11 Bazhenov’s creation is the building. Russian architect Vasily Ivanovich Bazhenov: the best works and interesting facts

What is known about the great architect Vasily Bazhenov is that he was born in 1737, and in a small village. He spent his early years in Moscow. It is known that the father worked in the church as a church employee.

Since childhood I had a desire for architecture. Therefore, I learned the first basics in Ukhtomsky’s architectural team. Afterwards he goes to study at the gymnasium at Moscow University.

And already in 1758 he successfully passed the entrance exams and entered the Academy of Arts in St. Petersburg. Having completed his studies with honors, he was sent to Italy for further studies.
In 1765 he received the title of academician. And in 1767 he began to create the Kremlin Palace in Moscow.

Construction continued until 1775, but was never completed. Catherine 2 banned further construction. This project required many costs, which the government did not agree to. During these years there was a war between Russians and Turkish troops.

Vasily Bazhenov was not stopped by the disappointment he received and he continued to implement his plans.
More than one house was built according to his drawings. The architect also developed the grandiose project of the Mikhailovsky Castle in St. Petersburg; it was built in 1797 to 1800.

In addition to his architectural career, he also achieved artistic career; he could work as a teacher and teach architecture theoretically.

In 1799 he accepted the position of vice-president at the Academy of Arts. But, unfortunately, he does not have time to implement all his plans and dies in St. Petersburg on August 13, 1799.

Historical facts about the personal life of Vasily Ivanovich Bazhenov remain unknown.

Vasily Bazhenov lived a fairly eventful and interesting life. He managed to achieve many goals in his life and prove to everyone how talented he is. After all, not every person can not give up after suffering failures, but an outstanding architect succeeded. Despite many disappointments in his work, he did not stop, did not lose heart and continued his creative activity. Therefore, you can be proud of him, and set him as an example to follow.

Biography 2

No one knows exactly when (in 1737 or 1738) and where (Moscow or Kaluga region) the architect was born. He came from the family of a poor clergyman - a junior clerk of one of the many Kremlin churches. As a child, he served in the Passion Monastery in Moscow and, according to tradition, was destined to follow the path of his father. But he liked to draw better. “I mentally put saints on the walls and made them part of my composition, and I was often beaten for this,” he later wrote in his autobiography. In addition to drawing, he also liked to model various Kremlin buildings from wooden fragments.

At age 15, he managed to find an art teacher, a peer artist, who took the boy “for God's sake” (i.e., for free) and taught him some basic techniques. Soon they both found themselves involved in a huge and urgent construction project. The wooden imperial palace in the suburb of Lefortovo suddenly burned down, and Empress Elizabeth ordered immediate reconstruction. It was installed like in a fairy tale - in just one month. It was probably at this time that young Vasily, whose job was to paint stoves in imitation of marble, began to think about becoming an architect.

His abilities were noticed on the construction site, and the chief Moscow architect, Prince Dmitry Ukhtomsky, began to give him some creative tasks. In 1755 Vasily was admitted to the newly created Moscow University. The following year he was transferred to the gymnasium of the Academy of Arts in St. Petersburg, and in 1758-1606 - to the architectural classes of the Academy of Arts.

He met Empress Elizabeth and was trained in the studio of the architect Savva Chevakinsky. Here Bazhenov studied French and mathematics and diligently copied drawings of antique columns and floor coverings (at that time the ABC of architectural education). During the summers he worked on construction projects in St. Petersburg, which were supervised by his energetic and hardworking mentor, including the St. Nicholas Naval Cathedral

In 1760 - 1764, Vasily Bazhenov continued his studies in France and Italy. He became one of the first two recipients of a travel scholarship from the Academy of Arts (the other was awarded to Ivan Starov, who also later developed into a prominent architect).

Bazhenov returned to St. Petersburg precisely for a big celebration in honor of the new charter of the Academy of Arts. But the Academy insulted Bazhenov. A smart uniform was adapted for him in 1765 - one of the academicians, but he was not given the long-promised professor. In addition, Bazhenov had to pass a test to confirm his academic title - to create a small architectural design. He performed it beautifully, far exceeding the modest test requirements, but still had to look for work on his own.

Bazhenov worked for Count Grigory Orlov, a minion of Catherine II and commander of artillery and fortifications, as well as for Pavel Petrovich, the successor to the young throne (the future Emperor Paul I), whose support he enjoyed until the end of his life. Finally, Orlov presented Bazhenov to the empress's court, unusual for an architect with the rank of artillery captain.

In 1792, Bazhenov moved to St. Petersburg to fill the relatively modest position of chief architect at the Admiralty. In 1796, Catherine II died and Pavel, Bazhenov's old patron, became emperor. Upon ascending the throne, Paul I commissioned Bazhenov to design the Mikhailovsky Palace with its golden scent and separate pavilions.

On the eve of the 19th century, Bazhenov was full of great plans, but, as it turned out, he did not have time to implement them. The architect was destined to die at the age of 62. In the summer of 1799 he was stricken with paralysis and died on August 2.

Thales of Miletus is considered the founder of Greek philosophy, and, accordingly, of European philosophy in general. Miletus is a city on the periphery of Greek civilization, where philosophy was largely born

A story about the architecture of the city of Moscow would be incomplete without mentioning the name of such an outstanding Russian architect as Vasily Ivanovich Bazhenov.

Delicate Gothic - this is the style of most of Bazhenov’s surviving creations. The Tsaritsyno complex was built in this manner. Most of the buildings and structures have suffered greatly over time, however, restoration work carried out during the years of Soviet power and in post-Soviet times helped restore most of them.

Childhood and youth

The exact place and date of birth of Vasily Bazhenov is not known. He was born on March 1, 1737 or 1738, and died on August 2, 1799. The great Russian architect was from the family of a minor church official. According to some sources, he was born in Moscow, according to others, in Maloyaroslavets, and moved to Moscow at the age of three months. In 1753, Vasily became a student of Dmitry Ukhtomsky. From him he received his first lessons in architecture and construction. The future architect Bazhenov did not complete the full course of study, since the difficult financial situation of his family forced him to quit his studies and go to work. In 1755 he began studying at Moscow University. Bazhenov's first biographer, Kiev Metropolitan Evgeniy Bolkhovitinov, wrote that Vasily also studied at the Slavic-Greek-Latin Academy. Subsequent researchers refuted this fact. Probably, in this way the clergyman tried to raise the prestige of the educational institutions under his control.

Showing talent

In 1758, Vasily Bazhenov, among the 16 best students, on the recommendation of Ivan Shuvalov, was sent to St. Petersburg to the newly created Academy of Arts. The talented student Vasily Bazhenov passed his first exam brilliantly and took first place in the performance ranking. The chief architect of the Russian Admiralty, Chevakinsky, became the personal mentor of a promising, very capable and intelligent young man.

Three years later, Vasily Bazhenov and Anton Losenko became the first students of the Academy of Arts to be awarded a scholarship.

Further training in the craft took place in Paris in the workshop of Charles de Wailly. Subsequently, the architect Bazhenov became the main propagandist of French neoclassicism in Russia and, based on the ideas of De Wailly, established the stylistic canon of neoclassical Moscow.

He returned to Russia in May 1765 with glowing reviews regarding his impeccable professional and moral qualities. Nevertheless, the new leadership of the Academy subjected his work to strict examination and demanded that he provide a new work. The young Russian architect was noticed by Catherine II and her son Paul. The heir to the throne ordered Bazhenov to design and build a mansion on Kamenny Island, and in 1766 Grigory Orlov entrusted him with the construction of the Arsenal. This was the end of Vasily Ivanovich’s activities in St. Petersburg. Architect Bazhenov moved to Moscow, where he lived and worked until the end of his life.

Kremlin Palace

Catherine proposed the idea of ​​renovating the dilapidated palaces of the Moscow Kremlin. Bazhenov set to work with enthusiasm. Already in 1767, he presented the fantastic project of the Big Orlov for the Highest consideration and doubted the feasibility of constructing such a huge building, but the architect remained adamant in his vision of the Imperial residence and by the end of the summer of 1768 he completed the creation of the project. According to his plan, it was supposed to be the largest palace complex in Europe, designed in the neoclassical style. It was supposed to replace the old Kremlin completely. It was planned to preserve unchanged only the cathedrals, which became invisible from the river, because they were obscured by the walls of the future palace. According to the plan, the entire southern side, that is, the six-hundred-meter wall from the Konstantinovskaya Tower in the east to Borovitskaya in the west and further, along the western wall of the Arsenal to the north, was to be occupied by a new four-story palace. Bazhenov planned to place it directly on a steep slope between the plateau and which was supposed to be demolished. The architect provided for the laying of stone buttresses to prevent the building from sliding into the river. It was planned to strengthen the bank with an embankment and tarred logs.

According to the project, the historical cathedral square was preserved, but a new one was to be built in the eastern part of the Kremlin. It was supposed to mark the beginning of new radial streets running from the center to the north, northwest and northeast. From the palace there was an exit to Tverskaya Street. The implementation of the project was supposed to be the beginning of the modernization of all of Moscow. In 1775, through joint efforts under the leadership of Pyotr Kozhin and Nikolai Legrand, the plan was officially approved.

Tsaritsyno

In the summer of 1775, Bazhenov developed the first project for Tsaritsyno, which has not survived to this day. Bazhenov's buildings were a coherent complex of free-standing buildings in the Russian neoclassical style. After finalization and agreement with the empress, this plan was approved. The dominant object was to be a palace consisting of two buildings connected by a greenhouse. One wing was intended for Catherine, and the second for her son and heir Paul. Traditional Russian colored tiles with ornaments were planned as decoration. Catherine objected and insisted on a simpler option - red brick walls with white decorations and yellow glazed tiles on the roof.

Bazhenov began construction of the complex with a front row of small buildings, gates and bridges, decorated with fine fine decoration, which was later lost. In 1776, the decorative Figured Bridge across the ravine was finally completed. The work was difficult due to a lack of highly qualified craftsmen and interruptions in funding.

In 1777, Bazhenov demolished the old wooden house of the former owners of the estate and began construction of the main palace. It was erected over eight years. To the two main buildings, another one was added - the central one, for the children of Paul. Governor Jacob Bruce, who inspected Tsaritsino in 1784, was puzzled by the absence of a main, official building. But he nevertheless sent Catherine a glowing report.

Termination of work on the Tsaritsyn project

In June 1785, Catherine unexpectedly visited Tsaritsino and was dissatisfied with the slow pace of work. The empress assessed the palace as unsuitable for living: very dark rooms, low ceilings, narrow staircase. This year, relations between Catherine and Paul deteriorated irreversibly. The Empress dealt with issues of succession to the throne. And the twin palaces became a politically incorrect phenomenon. Catherine ordered the demolition of the buildings and the construction of a new main palace. Bazhenov and Kazakov were ordered to develop new projects. The architect Bazhenov presented his project by the end of 1785, but it was rejected and Vasily Ivanovich was fired. Ekaterina chose Kazakov's project. Bazhenov's Palace was demolished in the summer of 1786. There is an opinion that Catherine did not accept Bazhenov’s project because of the Masonic symbolism and Gothic style. This cannot be true, since Kazakov preserved and repeated Gothic and Masonic symbols in his projects.

Kitchen building

In Tsaritsyno, another building of Bazhenov has been preserved - the kitchen building, or Bread House. This square building with rounded corners was originally intended for kitchens, storage rooms and servants' quarters. The entrances to it are made from the inside - so that servants and various household movements do not catch the eye of the guests and owners of the estate. The ground floor is made of white stone and has glaciers that perfectly maintain the temperature. The entire facade is decorated with various symbols: loaves of bread with salt shakers, garlands of glasses, Masonic rulers, etc. Currently, the Bread House is used for concerts and other cultural events. Sometimes banquets are held there.

Middle Palace

The Opera House, or Catherine's Middle Palace, with double-headed eagles on the parapets of the facades, was originally intended to be used for small official receptions, as well as for concerts and performances in the summer. For a very long time the palace was not used in any way. All that was left of it were the walls. In 1988, eight years began. The excellent acoustics of the building allow concerts to be held in it. Art exhibitions are also held there.

Pashkov House

Vasily Bazhenov is an architect who created one of the world-famous symbols of Moscow. This is the Pashkov House, built in 1785-1786. The recognizable structure can often be found in paintings, engravings, postcards, postage stamps, boxes of chocolates, etc. After being removed from the Tsaritsyno project, Vasily Ivanovich Bazhenov began taking private orders from wealthy Muscovites. So, on Vagankovsky Hill he built a luxurious palace made of white stone for the captain-lieutenant and his wife. The facade of the building faces in the direction of Starovagankovsky Lane, and its back side faces the Kremlin. It is assumed that in this way the architect demonstrated to the empress his resentment for Tsaritsyno.

After the death of the childless owners Pashkov, the house was inherited by a distant relative who, having happily married a rich bride, the daughter of a gold miner, was able to keep the building in order. Subsequently, the Pashkovs sold the house to the treasury.

Revival of Russian style in architecture

An adherent of the neoclassical Russian architectural school, graphic artist, architectural theorist and teacher Vasily Ivanovich Bazhenov and his colleagues and students Matvey Kazakov and Ivan Starov created the Russian national architectural language, interrupted by Peter I. At that time, foreign architects set the tone in Russian urban planning - Quarenghi, Rinaldi, Cameron and others.

The sad fate of a talented architect

The early manifestation of his talent as an architect brought Bazhenov into the circle of wealthy, powerful magnates and courtier politicians. Inexperience in commerce and diplomacy caused tragedies in the personal and professional spheres of Vasily Ivanovich’s life. Two of his major construction projects were abandoned for political or financial reasons. He failed to implement his project to reconstruct the Grand Kremlin Palace. The Imperial Palace in Tsaritsyno, which was supposed to become the core of the entire Tsaritsyno complex, was destroyed by Catherine II. Another project, the building of Moscow State University, caused an acute conflict with the architect’s former benefactor, Prokofiy Demidov, and led Bazhenov to complete bankruptcy. Before his death, Vasily Ivanovich was most worried about the fate of his children, because he was afraid that they would be drawn into the construction business, which he considered a dishonest and treacherous business.

Bazhenov's legacy

Bazhenov’s legacy still remains incompletely studied. There are doubts about the authorship of some objects attributed to him. In particular, regarding whether Bazhenov the architect built the Pashkov House? There is an opinion that this is the work of his students, whom he trained quite a few over the years of teaching at the Academy of Arts. After the death of Catherine, Paul I appointed Vasily Ivanovich vice-president of the Academy. Many researchers have studied his heritage, in particular Igor Grabar, Shvidkovsky D.O. Thanks to them, much, although not everything, became clearer. In “Notes on the Sights of Moscow,” Karamzin compares Bazhenov’s projects with Plato’s Republic and Thomas More’s utopia. Perhaps that is why they were not implemented.

Vasily Ivanovich Bazhenov (March 1, 1737 or 1738, Moscow, according to other sources, the village of Dolskoye near Maloyaroslavets - August 2, 1799, St. Petersburg) - Russian architect, artist, architectural theorist and teacher, representative of classicism, freemason. Member of the Russian Academy 1784 Son of the sexton of one of the court Kremlin churches, Ivan Fedorovich Bazhenov (1711-1774). He discovered a natural talent for art as a child, sketching all kinds of buildings in the ancient capital. This passion for drawing brought Bazhenov to the attention of the architect Dimitry Ukhtomsky, who accepted him into his school. From the Ukhtomsky school, Bazhenov moved to the Academy of Arts at the request of I. I. Shuvalov. Here he showed his abilities for architecture to such an extent that architecture teacher S.I. Chevakinsky made the talented young man his assistant in the construction of the St. Nicholas Naval Cathedral. In September 1759, Bazhenov was sent to Paris to develop his talent, becoming the first pensioner of the Academy of Arts to be sent abroad. Having become an apprentice to Professor Devaii, Bazhenov began making models of architectural parts from wood and cork and completed several models of famous buildings. In Paris, he made, with strict proportionality of parts, a model of the Louvre Gallery, and in Rome, a model of St. Peter's Cathedral, and studied engraving. Upon returning to Russia, living in Moscow, Bazhenov participated in the publication of the work of Vitruvius (translation by Karzhavin). Bazhenov was one of the best practical builders of his time, distinguished as much by the art of planning as by the grace of the form of the designed buildings, which he showed upon his very return to his fatherland. He was one of the conductors of the so-called. French taste (style) in Russian architecture, a striking monument of which is the Pashkov House. He showed his skills in the academic program for the degree of professor of a complex of entertainment facilities for Catherine. However, he did not receive the expected position, took a leave of absence from the academic service, and Prince Orlov assigned him to his Artillery Department as chief architect with the rank of captain. In this position, Bazhenov built Pashkov's house in Moscow, and in the vicinity of the capital - the palace complex in Tsaritsyno (palace and park ensemble) and the Petrovsky Travel Palace, built by Matvey Fedorovich Kazakov, his assistant. In the Moscow Kremlin, instead of walls serving as enclosures for shrines and palaces, Bazhenov designed a continuous row of buildings, which were ceremoniously laid, at the behest of Catherine II, who in fact, however, did not even think of implementing the masterful architect’s idea. At the end of the Russian-Turkish War (1768-1774), the Empress needed to give food for talk about spending tens of millions on a grandiose palace, and the artist was given a theme that he developed with great talent on the model of an idiot. The effect was proper, but the construction was postponed and then abandoned completely. The same fate befell Bazhenov’s Tsaritsyn Ensemble. In the summer of 1785, Catherine arrived in the ancient capital for three days, visited the construction work of the palace in Tsaritsyn and, finding it gloomy, ordered the palaces to be rebuilt. The architect was removed from the project. At the same time, in Moscow, Bazhenov is making an attempt to organize a “particular” (private) academy and is recruiting students. Apparently, the idea was not a success, since, according to Bazhenov, “there are many obstacles to my intention.” Until now, Bazhenov is credited with the lost monument of St. Petersburg, the Old Arsenal on Liteinaya Street (in the 19th century it was occupied by the District Court, burned in 1917, dismantled in the late 1920s), but most likely the architect has no connection with it relationship. Construction of the building began under the direction of the architect of the Artillery Department, W. T. von Diederichstein, in the spring of 1766 and was carried out by the architect of the Speckle Corps of Engineers, Karl Johann. Bazhenov entered the Artillery at the end of 1766, but soon left for Moscow. A large number of documents on this topic have been preserved in the funds of the Historical Archive VIMAIViVS (“Archive of the Artillery Museum”) in St. Petersburg. “The Big Bridge across the ravine in Tsaritsyno (palace and park ensemble) is one of the few surviving buildings for which Bazhenov’s authorship has been accurately established. Bazhenov, left without any means of subsistence, opened an art institution and began working on private buildings. Changes in his career and Catherine’s disfavor is explained by his complex, proud disposition, as well as by relations with the circle of Nikolai Ivanovich Novikov, who instructed him to report to the heir Paul I about his election by the Moscow Freemasons to the Supreme Master. Catherine suspected political goals in these relations with the Tsarevich, and her anger fell on Bazhenov. earlier than others, but things did not go further than exclusion from service, and in 1792 he was re-admitted to the service by the Admiralty Collegium and moved his activities to St. Petersburg.

Without any reason, he is credited with the Kamennoostrovsky Palace - the palace of Grand Duke Pavel Petrovich on Kamenny Island and work in the Gatchina Palace. His participation in the development of one of the projects of the Mikhailovsky Castle is only documented. But, as St. Petersburg researchers have established, it is impossible to attribute the authorship of this grandiose structure only to Bazhenov. The work began long before construction and was carried out “under the dictation” of Pavel Petrovich, who personally sketched out sketches of the plan, first by the architect of the Petit Violier Court, Henri Francois Gabriel, then, in the 1790s, V. Bazhenov got involved in the matter, but the final project was drawn up by Brenn Vincenzo and it was implemented.

Upon his accession to the throne, Paul I appointed him vice-president of the Academy of Arts and instructed him to prepare a collection of drawings of Russian buildings for the historical study of Russian architecture and, finally, to provide an explanation on the question: what should be done to inform the proper development of the talents of Russian artists at the Academy arts Bazhenov eagerly began to carry out the gracious instructions of the monarch, the patron of Russian art, and, without a doubt, could have done a lot if death had not completely unexpectedly cut short his life.

Example of a historical portrait

Years of life: 1738-1799

From the biography

• Bazhenov Vasily Ivanovich is a Russian architect, according to whose design many buildings were built that still amaze with their beauty and grandeur, a theorist and teacher. Bazhenov became the founder of classicism in architecture in Russia. He was also the founder of Russian pseudo-Gothic.
• Bazhenov worked in the era of Catherine II and Paul I, introducing new elements into the architectural appearance of Russia.
• Born into a sexton's family. Since childhood, I showed a penchant for drawing. He received an excellent education: he studied with D.V. Ukhtomsky. in Moscow, at Moscow University in 1755, with S.I. Chevakinsky in St. Petersburg, studied for two years at the Academy of Arts (1758-1760) with artists A.V. Kokorinov and Zh.B. Wallen-Delamota. Thus he had excellent teachers.
• At the end of his life he was elected vice-president of the Academy of Arts in St. Petersburg in 1799.
• Bazhenov's fame has gone far beyond the borders of Russia. He was elected professor at the Academy of St. Luke in Rome, member of the Academy of Fine Arts in Bologna and Florence.

The main activities of Bazhenov V.I. and their results

One of the activities was the design of buildings that decorated, first of all, the capital of Russia. He designed and under his leadership built many remarkable buildings, the list of which is amazing. The most famous are: Pashkov's house, palaces and decoration of Tsaritsyn's parks (Bread House, Opera House, figured bridge, arch with a bunch of grapes and many others), Vladimir Church in Bykovo and many others.

The result of this activity began the design and, under his leadership, the construction of many wonderful buildings, which still amaze with their beauty, unusual solutions, combination of different styles, and individuality not only of Russians, but also of all guests of our country. Its architecture is a new trend in construction, a completely different stage.

Another direction Bazhenov's activities included scientific and pedagogical work. He created the foundations of new architecture, promoted its new directions: a combination of different styles, the use of landscape in construction, the combination of classics with splendor and grace, and many others. He headed a group of architects when planning the reconstruction of the Kremlin (together with M.F. Kazakov, E.S. Nazarov, and others), however, the work was not completed by order of Catherine II.

Bazhenov was entrusted with heading the Academy of Arts in Moscow, where he also introduced a number of significant changes in teaching, trying to focus teachers on the formation and development of the individuality and uniqueness of each listener.

Bazhenov propagated his experience far beyond the borders of Russia, speaking at prestigious academies around the world, in some of which he was elected an honorary member: professor of the Academy of St. Luke in Rome, member of the Academy of Fine Arts in Bologna and Florence.

The result of this activity. The theoretical foundations of architecture developed by Bazhenov became a school for many subsequent generations of architects and are still the basis of theory in Russian universities, and pedagogical activity contributed to the education of talented followers who continued his work, embodying Bazhenov’s ideas in their creations.

Features of Bazhenov buildings

• The use of the landscape when creating compositions, its buildings together with the surrounding space created a single whole, complementing each other.
• The building and its outbuildings were built in one row, which gave the appearance of a city building (previously outbuildings usually protruded forward. An example of this is the Pashkov house).

• Grandeur and splendor are combined with harmony, symmetry of buildings, logical thoughtfulness of the proportionality of all parts of the buildings.
• Talented use of color and texture of building materials (gypsum, stone, plaster). His buildings are works of painting with the play of shadow and light.
• Use of pseudo-Gothic motifs (buildings on the Khodynskoye field in Moscow 1774-1775)
• Eclecticism, that is, a combination of styles, is characteristic of buildings in Tsaritsino: elements of romanticism, gothic, ancient Russian motifs.
• Overcoming the limitations of classicism, adding more elegant and colorful elements.

Thus, architect Bazhenov V. made a significant contribution to the architecture of Russia, to the creation of the unique image of the country, laid the foundations for the theory of a new direction in architecture, and was active in teaching. Russians honor the memory of the architect. The streets of many Russian cities are named after him; a monument was erected to him and another talented architect M. Kazakov.

Material prepared by: Melnikova Vera Aleksandrovna

Born in Maloyaroslavsky district of Kaluga province. The son of the sexton of the palace church.

He received his primary education at the Slavic-Greek-Latin Academy in Moscow. He attended the architectural school of D. Ukhtomsky, who enrolled him in the gymnasium at Moscow University. He continued his education at the gymnasium at the Academy of Sciences in St. Petersburg, then in the architectural class of the Academy of Arts, becoming one of the first students of the newly formed Academy and one of the first pensioners sent abroad. In 1760-1762 he studied at the Paris Royal Academy of Painting and Sculpture. He improved his skills in Italy. With a solid education and fame, being a member of the Paris and several Italian academies, he returned to St. Petersburg in 1765. He worked as the chief architect in the artillery department.

From 1767 he worked in Moscow in the Kremlin Buildings Expedition. Author of two grandiose but unfinished projects. The first is the project of the Kremlin Palace, which Bazhenov began working on in 1767 by order of Catherine II. According to the architect’s plan, the entire Kremlin and Red Square were to undergo restructuring and reconstruction: walls and towers were demolished, the new ceremonial palace was to become the center of the Kremlin, and all the main radial streets were to converge on the square in front of it. Over the course of several years, the architect created a model of a new palace, some buildings, towers and walls were demolished, and the ceremonial foundation stone of the palace was completed. But Catherine II stopped and then banned all work in the Kremlin.

The second project suffered the same fate. In 1775, Bazhenov received an order from Catherine II to build a palace in Tsaritsyn near Moscow. Bazhenov and his family moved to the damp places of Tsaritsyn and devoted several years to working on the palace. He completed the Grand Palace and more than ten other buildings that were part of the ensemble, laid out a landscape park, and built picturesque bridges. In 1785, Catherine II stopped this construction, ordering the demolition of the already built palace. Bazhenov, left without funds, returned to Moscow and opened the School of Architecture.

Bazhenov’s connection with the Freemasons and his closeness to Grand Duke Pavel Petrovich did not go unnoticed by the Empress, which largely explains her dissatisfaction with the architect.

In 1792, Bazhenov had to move to St. Petersburg, where he took a modest position as an architect at the Admiralty. He now built mainly in Kronstadt.

With the accession to the throne of Pavel, Bazhenov’s patron, his life changed dramatically. In 1799 he was appointed first vice-president of the Academy of Arts. But this year turned out to be the last in his life.

Architect V.I. Bazhenov built a palace in Pavlovsk, a fortress in Gatchina, Pashkov’s house in Moscow, Petrovsky Palace, etc. No less valuable than his completed buildings are his drawings and drawings, where the architect’s ideas and projects were embodied.

Architect M. Kazakov was a student, assistant and worthy successor of Bazhenov’s plans.

Married to the daughter of a Moscow merchant Agrafena Lukinichna Dolgova. Had children: Olga, Nadezhda, Vera, Konstantin, Vladimir, Vsevolod. One of the sons died in Tsaritsyn.

The architect died in St. Petersburg from paralysis. He was buried in the village of Glazovo.