inclusion of an order, in the role of sculptural and pictorial decor (only partially preserved ). In creating the ensemble of front rooms, Gilardi followed the achievements of Russian classical architecture.

One of the significant works of Gilardi, carried out by him in 1814 - 1822, was the restructuring of the estate of P. M. Lunin at the Nikitsky Gate (now the Museum of Culture of the Peoples of the East on Suvorovsky Boulevard).

The estate bought at the beginning of the century burned down during the fire of 1812, in addition, its appearance no longer corresponded to the nature of the building after the fire in Moscow. Gilardi was faced with the task of using the old buildings in the new ensemble to reconstruct the estate so that the main buildings, previously located inside the courtyard, would go to the created highway of boulevards. Gilardi added a new building to the end of the old house, placing it parallel to Nikitsky Boulevard. He built on, expanded and added an Ionic portico to the wing located to the right of the new building, thereby strengthening its significance in the ensemble, lengthened the wing on the other side of the main building and changed the architectural treatment of its facade.

The Lunin House, consisting of a complex of three buildings, forms an asymmetric composition designed to be perceived in the direction from Arbatskaya Square to the Nikitsky Gates. When following the boulevard, as you approach the house, its perspective constantly changes. The first to be seen is a two-storey outbuilding with an Ionic portico raised on a high white stone plinth. The columns of the portico are unevenly spaced: they are paired at the corners, strongly moved apart in the center, which violated the rigor of the building and introduced the features of simplicity and ease, characteristic of the architecture of Moscow at that time.

In contrast to the spatial composition of the wing, the main building is perceived as a solid volume with an emphasized plane of the main facade. The solemn colonnade of the Corinthian order unites the two upper floors of the house and gives it a large scale. At the same time, the colonnade is hidden in a shallow loggia so that the columns do not go beyond the plane of the facade and do not violate the solidity of the building. A richly ornamented frieze encircling the house completes the composition.

The interiors of the Lunins' house are typical for residential buildings of the palace type: with a suite of front rooms in the mezzanine, utility rooms on the first floor and living rooms on the top.

The ceremonial living rooms were very diverse and created the impression of a constantly changing space as they moved. Various outlines of hall ceilings, arches and passage portals, columns, stucco cornices and mirrors, fireplaces - all these elements were introduced into the decoration of the premises with a subtle professional taste.

The construction of the wing was completed in 1818, the main building - five years later, in 1823. Soon the house was sold as an office of the Commercial Bank.

Gilardi builds not only in Moscow, but also in the Moscow region - Grebnev, Porechye, Kotelniki, and also in other places. His most significant works were carried out in Kuzminki, or Vlakhernsky, the Golitsyn estate near Moscow.

Through the efforts of well-known Moscow architects XVIII century N. P. Zherebtsov, R. R. Kazakov, I. E. Egotov and other Kuzminki by the 20s of the XIX century - while Gilardi worked there - turned into a real country estate - with a manor house, a front yard and a garden, household and park buildings, spread among the greenery along the banks of flowing ponds. But many buildings fell into disrepair, and the estate itself suffered during the stay of Napoleonic troops in it. D. I. Gilardi worked in Kuzminki until 1832, the time of his departure from Russia. Gilardi handed over all the affairs of the village of Vlakhernsky to his cousin, Alexander Osipovich Gilardi, who worked there with him.

In Kuzminki, such features of Gilardi's work as a feeling surrounding nature, understanding the features of Russian classical architecture, which helped him develop what his predecessors had begun here. Gilardi rebuilds the wing of the manor's house and the buildings adjacent to it - the kitchen building (the so-called Egyptian pavilion) and the building of the Orange Orangery. The facade of the kitchen and the main hall of the greenhouse Gilardi processes in the stylized forms of Ancient Egypt.

Gilardi paid great attention to the creation of the main entrance to the estate: he turns the access road into a wide avenue, and at the entrance he installs cast-iron triumphal gates in the form of a double Doric colonnade topped with the Golitsyn coat of arms - a copy of the Triumphal Gates of K. I. Rossi in Pavlovsk; the front, so-called Red, courtyard becomes more solemn.

Near the church (built by R. R. Kazakov and I. V. Egotov), ​​standing in front of the entrance to the front yard, Gilardi builds a small building - a sacristy. This building, round in plan, with walls sloping upwards, repeats the building of the pantry of the Pavlovsk hospital, the project of which was made by A. G. Grigoriev and D. I. Gilardi.

Gilardi renovates the park buildings behind the house, fixing the main axis of the composition of the estate: the entrance is the palace. This is a pier at the pond and a gazebo in the form of a colonnade standing behind it - the so-called propylaea. From these points, a beautiful view of the pond and pavilions located among the greenery of the park opens up.

Reconstructing the pier built by Yegotov, Gilardi gives its outlines a calm and majestic look. Sculptures of lions harmoniously fit into the architecture of the pier, organically merged with the surrounding nature. Propylaea are designed in massive and laconic forms of Dorica.

In the park, Gilardi rebuilds a number of pavilions, creating a finely thought-out compositional unity of park structures.

Chief among them is the Musical Pavilion of the Horse Yard, built by Gilardi in 1820-1823, one of the most perfect works of the master. By the simplest means, the architect achieved harmony and expressiveness of architectural forms here. The monumentality of the general appearance and scale proportionality to a person, the contrast of the plane of a smooth wall and the depth of a niche served as the basis for the artistic expressiveness of the building.

The musical pavilion and residential outbuildings, functionally not connected with the buildings of their own horse yard located behind them, were perceived from a distance as a decoration.

Note that D. I. Gilardi is also credited with the famous horse yard in Khrenovoye - the former. Voronezh estate of Count A. G. Orlov-Chesmensky, which has retained the purpose of the stud farm to this day.

At the end of 1826, Gilardi embarked on one of his largest works - the restructuring of the Sloboda Palace in Lefortovo to accommodate the Craft Institution and the almshouse of the Orphanage. The architect had a difficult task to give a new public sound to the palace building and to do this, following the requirements of his era.

Sloboda Palace by the time of its restructuring was almost completely destroyed. From the central part, only the outer walls remained, the wooden galleries burned down, the wings were destroyed to the ground. The final project of Gilardi, which differed significantly from the previous ones, was approved in 1827. The construction of the building lasted five years and was completed in 1832. D. Gilardi and his constant assistant A. G. Grigoriev supervised all construction work.

The building of the Crafts Institution received monumentality and austerity, corresponding to its purpose and corresponding to the scale of development of the Lefortovo palace district. Its appearance is quite modest: it is dominated by large smooth planes of walls cut through by a uniform row of window openings. Thanks to clearly defined volumes (the central and side buildings three stories high, connected by two-story galleries), the extended building does not break up into separate parts. Large arched niches on two floors with three-part windows and column inserts accentuate each of the main parts of the building.

The center of the building is crowned with a multi-figured sculptural group, made by the sculptor I. Vitali. It is dedicated to the allegory of the triumph of reason and enlightenment.

The white-stone details of the facade stood out clearly against the background of the red unplastered walls and contrasted with its large smooth planes.

In the 60s of the 19th century, the building of the Crafts Institution was transferred to the Moscow Technical School. At the same time, it was rebuilt and plastered: connecting galleries were built on, internal redevelopment was carried out. But even in the modern building of the Moscow State Technical University named after N. E. Bauman, the features of the old layout are visible, the central halls have been preserved - the assembly hall on the second floor and the former church hall on the third.

Having retained the rigor and simplicity inherent in the entire appearance of the building, Gilardi gave these halls splendor and solemnity by the masterful inclusion of a double colonnade in their composition: Doric in the lower hall and Ionic in the upper one.

Simultaneously with the halls of the Craft Institution, Gilardi creates two large double-height halls in the building of the Catherine's School that he is reconstructing; and by overall composition, and they were close in architectural design. And now these halls of the CDSA with two-tiered galleries, with slender colonnades, give the impression of exceptional splendor.

The last major work of Gilardi in Moscow, carried out by him in 1829 - 1830, is the estate of the Usachevs (later the Naydenovs) on Zemlyanoy Val near Yauza (now a medical and physical education dispensary on Chkalov Street). In the construction of this estate, the peculiarities of the architect's talent, the experience of previous work he had accumulated, were manifested.

As an experienced urban planner, Gilardi connected the composition of the estate with the new layout of the Zemlyanoy Val area, carried out by the Commission for the building. He showed himself to be a subtle master of landscape constructions: the natural data of the site - the complex relief, the proximity of the Yauza River, the breadth of the opening distances - all this enhances the impression of the ensemble, emphasizes its features.

The main building with a traditional Ionic portico in the center is placed along the line of the street and, together with the retaining wall of the ramp, forms a significant segment of the Earthen Wall. At the same time, it closes the perspective of the alley oriented towards it.

The composition of the park was built on a combination of regular and landscape planning, in close connection with the architecture of the garden facade of the house and the ramp going from it, as well as with pavilions and gazebos. The laconicism and monumentality of the garden facade of the house with a decorative arch in the center, the smoothness of the walls, shaded with ornamental inserts, were designed not only for its perception as a decorative element of the park, but also for viewing from distant points of the city.

The pavilions of the park also had a dual purpose: they were elements of the park, completing the perspective of the alleys, and at the same time places from which the panoramas of the city were revealed.

The surviving drawings of the ensemble, made at the very beginning of its construction, give an idea of ​​the lost elements of this park.

By 1832, the project of the last building of Gilardi in Russia, the mausoleum in Otrada, the estate of Count V. G. Orlov, near Moscow, dates back. The construction of the tomb was undertaken in connection with the death in 1831 of the owner of the estate, the last representative of the famous family of Counts Orlovs - V. G. Orlov, who lived in Otrada for more than fifty years.

Using the typical compositional scheme of the rotunda temple (the main body of the building with a drum and a dome, the main entrance is marked by a portico), Gilardi created a structure that is distinguished by constructive clarity and harmony of forms.

A true master of Russian classicism, Gilardi sought to give a solemn appearance to the building, which he interpreted as a monument to the heroic era in the history of Russia, it was at this time that the architect's creativity flourished. Therefore, we see in the project the figures of flying "Slavs" and other plastic elements that were supposed to decorate the entrance part of the temple, but did not get their implementation.

The impression of intimacy and solemnity is produced by the inner space of the mausoleum, built on a contrasting combination of the central dome directed upwards and low galleries of the ring bypass.

Like other buildings of this estate, the mausoleum was not plastered. The construction of the mausoleum dragged on for several years and was completed by A. O. Gilardi in 1835, after the departure of D. I. Gilardi to his homeland. The buildings of Dementy Ivanovich Gilardi are an excellent monument to the architect in his second homeland, which gave him the opportunity to reveal his talent.

In Switzerland, where the sick D. I. Gilardi returned in the hope of improving his health, he did not create a single significant work. D. I. Gilardi died in 1845 in Milan and was buried in the cemetery of San Abbondio near Montagnola.

Gilardi, Gilardi (Gilardi) Dementy (Domenico) Ivanovich (1788, Montagnola, near Lugano, Switzerland, - 28.2.1845, ibid.), architect, representative of the Russian empire style. Italian by nationality, the son of the architect Ivan (Giovanni Battista) Dementievich Zh. In 1810-32 he worked in Russia, since 1830 he was an honorary free member (honorary member) of the St. Petersburg Academy of Arts. Actively participated in the development of Moscow after the fire of 1812, he created a number of monumental, ceremonial public buildings and residential buildings, which played an important role in shaping the architectural appearance of the city. The main works in Moscow: the restoration of the university building (1817-19), the restructuring of the Widow's House (now the Institute for the Improvement of Doctors; 1818) and the Catherine Institute (now the Central House of the Soviet Army; after 1812); with the participation of A. G. Grigoriev - the Board of Trustees (now the building of the USSR Academy of Medical Sciences; 1823-26) and the reconstruction of the Sloboda Palace for vocational schools of the Orphanage (now the Moscow Higher Technical School named after N. E. Bauman; 1827-32); residential buildings - the Lunins (1818-23), S. S. Gagarin (later the horse breeding house, now the A. M. Gorky Institute of World Literature; 1820) and others, the ensemble of the estate of the Usachevs - Naydenovs (now a hospital; 1829-31 ). In the latter, as in the restructuring of the estate Kuzminki, Zh. proved to be a major master of landscape architecture.

Lit.: historical exhibition Architecture 1911, St. Petersburg. ; Beletskaya E., Gilardi's Unknown Project, in the collection: Soviet Architecture, [No.] 15, M., 1963.

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Architects from the Gilardi family lived and worked in Russia for a long time, were in the public service, and built on orders from private individuals. The architect Ivan Dementievich Gilardi was very famous in Moscow. On June 4, 1785, in Montagnol, his eldest son was born, who received the name Domenico. In 1796, at the age of eleven, the boy, together with his mother, first came to his father in Russia. Here they began to call him Dementy Ivanovich.

Despite the environment in which Domenico grew up, architecture did not immediately captivate him. He dreamed of becoming a landscape painter. In 1799, when the boy was fourteen years old, his father sent him to Petersburg to the artist Ferrari to study drawing and painting. Soon Domenico moved to the workshop of Porto, and in 1800 - to the historical painter Carlo Scotti, from whom he studied for three years.

At this time, with the assistance of the Dowager Empress Maria Feodorovna, he received a state scholarship, enthusiastically engaged in art, sometimes sending his father his drawings. The father continues to monitor the progress of his son. St. Petersburg climate, unusual for a southerner, the young man endures with difficulty. In one of the letters to relatives in Switzerland, the father reports that Domenico was dying, and dreams of the warmth of the south for his son, mourns the death of his younger children born in Moscow.

Apparently, at the end of 1803, Gilardi was sent as a state scholarship holder to Italy to continue painting at the Milan Academy of Arts, where he, after a short stay in Montagnola, arrived in the summer of 1804. The first months Domenico intensively engaged in painting. But he still did not become an artist. Critical analysis of his abilities and capabilities, advice from professors, reflection on his future activities in Russia forced him to abandon painting and led to architecture, which, as it showed him creative destiny, more suited to the peculiarities of his talent. What remained of the passion for painting and landscape was the understanding of the significance of the environment and nature that distinguished all of Gilardi's work, which enhances the emotional impact of the works created by the architect, a finely thought-out combination of architecture with landscape features, urban or manor planning.

After graduating from the Milan Academy in 1806, Gilardi devoted about four years to improving his knowledge, studying the art and architecture of Italian cities - Rome, Florence, Venice. In June 1810 he returned to Russia, and in January 1811 he was assigned as his father's assistant to the department of the Moscow Orphanage, with which he was connected throughout his subsequent architectural practice.

In August 1812, when Napoleon's troops approached Moscow, Gilardi, together with another assistant to the architect of the Orphanage, Afanasy Grigoryevich Grigoriev, and following the population leaving the city, leaves for Kazan. But in late autumn they return to Moscow.

The first years after the Patriotic War were filled with work on putting the buildings of the Orphanage in order, designing, together with his father, a new pharmacy and laboratory of the House. Since 1813, Gilardi has been a member of the Expedition of the Kremlin Buildings, where he takes part in the restoration of the damaged structures of the Kremlin, in particular, the belfry and bell tower of Ivan the Great.

In the restoration of the building of Moscow University (1817-1819), which was damaged by fire, Gilardi's creative talent was fully manifested. Here he acts as a city planner, taking into account the location of the structure in the ensemble of the center of Moscow, as an artist, as a designer, and, finally, as an organizer who carried out such a large construction in two years.

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Under the leadership of Gilardi, great construction work was carried out. Only the volume of the building, the layout of the main halls and the processing of the wall of the courtyard facade remained unchanged. Taking into account the city-planning role of the university, Gilardi made significant changes to the solution of the main facade, he gave it a more solemn, full of heroic pathos appearance. The architect took the path of enlarging the scale of the main articulations and details of the building. In the renewed appearance of the building, the architect sought to emphasize the idea of ​​the triumph of sciences and arts, to achieve an organic combination of architecture, sculpture and painting.

In July 1817, Gilardi Sr., who had worked in Russia for twenty-eight years, retired "to a foreign land until his recovery," and in March 1818 "because of old age and weakness" he was fired altogether. After his departure, the post of architect of the Orphanage was taken over by his son.

In 1818, Gilardi was entrusted with the restructuring of the Widow's House in Kudrin and the building of the Catherine's School on Catherine's Square. Rebuilding the building of the Catherine's School, located in the depths of the site, Gilardi "covered" its crushed facade with a monumental ten-column portico raised to the high arcade of the lower floor. During the major reconstruction and expansion of the building, carried out by Gilardi in 1826-1827, wings strongly extended forward were added, forming a deep front courtyard.

One of the significant works of Gilardi, carried out by him in 1814-1822, was the restructuring of the estate of P.M. Lunin at the Nikitsky Gate. During the restructuring, Gilardi creates a new composition of the estate, the main house, he “turns” onto the line of the street with his main facade by adding a new building to the end of the existing house.

The composition of the façade of the main building was built by Gilardi on a contrasting comparison with the façade of the wing. The spatial solution of the wing is opposed by the emphasized integrity and solidity of the volume of the main building. However, with all the difference in facades, both buildings are combined into a single composition. This is achieved by the horizontal structure of the overall composition of the facades, including the colonnades.

The internal layout of the main building is typical for palace-type residential buildings with a suite of ceremonial rooms on the mezzanine floor, utility rooms on the first floor and living rooms on the top. The large dance hall, which connects the enfilades of rooms along the longitudinal and transverse axes of the house, is distinguished by its special beauty and splendor. Its semicircular vault, painted with grisaille, and the processing of the end walls with semicircular arches with paired Ionic columns testify to Gilardi's constant attraction to a similar composition of halls.

The facade of the Lunins' main house with a Corinthian colonnade-loggia in 1832 was published in the "Album of the Commission for Buildings in Moscow" and, with its unusual composition for residential buildings, became a role model in the building of post-fire Moscow.

The construction of the building of the Board of Trustees of the Orphanage (1823-1826) became a kind of stage in the work of Gilardi, which was of great importance for him. creative activity for the coming years. This was greatly facilitated by the fact that the Board of Trustees is the only large public building in the practice of Gilardi, where he was not associated with the need to use fully or partially old buildings and could more fully implement his ideas.

Having occupied the main place in the development of Solyanka, designed for a town-planning effect, the building of the Council is perceived from the front view as a traditional classical system of cubic volumes, but this does not correspond to the actual outlines of the buildings going deep into the courtyard. The functional purpose of the building came into conflict with the logic of construction architectural form that, due to the limited artistic techniques of classicist architecture, Gilardi could not overcome.

The color scheme of the interior of the Council building was interesting. The decoration of the Hall of the Presence was distinguished by the sophistication of color, the walls of which were covered with silk fabric with a gilded baguette along the edges, the shoulder blades were lined with artificial marble, and there were white damask curtains on the windows. The vaults of the other halls were also painted, the walls were painted with green or yellow crowns, the walls and vault front staircase painted.

Just as in the restructuring of the Widow's House and the Catherine's School, the role of Afanasy Grigoriev was significant in the construction of the building of the Board of Trustees. A pupil of Ivan Gilardi, a serf by birth, only at the age of twenty-two he received his freedom, Grigoriev was close to the Gilardi family.

Simultaneously with the building of the Board of Trustees, Gilardi is building one of his most perfect works - the house of Prince S.S. Gagarin on Povarskaya street. A feature of the external appearance of this building is that the architect makes the leading artistic technique in solving the facade not a traditional columned portico, but an arched window with a wide archivolt and a two-column insert bearing an entablature. Three such windows occupy the entire space of the central ledge of the main facade. The arches are recessed into the wall, which, enhancing the play of light and shade, helps to reveal the architectural and sculptural elements of the composition.

The building is located indented from the red line, in front of a small front yard, which distinguishes it from the line of street development. In the organisation inner space Gilardi's building refers to contrasting techniques from the low vestibule with four paired Doric columns carrying floor beams, a narrow staircase diverging on two sides leads to a solemn bypass gallery, covered, like the Board of Trustees, by high sailing vaults with a light lantern in the center. Magnificently designed arches with a sculptural group of Apollo and the Muses on the entablature occupy the walls on four sides of the gallery.

The interiors of the Council of Trustees and Gagarin's house, created almost simultaneously, are among the best in Gilardi's work.

At the same time, Gilardi is building in the Moscow region. His most famous out-of-town buildings are in Kuzminki, the estate of the princes Golitsyns near Moscow.

The Musical Pavilion of the Horse Yard, created in 1820-1823, is of primary importance in the opening panorama. The horse yard is located on the opposite bank of the upper pond, to the right of the main house, and is clearly visible from far and near points of view. The complex of buildings that form the horse yard is a closed square in plan. The main facade, stretching along the pond, consists of two residential outbuildings connected by a low stone fence with the Musical Pavilion in the center. Behind it lies the actual horse yard with the central building of the stables and outbuildings located around it in the shape of the letter “P”.

The music pavilion was deliberately built of wood, which gave it high acoustic qualities. Its monumentality was of a decorative nature, which manifested the general trend in the development of architecture of late classicism.

In the estate of Kuzminki, Gilardi, thanks to his subtle understanding of the peculiarities of Russian classical architecture, Russian nature, continued and raised to a new height what the architects of the previous generation had begun.

Dementy Ivanovich worked in Kuzminki until 1832, when, due to illness and departure from Russia, all affairs were transferred to Alexander Osipovich Gilardi, who worked with him.

In October 1826, immediately after the completion of the construction of the Board of Trustees, Gilardi began to rebuild the Sloboda Palace in Lefortovo. This palace was handed over to the Department of the Orphanage to accommodate craft training workshops and the almshouse of the Orphanage. A Building Commission was set up to rebuild the burnt out building of the palace, and Gilardi was assigned to lead the construction work.

Given the large amount of work, in July 1827, Gilardi filed a report with the Construction Commission "On the presentation of two knowledgeable assistants to the production of work." By his own choice, Grigoriev was appointed senior assistant to Gilardi. In the midst of construction, in November 1828, Gilardi, due to poor health, receives permission from the Board of Trustees to leave and leaves for Italy. All construction work under the department of the Orphanage, including the Sloboda Palace, was entrusted by the Board of Trustees to Grigoriev. Only in September 1829, having been on vacation for eight months, did Gilardi return to Moscow and take up his duties.

The building received a strict appearance, corresponding to the purpose of the structure, and monumentality, corresponding to the scale of development of the Lefortovo palace district. Gilardi, with a voluminous understanding of architecture characteristic of the Moscow architectural school, subordinated the strongly elongated building to a single spatial solution and at the same time singled out its volumes to give greater unity to the entire composition of the central and side buildings of the same height of three floors and lower two-story galleries.

In 1829-1831, Gilardi built the Usachevs' urban estate on Zemlyanoy Val near Yauza. This was a kind of result of Gilardi's activity, a generalization of the accumulated experience of previous works, showed a high level of professional skill of the architect, who worked in accordance with the stylistic, urban planning and social requirements of the era. The "facade" solution of the house from the street is opposed to a completely different character of the courtyard facade, in which the structure of the building is revealed - its floors, stairwell, wall planes with monotonous window openings. The internal layout of the building was rationally solved with the preservation of the front suite along the main facade and separated from it by a longitudinal corridor facing the courtyard with small rooms. Great importance in the ensemble is attached to the park, the composition of which was built on a combination of regular and landscape planning, in connection with the architecture of the garden facade of the house, pavilions, gazebos and on the disclosure of panoramas of the city. Gilardi connected the house with the park with the help of a ramp coming from the second, main floor.

In 1832, the year of his departure from Russia to his homeland in Switzerland, Gilardi created a project for his last building in Russia - the mausoleum in Otrada. For the mausoleum, the architect found a clear and calm solution, that combination of solemnity and intimacy, which corresponds to the purpose of this building.

Gilardi passed on his knowledge to numerous students and assistants. Since 1816, a student of Gilardi was M.D., who later became an academician. Bykovsky; E.D. studied on its buildings. Tyurin; from the age of fourteen, his cousin A.O. studied with him. Gilardi is an assistant in many of his buildings; the Oldelli brothers from the Tessin canton of Switzerland studied; serf princes Gagarins, Golitsyns and others became his students from childhood. He passed on his practical experience and theoretical knowledge, preparing professionally competent builders.

Gilardi's departure from vigorous activity marked quite clearly. It coincided with the reign of Nicholas I, with a change in ideals in the field of architecture. The health has also gotten worse. In one of his letters, he lamented “If I were completely healthy, I would not call it a victim, but since I feel very bad, I can only complain about my fate ...” Oppression, poor health, prolonged widowhood, perhaps longing for his only daughter, who was brought up in Switzerland, prompted him to decide to leave, and in 1832 he leaves.

His career was over. At home in Montagnola, he built only one chapel, giving it, as if in memory of Moscow, the forms of Moscow classicism. It stands on the road from the "Golden Hill" near Montagnola, where his estate was, to the monastery of San Abbondio, in the cemetery of which, twelve years later, the architect was buried next to his daughter Francesca.

Gilardi spent the rest of his life on his estate in Switzerland, leaving for Milan for the winter. On March 5, 1833, he was elected a corresponding member of the same Milan Academy of Arts, where thirty years earlier he had studied the art of architecture, which had become dear to him.