On September 20 (September 8, old style), 1862, the monument “Millennium of Russia” was unveiled in Veliky Novgorod.
There is no other monument like this in the world. It tells not about one event, but about an entire millennium. Dedicated not to one person, but to the whole people.
How the monument was created and how people treated it different eras- at the end of the 19th century, after the revolution, during the war? What historical realities of our country are hidden behind the history of its creation and the appearance? Why are some characters depicted on it, while others - seemingly no less worthy - are not? To answer these and other questions, the Foma magazine in its material brought together many disparate facts - both genuine and semi-anecdotal.
How were the characters chosen for the monument?
Who should be depicted on the high relief among the outstanding figures of Russia? This question turned out to be one of the most difficult. For two reasons.
First: how to choose the hundred “most worthy” historical figures from a period of several centuries? The author of the monument, Mikhail Mikeshin, understood that he alone could not cope with such a task. He turned to the most prominent people in Russia - authoritative scientists, historians, writers - with the same request: to help with the selection of figures for the high relief. Mikeshin wrote to Solovyov, Bestuzhev-Ryumin, Goncharov, Turgenev and many others. Everyone responded. This is how “Thursdays at Mikeshin’s” appeared: every week the entire flower of Russian culture gathered at the Academy of Arts to argue until they were hoarse about the merits of certain “outstanding figures.” These disputes gave Mikeshin a lot, but in some sense they complicated the task: the opinions were too polar. The final choice was still up to the author. And he found, perhaps, the only true way out: to choose not so much with his mind as with his heart. Something inside told him why Marfa Boretskaya was needed on the monument, but Ivan the Terrible was not needed, Pushkin was needed, but Belinsky was not needed, etc. Mikeshin gave preference to people of creative origin, those who loved Russia in themselves, and not themselves in Russia.
Second reason What made it difficult to choose characters for the third tier was the political situation: depicting a person on a monument meant publicly recognizing his merits. And here the interests of representatives of different social strata collided. Discussions did not subside either in the government when the third tier figures were being agreed upon, or in society when the draft of the monument was published.
Figures Gogol, Lermontov, Pushkin and Derzhavin dressed in Roman togas. Why? They are classics of literature. Pushkin stands next to Lermontov and Gogol and seems taller than them, although in life he was shorter. This was done on purpose: the positions of the bodies of Gogol and Lermontov were changed, they stand in an inclined position so that Pushkin - “our everything” - towers over them. This to some extent reflects the public’s attitude towards these writers in the second half of the 19th century. The bookworms of that time were at a loss. Pushkin - still all right. But Gogol, Lermontov - who are they? Yes, fashionable ephemera, but why are they needed on the monument? Is it the case of Sumarokov, Trediakovsky, Kheraskov - why weren’t they depicted?
For appearing on the monument Gogol, the artist Mikeshin had to fight. Gogol was not on the final list approved by the government. However, Mikeshin, at his own peril and risk, ordered the preparation of two additional figures: Gogol and... Taras Shevchenko, another Ukrainian author, and also Mikeshin’s beloved friend. When they learned about such “arbitrariness” of the artist, a scandal erupted. Then Mikeshin addressed a letter personally to Emperor Alexander II. He dedicated several long and detailed paragraphs, written in convincing emotional language, to Shevchenko, proving his importance to Russian literature. About Gogol he wrote one paragraph: “The merit of Gogol and his influence on modern domestic literature so great that I consider it unnecessary to speak for him.” The Emperor approved Gogol, but did not accept Shevchenko. There is a version that Alexander II, apparently, simply did not have time to read the long letter in its entirety, so he simply skipped everything that concerned Shevchenko.
There is no Ivan the Terrible on the monument. Figures of his first wife Anastasia Romanova and his assistants Archpriest Sylvester And okolnichy Alexey Adashev- a kind of “replacement”, a compromise: it is not at all to reflect the era of Ivan the Terrible - it is wrong, but it is even more wrong to depict in Novgorod the tsar who committed a monstrous massacre over the city in 1570: supposedly for treason, but in fact for the “legitimate” acquisition of wealth the richest city of Rus' during the costly Lithuanian War, Novgorod merchants were executed.
Figure Marfa Boretskaya, contrary to expectations, it did not cause any criticism from the government. She was the wife of boyar Dmitry Boretsky and the mother of Isaac Boretsky, both mayors of Novgorod. Martha herself indirectly influenced politics and social activities. Capturing her on the monument meant paying tribute to Novgorod history. In addition, Alexander II was preparing a reform of local self-government, the establishment of zemstvos, and this was also associated with republican traditions - with the Novgorod People's Assembly.
Figure Emperor Nicholas I Mikeshin had to place it on the high relief. Emperor Alexander II directly asked the artist: “And father?” Mikeshin tried to explain that since the previous sovereign had died only a few years ago, it was too early to depict him on the monument - after all, time would have to pass to evaluate the results of his reign. According to the memoirs of Mikeshin himself, Alexander II understood everything, did not really approve of his father’s political legacy and did not want to see his figure on the monument. But a considerable part of the king’s entourage thought otherwise - and the emperor decided to give in.
It is often puzzling where the figures on the monument came from Lithuanian princes Gediminas, Vytautas and Keistut? The fact is that they fought on the side of Russia against Poland, where at that time anti-Russian protests by nationalists who dreamed of independence from the Russian Empire had just begun. In addition, the presence of these figures was supposed to emphasize Lithuania’s original affiliation with Russian lands.
After the revolution, the “monument to a thousand years of autocratic oppression” was denounced for not reflecting historical reality- after all, there are no images of peasants and workers on it. The exceptions were Ivan Susanin and - with reservations - the son of a peasant Mikhail Lomonosov and the village elder Kozma Minin. But they also “stained” themselves by collaborating with the tsarist regime.
Upper tier. Orthodoxy
The group consists of two figures - Russia and an angel. An angel overshadows Russia with a cross. Their base is a ball - a power. The inscription on the ball: “To the accomplished millennium of the Russian State during the prosperous reign of Emperor Alexander II, summer 1862.”
Middle tier. Six eras of the Russian state
Symbolizes "autocracy". Around the ball-power are seventeen three-meter figures. They make up six sculptural compositions. At the center of each is a sovereign, personifying his era.
View all figures:
It is no coincidence that the direction in which the views of government officials are directed. Prince Vladimir looks towards Byzantium: from there he brought Christianity to Rus'. Peter I - to St. Petersburg founded by him. Mikhail Romanov - to the west: the Russians drove out the Polish and Swedish invaders there. Prince Dmitry Donskoy - to the Horde: the defeated Mongols went there. Ivan III - to Moscow, the former capital (after all, when the monument was erected, the capital was St. Petersburg). But Rurik... He should have looked at Novgorod, where he was called to reign. But he stands in Novgorod, so his gaze is fixed on the second most important ancient Russian city - Kyiv.
Lower tier. Outstanding characters of Russian history
Initially it was planned that the high relief (third tier) would repeat the plot of the second: six medallions, on which six eras Russian state should have been depicted in more detail - and reflected the participation of the people in the life of the country, thus completing the triad with “nationality”.
However, this is what happened. The sculptor Peter Klodt was responsible for the lower tier of the monument - famous master of its time. While working on the monument, he found himself subordinate to his yesterday’s student - young artist Mikeshin, the author of the monument. When Klodt first showed Mikeshin and Emperor Alexander II sketches of his bas-reliefs for the monument, both immediately understood: this is not it! It turned out that Klodt simply repeated the plots of the second tier without developing them one bit. Mikeshin decided that Klodt, not wanting to be subordinate to his yesterday’s student, deliberately sabotaged the order or treated it carelessly. In reality, Klodt - a brilliant animal painter, the author of the famous horses on the Anichkov Bridge in St. Petersburg - was simply at a loss before an unusual task for him: to compose a plot from Russian history...
It was impossible to accept Klodt’s sketches; explaining the task to him again was absurd. Something had to be decided urgently. And then Mikeshin, out of despair, told the emperor the first thing that came to mind: “I could suggest representing everyone in the bas-relief worthy people, which in various fields of knowledge, intelligence and science contributed to the exaltation of Russia.” The idea was accepted. Thus, the monument turned into a chronicle of Russia in persons and acquired its main highlight - 109 figures of outstanding Russian figures.
They can be divided into four groups.
State people
1. Archpriest Sylvester. 2. Anastasia Romanova. 3. Okolnichy Alexey Adashev. 4. Patriarch Hermogenes. 5. Youth Mikhail Romanov. 6. Patriarch Filaret. 7. Tsar Alexei Mikhailovich. 8. Diplomat Ordyn-Nashchokin. 9. Boyar Artamon Matveev. 10. Peter the Great. 11. Prince Yakov Dolgoruky. 12. Privy Councilor Ivan Betskoy. 13. Catherine II. 14. State Chancellor Bezborodko. 15. Grigory Potemkin. 16. State Chancellor Prince Kochubey. 17. Alexander I. 18. Count Speransky. 19. Field Marshal Vorontsov. 20. Nicholas I.
View all figures:
Military figures and heroes
1.
Svyatoslav Igorevich. 2.
Mstislav Udaloy. 3.
Daniil Galitsky. 4.
Alexander Nevskiy. 5.
Prince Keistut.
6.
Dmitry Donskoy. 7.
Mikhail Tverskoy. 8.
Daniil Kholmsky. 9.
Mikhail Vorotynsky. 10.
Daniil Shchenya. 11.
Marfa Boretskaya. 12.
Ermak Timofeevich. 13.
Mikhail Skopin-Shuisky. 14.
Dmitry Pozharsky. 15.
Abraham Palitsyn. 16.
Bohdan Khmelnytsky. 17.
Kuzma Minin. 18.
Ivan Susanin. 19.
Boris Sheremetev. 20.
Mikhail Golitsyn. 21.
Peter Saltykov. 22.
Count Burchard Minich. 23.
Alexey Orlov. 24.
Peter Rumyantsev. 25.
Alexander Suvorov. 26.
Michael Barclay de Tolly. 27.
Mikhail Kutuzov. 28.
Admiral Senyavin.
View all figures:
Enlighteners
1. Saint Cyril. 2. Saint Methodius. 3. Duchess Olga. 4. Prince Vladimir. 5. Saint Abraham. 6. Anthony Pechersky. 7. Theodosius Pechersky. 8. Saint Kuksha. 9. Nestor the chronicler. 10. Kirill Belozersky. 11. Stefan Permsky. 12. Alexy, Metropolitan of Moscow. 13. Sergius of Radonezh. 14. Peter Mohyla, Metropolitan of Kyiv. 15. Jonah, Metropolitan of Kyiv. 16. Saint Savvaty of Solovetsky. 17. Zosima Solovetsky. 18. Maxim Grek. 19. Gury, Archbishop of Kazan. 20. Konstantin Ostrogsky. 21. Patriarch Nikon. 22. Fedor Rtishchev. 23. Dmitry, Metropolitan of Rostov. 24. Gregory of Konissky, Archbishop of Belarus. 25. Feofan Prokopovich, Archbishop of Novgorod. 26. Plato, Metropolitan of Moscow. 27. Innocent, Archbishop of Kherson and Tauride.
View all figures:
Writers and artists
1. Mikhail Lomonosov. 2. Denis Fonvizin. 3. Alexander Kokorinov. 4. Gavrila Derzhavin. 5. Fedor Volkov. 6. Nikolai Karamzin. 7. Ivan Krylov. 8. Vasily Zhukovsky. 9. Nikolai Gnedich. 10. Alexander Griboyedov. 11. Mikhail Lermontov. 12. Alexander Pushkin. 13. Nikolay Gogol. 14. Mikhail Glinka. 15. Karl Bryullov. 16. Dmitry Bortnyansky.
View all figures:
10 frequently asked questions about the monument
1. Why did the opening date of the monument and, accordingly, the celebration in honor of the millennium of Russia become September 8 (September 21, new style)?
On this date (note that in 1862 the difference between the new style and the old was 12 days) there were three other important events: anniversary of the Battle of Kulikovo, birthday of the heir to the throne, Tsarevich Nicholas, as well as Orthodox holiday The Nativity of the Virgin Mary, who was popularly considered the intercessor and patroness of Russia. The date of September 8 made it possible to combine secular and church holidays.
2. Why was the monument erected in Novgorod?
Those around Emperor Alexander II were surprised: what was the point of erecting such an important monument in a provincial town, where only local inhabitants would see it? The unique date required a metropolitan scale. In addition, a stable association with Novgorod is the Novgorod veche, republican traditions. What if the decision to place the monument here will be perceived as a signal at a difficult time for the country? After all, the memory of the Decembrist uprising is still fresh, and the entire reign of Nicholas I passed under the banner of the fight against dissent. And yet, Alexander II supported the candidacy of Novgorod: sovereignty, in the opinion of the emperor, does not contradict civil liberties. In their union, the tsar saw the civilized future of the Russian state. Therefore, some historians call the Novgorod monument “a monument to the great reforms of Alexander II.”
Monument in a photo taken around 1862
3. Why was the author of the monument not a sculptor, but an artist?
Mikhail Mikeshin was a brilliant graduate of the Academy of Arts in St. Petersburg. His thesis, which depicted mounted grenadiers, was bought by Emperor Nicholas I himself. Mikeshin was about to go on a six-year internship in Italy.
Mikhail Mikeshin and his friend, the not-so-successful sculptor Ivan Schroeder, read about the competition for the construction of the monument in the newspaper while having lunch in a cafe. We decided to dare and show each other our ideas the next morning. Schroeder didn’t come up with anything and admitted defeat, saying that he was ready to work according to Mikeshin’s sketches. And Mikeshin immediately came up with an artistic solution - a three-tiered monument, the composition of which is based on the state. Here the fact that Mikeshin was a painter by profession played into his hands. If he were a professional sculptor, his thought would inevitably revolve around images standard for sculpture of that time: figures, statues, equestrian groups, columns, etc. And this would inevitably diverge from the main condition of the competition: to depict thousand-year history Russia in development. Perhaps this task was only possible for someone like Mikeshin - an amateur in sculpture, not constrained by academic canons and therefore ready for any original solutions.
One of the early models of the monument, State Historical Museum. The completion of the monument is designed differently& , CC BY-SA 3.0 , Link
When, according to Mikeshin's idea, the three-tiered state was surrounded by figures of people - historical characters - the silhouette of the monument began to resemble Monomakh's cap (a symbol of royal power) and at the same time a bell (a hint of the veche bell of the Novgorod Republic). Mikeshin immediately realized that this was luck: a true artistic solution always carries an internal conflict.
4. Why was the monument project criticized?
An article was published in the magazine “Russian Messenger”, the author of which signed with one letter “O”. He called Mikeshin’s monument a “motley toy.” He was especially outraged by the fact that the figures of the monument stand with their backs to the state. In his response article, Mikeshin jokingly wrote that he was ready to agree and place the figures with their backs to the public.
5. Who worked on the monument?
Victor Hartman. One of the founders of the pseudo-Russian style in architecture. After his posthumous exhibition in 1874, M. P. Mussorgsky wrote the suite “Pictures at an Exhibition”
But in reality, it was impossible for three of us to complete such work. The idea is huge. And the terms are less than three years. For comparison: the sculptor Falcone worked on “The Bronze Horseman” for twenty years. And here, in addition to the giant power with six subject compositions on the second tier, it was necessary to create and cast one hundred and nine human figures for the lower tier.
Ivan Schroeder. He created, in particular, monuments to V. A. Kornilov and P. S. Nakhimov in Sevastopol, which were not preserved, but were reconstructed, monuments to Pushkin and Kruzenshtern in St. Petersburg
To solve the problem, a whole creative team, which included the most famous sculptors that time. The piquancy of the situation lay in the fact that, on behalf of the emperor, the twenty-year-old youth Mikeshin, their yesterday’s student at the Academy of Arts, was leading the team.
6. How expensive was the monument?
Construction of the monument, 1862
The construction of the monument cost 500,000 rubles. One hundred and fifty thousand of them are donations from the population. The rest was provided by the treasury. The amount is not small, but not mind-blowing for its time: a good mansion in St. Petersburg then cost half a million rubles.
7. What was the further fate of the authors of the monument?
Portrait of Mikhail Mikeshin. Ilya Repin. 1888
The friendship of artist Mikhail Mikeshin and sculptor Ivan Schroeder did not stand the test of fame. They worked together on the monument, and their achievements were quite comparable. Yes, the idea and general direction of Mikeshin, but the lion's share of the monument was sculpted by Ivan Schroeder with his own hands! And yet, fame, like a bride, left him for Mikeshin. The fact that the sovereign assigned them both a lifelong pension of 1,200 rubles was no consolation. From now on, Mikeshin was given the title of “labor master of monumental affairs.” Foreign awards and orders rained down on him like from a cornucopia. Mikeshin became rich, and even once embarked on a financial adventure, after which he not only lost all his money, but also owed the treasury 80 thousand rubles. Desperate, Mikeshin asked the emperor himself for help. Alexander II loved the artist, so he paid the debt for him, but promised to engage only in art from then on. Very quickly Mikeshin became a welcome guest in all salons and meetings. He was a favorite of women. Writer Nikolai Leskov even portrayed Mikeshin in his novel “The Islanders” in the image of the heartthrob artist Istomin.
Mikhail Mikeshin died in 1896. By this time he had already become a master, a recognized venerable artist. His friends said that he died the way he wanted to die - a sudden heart attack struck him while working.
8. What saved the monument from demolition after 1917?
Paradoxically, it is an anti-religious campaign. Of course, after the revolution, the attitude towards the monument became sharply negative. The metropolitan press called it “artistically and politically offensive.” Novgorod officials said: “How much non-ferrous metal is lost, it’s high time to be melted down.” The “guilt” of the monument was aggravated by the fact that it was depicted on banknotes issued in Crimea by the Wrangel government. A brochure entitled “Monument to the Millennium of Autocratic Oppression” was published in mass circulation. The monument would definitely have been demolished in the first post-revolutionary months if all the forces of the authorities had not been thrown into the plunder of the richest Novgorod diocese that had just begun. The weight of gold and silver items alone, exported by special wagon from Novgorod, amounted to more than ten tons. The problem of the monument faded into the background. The monument survived, but on communist holidays they began to cover it with plywood shields painted with revolutionary slogans - and in the middle of the Novgorod Kremlin, it was as if a haystack was growing.
9. What happened to the monument during the war?
In August 1941, German infantry divisions occupied Novgorod. And in January 1944, the military commandant of Novgorod, General von Herzog, decided to make a military trophy out of the monument. There was simply nothing else in the city: church utensils, icons, bronze gates, gilded sheets of domes - all this had already been taken out. Von Herzog decided to send the monument to the city of his youth - Instenburg, where the general's childhood friend was burgomaster at that time. Difficulties with transportation did not bother von Herzog. The very next day, an engineering company was laying a special narrow-gauge railway railway from the Kremlin to the station, and another group was engaged in dismantling. They only managed to dismantle the monument halfway and were about to begin loading - when artillery preparation began on January 20, the Russians broke through the front in two places, and very quickly the soldiers of the 221st Rifle Division drove the Germans out of Novgorod.
10. Why was the “ideologically dangerous” monument restored?
Not only was it restored, it was one of the first objects taken up in devastated Novgorod. The fact is that the attitude towards the monument during the war changed following the change in attitude towards the great historical and military figures Tsarist Russia, which could serve as symbols uniting the people. Once again, Suvorov, Kutuzov, Rumyantsev, Bagration, Nakhimov and others depicted on the monument were honored. The monument was re-opened even before the end of the war - on November 2, 1944. Of course, eight hard-working restorers who worked on the monument with their bare hands could not recreate it in its original form - some details were damaged, some were lost. Technologically, a very meticulous restoration was required. Therefore, in its original form, the monument appeared before the public only after large-scale restoration work in 1995.
The article uses materials from Viktor Smirnov’s book “Monument of the Russian State”,
Veche publishing house, 2008
Who is depicted on the monument" Bronze Horseman" in St. Petersburg?
The Bronze Horseman monument was created on the initiative of Catherine II in 1782. It is noteworthy that the Bronze Horseman was the very first monument in St. Petersburg.
This work monument French sculptor Falconet depicts Emperor Peter I on horseback. The emperor's head is decorated with a wreath of laurel leaves, and a sword is visible behind his belt, as signs of a great commander and triumphant.
The Bronze Horseman monument, which is installed in St. Petersburg, depicts, so to speak, the founder of this city, Emperor Peter 1. The monument was erected in 1782 during the reign of Empress Catherine 2.
The Bronze Horseman monument depicts Tsar Peter l. It was erected by order of Catherine II in 1982, based on the model of the sculptor Falconet. He came to St. Petersburg in 1766 with his student Marie-Anne Collot, who made the head of Peter for the monument. The monument was cast from 176 tons of bronze and 4 tons of iron.
The monument, which, thanks to the poem by A.S. Pushkin, received the name of the Bronze Horseman, was erected on the initiative of Catherine II and is dedicated to Peter I about the World Cup and the inscription on the stone pedestal reads.
The monument was commissioned from the sculptor Etienne-Maurice Falconet, who was recommended by Voltaire and Diderot, who were teaching at the Paris Academy of Painting and Sculpture at that time.
Opinions about what the monument to Peter should look like were also divided. Catherine II herself believed that Peter should have held a staff or scepter while sitting on a horse, and, for example, Diderot proposed a sculpture in the form of a fountain. There were other options. And Falcone himself chose a simple figure, which, at the same time, showed the personality of the benefactor of his country. This is what he wrote to Diderot about how he conceived this monument:
I was always sure that this was a monument to Peter I. Although, of course, it is Copper purely allegorically (Pushkin tried his best), but in reality it is bronze. This monument appeared and still lives thanks to Catherine II, who idolized Peter, which is what the inscription on the pedestal tells about - PETRO primo CATHARINA secunda - PETER THE FIRST CATHERINE THE SECOND. People of St. Petersburg firmly believe that Peter will definitely defend his city while the monument to him is in its place.
As far as I know, at this Russian monument Emperor Peter the Great is depicted sitting on a horse. By the way, it received its historical name thanks to the famous Russian poem The Bronze Horseman by Alexander Pushkin, and it was installed in the city of St. Petersburg on the personal initiative of Empress Catherine the Second.
August 7, 1782 in the city of St. Petersburg on Senate Square there was an opening of a sculpture called Bronze Horseman. This monument dedicated to Peter the Great, it received its name thanks to this poem by Alexander Sergeevich Pushkin. The monument was erected thanks to Catherine the Second, who idolized Peter the Great. The monument even says: Peter the Great Catherine the Second. This inscription can be seen in the photo below.
In fact, the Bronze Horseman monument is bronze.
I was interested in this question myself not long ago, so I know the answer for sure. So, this monument was erected to Peter I. As for the material of manufacture, this monument is not copper at all, but bronze.
The opening of the Bronze Horseman sculpture on Senate Square in St. Petersburg took place on August 7, 1782. This monument was erected through the efforts of Catherine the Second and dedicated to Peter the Great. And it got its name thanks to Pushkin’s poem.
Monuments are the most interesting and effective way to pay tribute and respect to the historical past. They are admired by admirers of art, creativity and history. There are monuments that have a sonorous name, but many people do not know who is on the pedestal. For example, a monument - who is depicted on it?
The Bronze Horseman monument is an excellent example of the embodiment of the spirit of history in life. We need to dive into history a little!
"The Bronze Horseman" - who is depicted on the horse?
Many people, even those not related to history by occupation, have probably heard about the Bronze Horseman. But who is depicted as the rider", this remains open question for most.
Many topics on forums and blogs on the Internet are filled with this question. Who is depicted on the monument on this occasion does not stop.
We won't torment you for long. Peter the Great himself is depicted on the Bronze Horseman monument in St. Petersburg. The author of the monument, Falconet, sought to recreate the figure of Peter in motion, so that he would be seen not only as a great commander and leader of the Russian people, but also as a real legislator and creator of life.
There is a wreath on Peter's head. It is he who emphasizes that Peter is a winner and commander. The historical monument is unique in that it has three pillars on which it rests.
Now, to the question of who is depicted on the Bronze Horseman monument, we can safely answer - Tsar Peter the Great!
Why in St. Petersburg?
The monument to the Bronze Horseman is an important element for the culture and architecture of Russia. You can often come across the question of who is depicted on the Bronze Horseman monument in Moscow? But there is no such monument in Moscow.
So, where is the Bronze Horseman monument located and who is depicted on it, we figured it out. And it is located not in Moscow, but in St. Petersburg. It was erected by Catherine the Second in honor. On the pedestal you can find the inscription: “To Peter the Great From Catherine the Second in the summer of 1782.”
The one who is depicted on the Bronze Horseman monument in St. Petersburg - outstanding personality for the city. Catherine thought so and therefore decided to capture the creator of the city forever. Thus, the Empress decided to pay tribute not only to the city of St. Petersburg, but also to its immediate founder, Peter I. By the way, this is why “The Bronze Horseman” was made in St. Petersburg in honor of the founder of the city. Its weight is eight tons and its height is five meters.
History - the beginning
The initiative to create the monument belongs entirely to Catherine the Second. By order of the Empress, Alexander Mikhailovich Golitsyn turned to Voltaire and Diderot for help and advice in the construction and design of such a significant facility for Rus'. Catherine trusted Voltaire and Diderot very much, so their opinion was considered significant.
Etienne-Maurice Falconet - this is the person they recommended to Catherine for the design and construction of the facility. And Falcone, in turn, always dreamed of creating a huge monument that would pass through the centuries and be revered by descendants. The offer of the Russian court delighted and inspired him. The master comes to Russia with Marie-Anne Collot. This is his 17-year-old design assistant.
A contract was signed with the sculptor for 200 thousand livres. This is a small amount. The Russian court also turned to other notable masters of their craft, but they asked for a much larger amount.
Later, Felten, a professional architect, was appointed Falcone's assistant, who was only supposed to speed up the process of building the pedestal.
The photo perfectly demonstrates who is depicted on the Bronze Horseman monument.
“Thunder-stone” is what you need!
The question arose of finding a suitable stone on which to place the huge monument to Peter the Great. They decided to look for the stone through advertisements, and a corresponding message was published in the St. Petersburg Vedomosti newspaper.
Suitable stone Grigory Vishnyakov will kindly provide a place for the Peter the Great monument. It was a huge block that he wanted to use for his own needs, but he did not even find a tool with which he could split it.
On March 27, 1770, the stone was delivered to the shore of the Gulf of Finland, and the operation was completed. There were many problems during transportation that threatened to derail the entire project. However, everything went well.
Transportation of this stone, even today, is completely unique. It was the largest stone ever moved by man!
Preparation of the monument
In 1769, the plaster monument was demonstrated to the public. Now the figure of Peter the Great was awaiting casting in its entirety.
However, the famous master and designer of the Falconet monument refused to do this work himself. He had never encountered the casting of such a huge monument before. Falcone was awaiting the arrival of Ersman, who was an expert in this matter.
However, the sculptor’s high hopes for Ersman were not justified. He turned out to be a poor specialist and could not cope with the task assigned to him. Falconet independently took on the task of casting the monument.
The very first casting took place in 1775. Further castings were repeated in 1776-1777. The results of the work were personally monitored by Catherine the Second.
The second casting was more successful than the first. Then, after completion, Falconet wrote on the inside of Peter the Great’s cloak “Modeled and cast by Etienne Falconet, a Parisian.” Thus the work on this magnificent monument was completed.
Installation of the monument
The "Bronze Horseman" in St. Petersburg was ready to appear before the people. The only question that remained was to install the monument so that it would become a public property and people could be proud of it.
The “Thunder Stone” was delivered to St. Petersburg a long time ago. The height of the block, 11 meters, was exactly what was needed to place the monument.
However, the relationship between Falcone and Catherine II had completely deteriorated by this point. Falcone had no choice but to leave St. Petersburg for Paris.
The final installation of the monument was already carried out by Fyodor Gordeev. This did not cause him much difficulty, and on August 7, 1782, the opening of the monument to Peter the Great took place. Falcone was never invited to the opening of his Russian brainchild. The opening was attended by Catherine the Second herself, who gave the order to open the monument on that very day!
Baturin's story
The year was 1812. This was the time when the Russian army fought with Napoleon's army. There was a high probability that French troops would invade St. Petersburg and Moscow and destroy all the cultural property that exists in Russia.
Obsessed with these thoughts, Emperor Alexander the First ordered the removal of everything from St. Petersburg cultural heritage cities. Alexander's list also included the Bronze Horseman monument on Senate Square.
At this time, a certain Baturin, who was then with the rank of a simple major, appears. He achieved a personal meeting with Prince Golitsyn in order to tell him a dream that had haunted him for several last days. In the dream, the major is on Senate Square. The monument to Peter the Great turns its head towards him and says that under no circumstances should he be taken out of his native Petersburg. Only with him Petersburg is safe, and no one will touch him.
Surprised by Baturin’s dream, Golitsyn immediately goes to Alexander and tells him about the vision. Alexander was “killed on the spot,” but still canceled the order to remove the Bronze Horseman from St. Petersburg.
Paul's thoughts
A common story is that associated with Peter the Great and the future Emperor Paul the First.
Pavel was walking along the streets of St. Petersburg in the evening when it seemed to him that someone was walking next to him. At first he took it for a game of imagination, but then he began to really feel the presence of another person.
“Pavel, I am the one who takes part in you!”, the figure next to him told him. Paul was amazed. He clearly saw the figure of Peter the Great in a cloak and hat.
This meeting took place on Senate Square. As Peter left, he said that one day Paul would see him here again.
Over time, this happened. Pavel received an invitation to the opening of the monument in St. Petersburg. Who is depicted on the Bronze Horseman monument? Paul knew the answer to this question for sure.
"The Bronze Horseman in Culture"
Bright monuments and monuments are often reflected in the stories of writers, in the poems of poets and in drawings famous artists. The description of the “Bronze Horseman” in St. Petersburg on Senate Square was no exception.
The monument impressed prominent figures of literature and art of various times, who then depicted it in their work.
Fyodor Mikhailovich Dostoevsky in his novel “The Teenager” repeatedly mentions the “Bronze Horseman”. In his works, he worried about the future of glorious St. Petersburg, but did not predict its death, because the city was tightly guarded by the spirit of the famous and great Peter the Founder.
The mystic Danil Andreev in his “Rose of the World” also recalls the “Bronze Horseman”. However, he imagines Peter sitting on a dragon.
Other writers also mentioned “The Bronze Horseman” in their works. There are many paintings written and dedicated to this monument. Peter the Great, immortalized on horseback, made a great impression on artists.
"The Bronze Horseman" by Pushkin
Alexander Sergeevich Pushkin is a man who sincerely admired Russian culture and its heritage. The Bronze Horseman monument in St. Petersburg could not leave him indifferent. The writer wrote the work “The Bronze Horseman”.
The work describes how in 1824 Eugene lost his beloved during a flood. He is taking this grief hard. To somehow distract himself from the accident, he wanders around St. Petersburg.
Evgeniy approaches the Bronze Horseman monument and freezes for a moment. He recalls that it was Peter the Great who founded the city in a place where troubles and floods could occur. He begins to blame Peter for his troubles and for the fact that the construction was wrong, as well as the choice of the very place for the construction of St. Petersburg.
Evgeniy begins to threaten the monument. At this time, the “Bronze Horseman” jumps off the pedestal and begins to run after the accuser. In reality this happens to Eugene or in a vision, he himself cannot understand.
Coinage
The “Bronze Horseman” was reflected not only in culture, art and literature, but also on state coins of the USSR period.
The idea to mint coins with Peter the First belonged to the Bank of the USSR during the reign of Mikhail Gorbachev in 1988.
So, in 1988, the Bank of the USSR began minting coins. The monument to Peter the Great in St. Petersburg on Senate Square was awarded a denomination of 5 rubles. The coin was heavy - 20 grams. Its circulation was 2 million 300 thousand copies.
This is the only one famous case with the participation of the Bronze Horseman monument.
Legends, myths and interesting facts
There are interesting myths and Interesting Facts, associated with the monument in St. Petersburg. Let's start with myths.
- There is a rumor that one day Peter the Great wanted to cross the Neva. When he said “Everything is God’s and mine” three times, he jumped over the Neva without any problems. When he changed the phrase and said “Everything is mine and God’s,” he instantly froze in place and turned to stone. Since then there has been a monument on Senate Square.
- One day Peter the Great was lying in his bed and it seemed to him that the Swedes were advancing on St. Petersburg. He jumped up, jumped on his horse and galloped towards them. However, a snake turned around on his way and stopped him on Senate Square. She stopped him from jumping into the water and saved Peter.
- There are myths in which Peter says that only he can truly protect the city from harm. This was the case during the war of 1812-1814. And indeed, the city was not touched by the French.
Interesting Facts:
- When transporting the stone under the pedestal, difficulties and contradictions arose between workers. Emergency situations occurred frequently. The whole of Europe followed the transportation of the stone.
- Falcone initially wanted his Bronze Horseman to be without a fence. But it was installed anyway. Currently, this fence does not exist, and many people leave theirs, damaging it. There is a possibility that the fence will still be installed.
"The Bronze Horseman" is a symbol of the northern capital of Russia. It’s worth going to St. Petersburg and seeing this monument with your own eyes. Now, when you are in the city on the Neva, you will no longer have a question about who is depicted on the Bronze Horseman monument in St. Petersburg.
Reinhold Gliere - Waltz from the ballet "The Bronze Horseman"
The monument to Peter I, a bronze monument of a rider on a rearing horse flying to the top of a cliff, better known thanks to the poem by Alexander Sergeevich Pushkin as “The Bronze Horseman”, is an integral part of the architectural ensemble and one of the most striking symbols of St. Petersburg...
The location of the monument to Peter I was not chosen by chance. Nearby are the Admiralty, founded by the emperor, and the building of the main legislative body of Tsarist Russia - the Senate.
Catherine II insisted on placing the monument in the center of Senate Square. The author of the sculpture, Etienne-Maurice Falconet, did his own thing by installing the “Bronze Horseman” closer to the Neva.
By order of Catherine II, Falcone was invited to St. Petersburg by Prince Golitsyn. Professors of the Paris Academy of Painting Diderot and Voltaire, whose taste Catherine II trusted, advised to turn to this master.
Falcone was already fifty years old. He worked for porcelain factory, but dreamed of great and monumental art. When an invitation was received to erect a monument in Russia, Falcone, without hesitation, signed the contract on September 6, 1766. Its conditions determined: the monument to Peter should consist of “mainly an equestrian statue of colossal size.” The sculptor was offered a rather modest fee (200 thousand livres), other masters asked twice as much.
Falconet arrived in St. Petersburg with his seventeen-year-old assistant Marie-Anne Collot. The vision of the monument to Peter I by the author of the sculpture was strikingly different from the desire of the empress and the majority of the Russian nobility. Catherine II expected to see Peter I with a rod or scepter in his hand, sitting on a horse like a Roman emperor.
State Councilor Shtelin saw the figure of Peter surrounded by allegories of Prudence, Diligence, Justice and Victory. I.I. Betskoy, who supervised the construction of the monument, imagined it as a full-length figure, holding a commander’s staff in his hand.
Falconet was advised to direct the emperor's right eye to the Admiralty, and his left to the building of the Twelve Colleges. Diderot, who visited St. Petersburg in 1773, conceived a monument in the form of a fountain decorated with allegorical figures.
Falcone had something completely different in mind. He turned out to be stubborn and persistent.
The sculptor wrote:
“I will limit myself only to the statue of this hero, whom I do not interpret either as a great commander or as a winner, although he, of course, was both. The personality of the creator, legislator, benefactor of his country is much higher, and this is what needs to be shown to people. My king does not hold any rod, he extends his beneficent right hand over the country he travels around. He climbs to the top of the rock, which serves as his pedestal - this is an emblem of the difficulties he has overcome.”
Defending the right to his opinion regarding the appearance of the Falcone monument, I.I. wrote. Betsky:
“Could you imagine that the sculptor chosen to create such a significant monument would be deprived of the ability to think and that the movements of his hands would be controlled by someone else’s head, and not his own?”
Disputes also arose around the clothes of Peter I. The sculptor wrote to Diderot:
“You know that I will not dress him in Roman style, just as I would not dress Julius Caesar or Scipio in Russian.”
Above the model of the monument in life size Falcone worked for three years. Work on the "Bronze Horseman" was carried out on the site of the former temporary Winter Palace Elizaveta Petrovna. In 1769, passers-by could watch here as a guards officer took off on a horse onto a wooden platform and reared it. This went on for several hours a day.
Falcone sat at the window in front of the platform and carefully sketched what he saw. The horses for work on the monument were taken from the imperial stables: the horses Brilliant and Caprice. The sculptor chose the Russian “Oryol” breed for the monument.
Falconet's student Marie-Anne Collot sculpted the head of the Bronze Horseman. The sculptor himself took on this work three times, but each time Catherine II advised to remake the model. Marie herself proposed her sketch, which was accepted by the empress. For her work, the girl was accepted as a member Russian Academy arts, Catherine II assigned her a lifelong pension of 10,000 livres.
The snake under the horse’s foot was sculpted by the Russian sculptor F.G. Gordeev.
Preparing the life-size plaster model of the monument took twelve years; it was ready by 1778.
The model was open for public viewing in the workshop on the corner of Brick Lane and Bolshaya Morskaya Street. Various opinions were expressed. The Chief Prosecutor of the Synod resolutely did not accept the project. Diderot was pleased with what he saw. Catherine II turned out to be indifferent to the model of the monument - she did not like Falcone’s arbitrariness in choosing the appearance of the monument.
For a long time, no one wanted to take on the task of casting the statue. Foreign masters demanded too much a large amount, and local craftsmen were frightened by its size and complexity of work. According to the sculptor’s calculations, in order to maintain the balance of the monument, the front walls of the monument had to be made very thin - no more than a centimeter. Even a specially invited foundry worker from France refused such work. He called Falcone crazy and said that there was no such example of casting in the world, that it would not succeed.
Finally, a foundry worker was found - cannon master Emelyan Khailov. Together with him, Falcone selected the alloy and made samples. In three years, the sculptor mastered casting to perfection. They began casting the Bronze Horseman in 1774.
The technology was very complex. The thickness of the front walls had to be less than the thickness of the rear ones. At the same time, the back part became heavier, which gave stability to the statue, which rested on only three points of support.
Filling the statue alone was not enough. During the first, the pipe through which hot bronze was supplied to the mold burst. The upper part of the sculpture was damaged. I had to cut it down and prepare for the second filling for another three years. This time the job was a success. In memory of her, on one of the folds of Peter I’s cloak, the sculptor left the inscription “Sculpted and cast by Etienne Falconet, a Parisian of 1778.”
The St. Petersburg Gazette wrote about these events:
“On August 24, 1775, Falconet cast a statue of Peter the Great on horseback here. The casting was successful except in places two feet by two at the top. This regrettable failure occurred through an incident that was completely impossible to foresee, and therefore impossible to prevent.
The above-mentioned incident seemed so terrible that they feared that the entire building would catch fire, and, consequently, the whole business would fail. Khailov remained motionless and carried the molten metal into the mold, without losing his vigor in the least in the face of danger to his life.
Falcone, touched by such courage at the end of the case, rushed to him and kissed him with all his heart and gave him money from himself.”
According to the sculptor’s plan, the base of the monument is a natural rock in the shape of a wave. The shape of the wave serves as a reminder that it was Peter I who led Russia to the sea. The Academy of Arts began searching for the monolith stone when the model of the monument was not yet ready. A stone was needed whose height would be 11.2 meters.
The granite monolith was found in the Lakhta area, twelve miles from St. Petersburg. Once upon a time, according to local legends, lightning struck the rock, forming a crack in it. Among local residents The rock was called "Thunder Stone". That’s what they later began to call it when they installed it on the banks of the Neva under the famous monument.
Split boulder - suspected fragment of Thunder Stone
The initial weight of the monolith is about 2000 tons. Catherine II announced a reward of 7,000 rubles to the one who comes up with the most effective method deliver the rock to Senate Square. From many projects, the method proposed by a certain Carbury was chosen. There were rumors that he had bought this project from some Russian merchant.
A clearing was cut from the location of the stone to the shore of the bay and the soil was strengthened. The rock was freed from excess layers, and it immediately became lighter by 600 tons. The thunder-stone was hoisted with levers onto a wooden platform resting on copper balls. These balls moved along grooved wooden rails lined with copper. The clearing was winding. Work on transporting the rock continued in both cold and hot weather.
Hundreds of people worked. Many St. Petersburg residents came to watch this action. Some of the observers collected fragments of stone and used them to make cane knobs or cufflinks. In honor of the extraordinary transport operation, Catherine II ordered the minting of a medal on which it was written “Like daring. January 20, 1770.”
The poet Vasily Rubin wrote in the same year:
The Russian Mountain, not made by hands, is here,
Hearing the voice of God from the lips of Catherine,
Came to the city of Petrov through the Neva abyss
And she fell under the feet of the Great Peter.
By the time the monument to Peter I was erected, the relationship between the sculptor and the imperial court had completely deteriorated. It got to the point that Falcone was credited with only a technical attitude towards the monument. The offended master did not wait for the opening of the monument; in September 1778, together with Marie-Anne Collot, he left for Paris.
The installation of the “Bronze Horseman” on the pedestal was supervised by the architect F.G. Gordeev. The grand opening of the monument to Peter I took place on August 7, 1782 (old style). The sculpture was hidden from the eyes of observers by a canvas fence with the image mountain landscapes. It had been raining since the morning, but it did not stop a significant number of people from gathering on Senate Square. By noon the clouds had cleared. The guards entered the square.
The military parade was led by Prince A.M. Golitsyn. At four o'clock, Empress Catherine II herself arrived on the boat. She climbed onto the balcony of the Senate building in a crown and purple and gave a sign for the opening of the monument. The fence fell under drum roll The regiments moved along the Neva embankment.
By order of Catherine II, the following is inscribed on the pedestal: “Catherine II to Peter I.” Thus, the Empress emphasized her commitment to Peter's reforms. Immediately after the appearance of the Bronze Horseman on Senate Square, the square was named Petrovskaya.
A.S. called the sculpture “Bronze Horseman” in his poem of the same name. Pushkin, although in fact it is made of bronze. This expression has become so popular that it has become almost official. And the monument to Peter I itself became one of the symbols of St. Petersburg.
The weight of the “Bronze Horseman” is 8 tons, the height is more than 5 meters.
Legend of the Bronze Horseman
Since its installation, it has become the subject of many myths and legends. Opponents of Peter himself and his reforms warned that the monument depicts the “horseman of the Apocalypse,” bringing death and suffering to the city and all of Russia. Peter's supporters said that the monument symbolizes greatness and glory Russian Empire, and that Russia will remain so until the rider leaves his pedestal.
By the way, there are also legends about the pedestal of the Bronze Horseman. According to the sculptor Falcone, it was supposed to be made in the shape of a wave. A suitable stone was found near the village of Lakhta: supposedly a local holy fool pointed out the stone. Some historians find it possible that this is exactly the stone that Peter climbed more than once during the Northern War in order to better see the location of the troops.
The fame of the Bronze Horseman spread far beyond the borders of St. Petersburg. One of the remote settlements had its own version of the origin of the monument. The version was that one day Peter the Great amused himself by jumping on his horse from one bank of the Neva to the other.
The first time he exclaimed: “Everything is God’s and mine!”, and jumped over the river. The second time he repeated: “Everything is God’s and mine!”, and again the jump was successful. However, the third time the emperor mixed up the words and said: “Everything is mine and God’s!” At that moment, God's punishment overtook him: he became petrified and forever remained a monument to himself.
The Legend of Major Baturin
During Patriotic War In 1812, as a result of the retreat of Russian troops, there was a threat of the capture of St. Petersburg by French troops. Concerned about this prospect, Alexander I ordered particularly valuable works of art to be removed from the city.
In particular, State Secretary Molchanov was instructed to take the monument to Peter I to the Vologda province, and several thousand rubles were allocated for this. At this time, a certain Major Baturin secured a meeting with the Tsar’s personal friend, Prince Golitsyn, and told him that he and Baturin were haunted by the same dream. He sees himself on Senate Square. Peter's face turns. The horseman rides off his cliff and heads through the streets of St. Petersburg to Kamenny Island, where Alexander I then lived.
The horseman enters the courtyard of the Kamenoostrovsky Palace, from which the sovereign comes out to meet him. “Young man, what have you brought my Russia to,” Peter the Great tells him, “but as long as I’m in place, my city has nothing to fear!” Then the rider turns back, and the “heavy, ringing gallop” is heard again. Struck by Baturin’s story, Prince Golitsyn conveyed the dream to the sovereign. As a result, Alexander I reversed his decision to evacuate the monument. The monument remained in place.
There is an assumption that the legend of Major Baturin formed the basis of the plot of A. S. Pushkin’s poem “The Bronze Horseman”. There is also an assumption that the legend of Major Baturin was the reason that during the Great Patriotic War the monument remained in place and was not hidden, like other sculptures.
During the siege of Leningrad, the Bronze Horseman was covered with bags of earth and sand, lined with logs and boards.
Restorations of the monument took place in 1909 and 1976. During the last of them, the sculpture was studied using gamma rays. To do this, the area around the monument was fenced off with sandbags and concrete blocks. The cobalt gun was controlled from a nearby bus.
Thanks to this research, it turned out that the frame of the monument can still serve long years. Inside the figure was a capsule with a note about the restoration and its participants, a newspaper dated September 3, 1976.
Etienne-Maurice Falconet conceived The Bronze Horseman without a fence. But it was still created and has not survived to this day.
“Thanks to” the vandals who leave their autographs on the thunder stone and the sculpture itself, the idea of restoring the fence may soon be realized.
compilation of material -
The war with monuments in Russia practically never stops (and what about in Russia - they are also fighting in the USA right now). IN different times And different years these were different persons who were demolished, then installed, and then demolished again. Personally, I am a supporter of the idea that any historical figure in the history of the country can be commemorated in the form of a monument. There was a person - the monument shows this. And then they will approach them different groups people and they will be told different versions history and relationships these people have, because... There will never be a single approved history.
But did you know that on the monument erected in Novgorod back in 1861 on the theme “Millennium of Russia” there is no one of the very bright historical characters of Russia. You know him for sure.
Guess who?
The idea of installing a monument to the 1000th anniversary of Russian statehood belonged to Alexander II and was supported by the Committee of Ministers. In 1859, a competition was held, to which 52 works were submitted. The winner was an unknown graduate of the Imperial Academy of Arts, Mikhail Mikeshin, assisted by the sculptor Ivan Schroeder.
It took almost a year and a half to create the monument. The laying of the monument took place on May 28, 1861 on the square between the St. Sophia Cathedral and public places.
Structure of the monument
The silhouette of the monument is associated with two important symbols of Russian and Novgorod history: the attribute of royal power - the Monomakh cap - and the veche bell. The division of the monument into three levels emphasizes the famous formula of the official doctrine of that time: “Orthodoxy, autocracy, nationality.”
In the upper part, an angel personifying Orthodoxy blesses a kneeling woman - Russia. The second level consists of six groups. Each represents one of the stages in the development of Russian statehood: from Rurik (on the south side) to Peter I (on the north). The high relief ribbon running in a circle at the bottom contains the entire history of Russia.
129 figures approved by Alexander II are grouped: statesmen, military men and heroes, cultural figures, educators.
It is interesting that there is no figure of Ivan the Terrible on the monument - one of the most famous representatives Rurik dynasty. It was decided that placing his image in Novgorod was unethical, because the tsar “became famous” for the brutal pogrom of this city. But on the monument there is a figure of Martha the posadnitsa, who defended the ancient liberties of Novgorod and was expelled from the city by Ivan III for this. Among the great literary figures in last moment, at the insistence of Mikeshin, Nikolai Gogol was included, but Alexander II crossed out the Ukrainian poet Taras Shevchenko from the list.
The monument to the 1000th anniversary of Russian statehood has long been the subject of all sorts of discussions. Most of the public received it favorably unusual monument. Others, like Herzen, actively criticized him. But even the Bolsheviks did not dare to demolish it.
“Millennium of Russia” during the war and post-war times
During the Great Patriotic War, during the Nazi occupation, the monument was dismantled by the Germans. They brought a narrow-gauge railway to the destroyed Novgorod Kremlin: the dismantled figures and reliefs of the monument were planned to be sent to Germany. Soviet soldiers entering the Kremlin discovered fragments half-covered with snow...
Well, there are also such opinions about Ivan the Terrible himself: the statement that or, for example, well, about
If you are interested in learning about other subjects on the monument, you can read it here: Monument to the Millennium of Russia in Veliky Novgorod. Interesting article and there is a picture with grand opening plus a 3D panorama of how everything looks around.
Is it possible to erect monuments to all persons Russian history?
Yes, monuments can be erected to everyone who made a significant mark in Russian history.
8 (38.1 % )
