5. Академия Художеств (Институт живописи, скульптуры и архитектуры им. И.Е. Репина/The Academy of Arts (The Repin Institute of Painting, Sculpture and Architecture), 1764-1788 Authors: architects – A.F. Kokorinov and J.-B. Vallin de la Mothe (1764 - 1788), sculptors – V.I. Demuth-Malinovskiy, I.P. Martos, S.S. Pimenov, I.P. Prokofyev (1764 - 1788)Address: Universitetskaya naberezhnaya, 17 The development of arts in Europe provoked the establishment of the Academy of the three noblest arts (painting, sculpture and architecture) in Russia. The idea belonged lo Count I. Shuvalov who planned to open the Academy in Moscow and make it the part of the University. Nevertheless the Academy was established in Saim-Petersburg in 1757, being the part of the Moscow University complex for 6 years.At first the Academy of Arts was located in the house of' its first director I. Shuvaiov in Sadovaya ulitsa. The classes began in 1758. The education lasled for 9 years and included the studies of the art of engraving, portrait, sculpture, architecture, etc. The Regulations of the Academy (1 764) prescribed the following curriculum: the I¹', the 2^m! and the 3' class pupils were to study foreign languages, mathematics, geometry, physics, natural science, history, geography, ethics and God's law. In the 4^lh and the 5^lh classes pupils studied anatomy, mythology, optics, perspective and architectural drawings. In 1785 some additional subjects were included in the curriculum of the senior classes: sacred history. Russian literature (the rules of writing compositions and poems. logics) and the French language. Since 1760 the best pupils had been sent abroad for the period of trainee financed by ihe Academy.Every year the Academy received 6000 roubles from the Treasury. The sum was not enough to support the Academy on a high level, that is why I. Shuvalov spent his own money on glorifying the Academy. He invited famous artists from France and Germany who laid the foundation of appropriate leaching of arts. The Imperial Academy of Arts was established by Catherine II in 1763. The educational institution's finance increased to 60 000 roubles a year.In 1764 - 1788 a new building was erected in the University embankment to the design by A. Kokorinov and J.-B. Vallin de la Mothc (the sculptures carried out by V, Demuth-Malinovskiy. I. Marios, S. Pimenov and 1. Prokofyev). A square building designed in Early Classicism consisted of a round court in the centre and 4 small rectangular courts on the corners. The main entrance was decorated with a portico of paired columns with magnificent sculptures of Hercules and Flora.In 1769 I. Shuvalov sen! from Italy a rich collection of plaster cast copies of antique statues; in 1774 admiral G. Spiridonov sent the marble debris of ancient statues and bas-rclieves; in I SO I another rich collection of plaster cast copies o\~ ancient masterpieces was received by the Academy. All that was widely used for the decoration of the edifice and with a view to educate. The main staircase was lavishly decorated with the ancient statues, two upper stories beingjoined by Doric columns. The dome was crowned with the statue of Minerva that has not been preserved.The construction work was supenised by A. Kokorinov; after hid death and Vallin de la Mothe's departure to France in 1775, architects Yu. Velten and Ye. Sokolov completed the building of the edifice. Class-rooms and living quarters were united by the corridors. Main halls facing the Neva formed the enfilade. The raised ground floor was decorated with rustication to look like a circle and was interspaced with arched windows. The first and second stories were unified by pilasters. The interior decoration of the Main Hall and the Church was finished in 1830 - 1833s. In 1864 the Stare Hall was redecorated lo the design by A. Rezanov.In 19^lh cent, the apartments of professors and officials were located on ihe first floor; the second floor was accommodated by the conference-hall, sculpture and picture galleries, library and class-rooms; while bedrooms, sick-quarters, class­rooms and teachers' apartments were situated on the third floor. The state halls had special names: Raphael Hall and Titian Hall for they housed high-quality copies of the artists' canvases.In 1819 - 1821 the Drawing Corps was built on lo the Academy of Arts ensemble to the design by A. Mikhaylov. The edifice located in the academic garden was decorated with the gallery composing of 6 Doric columns. In 1847 to the 5(V anniversary- of the Academy of Arts architect A. Bryullov put up a monolith granite column in honor of the noblest arts in the centre of the courtyard. In 1862 - 1864 architect F. Appingairc built the edifice for mosaic workshops; at ihc beg. of 20^th cent, a small building tor the bailie workshop was erected to the design by V. Svinyin.The Reform of 30 August 1859 established Three Degrees of Painters in the Academy. A graduate who received the First Golden medal also took the title of the painter of the First Degree, the rank of the 10^th class and the right to be sent abroad. On 9 November 1863. fourteen most outstanding pupils of the Academy allowed to compete for the First Golden medal addressed the Council of the Academy with a request - to change the competitive task (to paint a picture on the subject taken from the Scandinavian mythology - The Feast of God Odin in Valgaal) for a free task. The Council declined me request, and all the 14 students left the Academy. That event went down in history under the name the Revolt of 14. The former pupils of the Academy organized the Arts Artel thai was later reformed into the Association of Travelling An Exhibitions (famous Peredvizhniki). Since the end of I9^lh cent, the Academy of Arts had been receiving 72 626 roubles every year. The Academy had a Public Art Museum and regularly held art exhibitions. The Academy's work was very significant for the culture life of'the Russian Empire. Arts schools and artists societies were opened throughout the country; the teaching of aits became one of the general subjects in every school. A lot of the Academy's graduates glorified the Russian art in the world, among them such prominent artists, sculptors and architects as F. Rokolov, V. Bazhenov, I. Starov, A. Voronikhin, S. Pimenov, D. Levitskiy, O. Kiprenskiy, K. Bryullov and 1. Repin.On 12 April 1918 the Academy of Arts was abolished by the decree of Sovnarkom. Nowadays the building houses the Repin Institute of Painting, Sculpture am/ Architecture, the Museum of Art History, the archive, the library, the laboratories and the workshops.

6. Памятник Петру I (Медный Всадник)/Monument to Peter I (The Bronze Horseman), 1768-1782Authors: sculptors—E.M. -Falconet and M.-A. Collot (1768-1782), architect – Yu.M. Velten (1768 - 1782)Address: Senatskaya ploshchad'Etienne-Maurice Falconet was invited to Saint Petersburg by Prince GoliTsyn by order of Catherine II who followed the advice given by Diderot and Voltaire whose taste she trusted unconditionally. The sculptor was 50 years old and worked ai the Sevres Porcelain Works at the lime the invitation came from the Russian ambassador in Paris. On 27 August 1766 he signed the contract (for eight years) that ordered to creel the Monument to Peter 1 as a huge equestrian statue. The fee suggested to the sculptor was quite modest - 200 000 livrcs (to compare, other sculptors charged the price twice as much). On II September 1766 the signed contract was brought from Paris to RussiaThe sculptor came to the capital of ihe Russian Empire on 15 October 1766 together with his young assistant - Mary-Ann Collot who was 17 years old at that time. The sculptor stayed in Saint-Petersburg for 12 years. The plaster model was being created since 1768. Only in 1782 the Monument was accomplished.The work was being realized at the spot of the former Winter Palace of Elizabeth 1 (nowadays Bol'shaya Morskaya ul.. 11) In 1769 all passers-by could observe a curious scene - a foot guardian was flying up a wooden dais and made it rear. The same was repealing for several hours a day. B. Falconet seated in front of the dais and was carefully drawing the scene. The horses were taken from the Imperial Stable - racers Diamond and Caprice.H. Falconet had an idea to use a natural rock in the form of a wave as a foundation of the Monument symbolizing in that way the fact that Peier I opened ihe way to Russia. The granite monolith (8 m high and 1600 ions weigh) was found not far from Saint-Petersburg, near the township Lakhta, supposedly by a local God's fool. The local people calling it Thunder-stone told thai once lightning had struck the rock and caused a crack in it. Historians assume that the rock could be that very one on which Peter 1 himself climbed up during the Northern War to observe the disposition of the Army.The monolith was being dragged lo Saint-Petersburg for 9 months by the barge-haulers (1220), being modeled by stonemasons on the way. The grandiose foundation was delivered to the city on 26 September 1770 and placed at Senatskaya³" ploshchad' (the process of choosing the place for the Monument lasted for four years!). To commemorate an unusual transportation the Hmpress ordered to strike a medal.The statue of the Emperor was the most difficult element of the Monument. For a long time sculptors refused to cast it: foreigners charged excessive price, Russian craftsmen were afraid of its size. At last the caster specializing at cannons - Yemelyan Khaylov was found and appointed to do the work. E. Falconet together with Ye. Khaylov was working on the cast making numerous tests. The process was extremely difficult and took several years. To commemorate a successful completion E. Falconet made a special signature at one of the coat's folds- Moulded and cast by Etienne Falconet, Parisian, 1778.E. Falconet planned lo depict Peter the Great not as a powerful military leader but as a wise statesman. The sculptor simplified a military attire (a light garb, an animal pell instead of a lavishly decorated saddle), put a sword and a laurel wreath on Peter's head (symbols of a glorious winner) and added a snake (the symbol of an enemy) under the horse's hoof. The head of ihc statue was modeled by M.-A. Collol who was lavishly rewarded by Catherine 11 - the Empress grained her with a lifelong pension of 10 000 livres. The author of ihc snake under the horse's hoof was a Russian sculptor- F. Gordeyev.The Emperor's right hand points at the Hare Island- the place where a new city had been founded in 1703. Adherents of Peter's reforms believed that the monument was a symbol of Russian glory and might, adversaries were sure that the statue was a horseman of Apocalypses that would bring death lo the Empire.By the time the work was finished E. Falconet's relationships with the Court had been went down. They say that E. Falconet was responsible only for the technicality of the Monument, and thai was the last straw - E. Falconet together wilh M.-A. Collot left Russia without being present at the ceremonial opening of the Monument on 7 August 1782" -the !00^th anniversary of Peter Г ascension ihe throne. The sculptor was neither informed of ihc date of opening nor mentioned in the lisi of those who had participated in its creation. The only award given to him consisted of gold and silver medals cast for a ceremonial opening and presented to E. Falconet by D. Goliisyn. There is a legend according to which the sculptor took pieces of the Thunder-stone with him to present ihem to his friends in France. The placing directed by F. Gordeyev was attended by Catherine II and ihe cream of the Russian society.After Alexander Pushkin had described the Monument in his poem the Bronze Horseman, it became known under that name. The Monument lo Peter the Great was glorified throughout the whole Russian Empire everywhere beingshrouded in myths and legends. According ю one of them people from some distant village told that once Peter I had been jumping from one bank of the Neva to the other repealing one and the same phrase: Everything belongs to Godand me! Twice repeated he the words and twice his jump was successful. But the third time he changed the order ofwords putting himself before God and al that very moment he turned into a bronze horseman! On 14 December 1825 the Decembrists (members of the secret society) headed by Prince S. Trubetskoy opposed the throne ami the serfdom having assembled troops in the square: they refined to swear allegiance to a new Emperor Nicholas I. Most of the rebels were killed (the Emperor himself ordered to open fire), others were exiled, the leaders were huni: in the Crownwork of the Peter and Paul Fortress.The engraving on the Monument says: PETRO PrimoCATHARINA Secunda MDCCLXXXII(«Петру Первому Екатерина Вторая лета 1782»).

7. Мраморный Дворец – интерьеры в веках/The Marble Palace: the interiors in centuries, 1768-1785

Authors: architects-A.Rinaldi (1768 - 1785), P.Ye.Yegorov (railings), A.P.Brullov (1844 - 1849), sculptors – F.I. Shubin and M.I.Kozlovskiy (1768- 1785)Address: Dvortsovaya naberezhnaya, 6The Palace, one of the most outstanding samples of Early Classicism was built on the spot of the former post-office court of the Peter's time. It has such a name due to its facing made of natural material - granite and marble of grey-pink. white and blue colours mainly excavated from me Ladozhskoye and the Onezhskoye Lakes. The exterior and the interior are decorated with seven kinds of marble of the Greek, the Italian, the Urals, the Kareiian and the Siberian species. The first floor is faced with dark-grey granite and is characterized by the most intensive colour, while the second and the third floors are made of grey granite. Such a background is the best for the columns and pilasters of light-blue colour. Kighiy-six vases of light limestone and two statues by F.I. Shubin ornament the attic that crowns the central part of the facade.The Palace was built to the design by A. Rinatdi in 1768 -- 1785 (sculptures were carried out by F. Shubin and M. K.ozlovskiy, the railings made by P. Yegorov), In 1844 - 1849 it was rebuilt under the supervision of A. Bryullov. The front courtyard was fenced with forged railings supported by pillars of pink granite.The Palace was presented to Count Grigoriy Orlov, a favourite of Catherine II. The interior was redesigned several times, so only the Slate Staircase and the Marble Hall have survived up to nowadays almost umouched demonstrating the original design by A. Rinaldi. All the stale apartments are lavishly decorated. The State Staircase is made of grey granite with six while marble statues to the design by F. Shubin: Night, Morning, Noon, Evening, and Vernal and Autumnal Equinox. The ceiling is decoraied with a painted plafond The Judgment of Paris to the design by I. Christ. The interior is embellished with the composition Games of Cupids, and four female figures at ihe sides: Moderation. Moral Strength. Sensibility and Justice. The United Hall is ornamented with a big portrait of Catherine 11. The Orlov Hall is decorated with Lhe busts of Orlov brothers and marble bas-relicves devoted to their deeds (this Hal! is often called Shubinskiy after lhe author of the bas-relie\es).The Marble Hall located on the second floor opens the enfilade of the state apartments facing the Neva. The walls are covered with grey marble with dark-blue streaks. The ceiling is decorated with a painted plafond to the design by S. Torelli The Wedding of Cupid and Psyche. Decorated ceilings played an important role in the interior decoration of the Palace. Nowadays one can admire only three of six created specially for lhe Palace (S. Torelli. A. Lipgan) - all allegories telling aboul Russian history in the reign of Catherine II. The walls arc lined with the pilasters of pink marble with white streaks, while the capitals are covered with gold. The planning of the Palace also included the premise for playing tennis (one had already been constructed in the Winter Palace especially for Count Orlov who was very fond of that kind of sport). Later on that premise was used as the Ball Room.After Orlov's death Catherine II purchased the Palace to the Treasury in 1796 and presented it to her grandson Konstantin Pavlovich on his wedding-day. In 1832 Emperor Nicholas I presented the Palace to his second son Konstaniin Nikolayevich. In 1840s the Palace that was in decay was rebuilt by A. Bryullov who preserved the original design of the facade and the planning of the premises though having changed the interior decor. One can see a bright example of lhe laie 19^lh cent, decor in ihc private apartments of Grand Duke Konstantin Nikolayevich. the son of lhe former owner, a famous Russian poet, a talented translator of Goethe, Schiller and Shakespeare for whom the English Study, the Gothic Musical Sitting-Room (with a wonderful painted ceiling The Service to Art by A. Lipgart, the idea by the Grand Duke himself) and the Lower Library were designed in 1888.The exterior decor of the Palace remained practically untouched - only the stone fence of the main facade was demolished: while the interior decor was radically changed - the only original halls thai have been survived up to nowadays are the State Staircase and the Marble Hall. After lhe October Revolution" the former Palace housed the Academy of History of Material Culture, and lhe Museum ofV.L Lenin opened there in 1937. In 1992 the Marble Palace became the branch of lhe Russian Museum. In 1994 an equestrian statue of Alexander 111 by P. Trubeiskoy was put up in front of the edifice. Nowadays there are three permanent expositions in the Palace halls: Foreign Painters in Russia of 18' - 19" cent.. The Collection of Brothers Rzhevskiye. and The Ludwig Museum in the Russian Museum, In 2001 the White (Gothic) Hall equipped with modern facilities for holding conferences was ceremonially opened after the restoration.