The famous architect Domenico Trezzini, who designed St. Petersburg during the reign of Emperor Peter the Great, died 282 years ago. The Creator died on March 2, 1734.

The architect, who was educated in Italy, came to serve in Russia from Denmark without any recommendations. However, after a short time, Trezzini, thanks to his personal and professional qualities, achieved the favor of the emperor and became the founder of the so-called “Petrine Baroque”.

the site has selected five of the Swiss’s most famous projects that have survived to this day.

Peter and Paul Cathedral

Trezzini arrived on the banks of the Neva in February 1704. At that time there was practically nothing there - swamps, water and wood. The Peter and Paul Fortress then stood in its original form - made of clay and wood.

Domenico Trezzini was first sent to strengthen the Kronstadt fortress. Upon returning, the specialist became the chief architect of the newly created Office of City Affairs. Peter I intended that the new department would supervise the reconstruction of the Peter and Paul Fortress alone - from earthen to stone. This was Trezzini's main occupation for the next four years.

The stone Peter and Paul Cathedral was founded in May 1712. Today it is one of the most significant and famous creations of the Swiss.

The most remarkable part of the cathedral is the upward-facing bell tower. It is crowned with a high spire, completed with the figure of an angel. The bell tower of the Peter and Paul Cathedral was conceived and implemented as a dominant feature in the ensemble of the city under construction.

After the death of Peter I, the coffin with his body was placed in a temporary chapel inside the cathedral, which was still under construction at that time. The burial took place only on May 29, 1731. Subsequently, all the emperors and empresses up to and including Alexander III were buried in the tomb, with the exception of Peter II, who died in Moscow and was buried in the Archangel Cathedral, and Ivan VI, who was killed in Shlisselburg in 1764, whose burial place is still unknown.

Work on the Peter and Paul Cathedral was one of the first for Trezzini in Russia. Photo: www.globallookpress.com

Building of the Twelve Colleges

In the period from 1722 to 1733, Trezzini created another of his famous buildings, known today throughout the country - the building of the Twelve Colleges. Strongly elongated in length, it has twelve sections. Each of them is designed as an independent house.

The building is located on the Universitetskaya embankment of Vasilyevsky Island. In the 18th century it was occupied by the highest bodies of government. When Peter's collegiums were disbanded, they were replaced by the Main Pedagogical Institute and St. Petersburg University.

The building of the Twelve Colleges was built for state needs. Photo: Commons.wikimedia.org / A.Savin

Summer Palace of Peter I

One of the oldest buildings in St. Petersburg, which has survived to this day, was designed by the architect over four years - from 1710 to 1714. Trezzini made the Summer Palace of Peter I very modest - 14 rooms and two kitchens. This was primarily due to the fact that the building was supposed to be used only in the warm season. The facade of the palace is decorated with 29 bas-reliefs, which depict the events of the Northern War in allegorical form. The bas-reliefs were made by the German architect and sculptor Andreas Schlüter. Peter I visited the palace until his death.

During the Great Patriotic War, the building was severely damaged, but then a large-scale restoration was carried out. Today the palace belongs to the Russian Museum. It is currently closed again for restoration and should reopen to visitors next year.

Peter I loved to spend the summer months in his palace. Photo: www.globallookpress.com

Holy Trinity Alexander Nevsky Lavra

Trezzini also led the development of the project for the architectural complex of the Alexander Nevsky Lavra in 1715. The architect saw the monastery as a symmetrical ensemble of stone buildings occupying the area between the Neva and the Chernaya River. As the monastery was being built, a town grew up near its walls, and a vegetable garden and garden were laid out. A forge, a carpenter's workshop, a stable and a barnyard appeared here.

Subsequently, more than one generation of bishops was trained within the walls of the Neva Lavra. Many representatives of the episcopate of the Russian Church in the 18th-19th centuries. at one time or another they served in this monastery.

Emperor Peter the Great first visited the monastery designed by Trezzini on May 29, 1723. The Tsar ordered the relics of Prince Alexander to be transferred to St. Petersburg from the Vladimir Nativity Monastery. The remains arrived in the new capital on August 30, 1724. In memory of this, the Russian Orthodox Church introduced the holiday of the Transfer of the Relics of the Blessed Prince Alexander.

The Holy Trinity Alexander Nevsky Lavra is the place where Peter I asked to transfer the relics of the prince. Photo: www.globallookpress.com

Trezzini House

At the address: University Embankment, 21, there is a building called the Trezzini House. It was here, according to open data, that the famous architect lived.

Emperor Peter I gave the site for the construction of a house to the city planner, whom he trusted so much that he became his son’s godfather. It is alleged that the design of the building was carried out by Trezzini himself. The house was an example of that very “Petrine baroque”.

Construction proceeded rather slowly: the foundation was laid in 1723, but in 1726 the house had not yet been roofed. Trezzini and his family lived in this house in his declining years. His so-called school was located in two rooms, where he worked with students. After the architect died in 1734, the building passed to his widow and children.

Over the centuries, the building was rebuilt several times. In 2005, the house was occupied and reconstructed. Now there is a hotel here. Two years ago, a monument to Domenico Trezzini was erected in front of the house, once again immortalizing the architect in the history of the city.

Trezzini's house is now a hotel. Photo: Commons.wikimedia.org / Nadezhda Pivovarova

Domenico Andrea Trezzini was born in the Swiss city of Astano in 1670, into a poor noble family. In the region where he was born, there have long been a large number of art and craft schools, where young people received general and professional knowledge. One of them was completed by the young Domenico Trezzini.

Domenico studied architecture in Venice. Returning home on January 30, 1698, he married Giovanna di Ventis, who bore him daughters. But the family had to be fed, Domenico was forced to go to work in another country. Finding work as an architect in Switzerland was difficult. The Danish king Christian V needed to build powerful fortifications around his capital. However, upon Trezzini’s arrival in Copenhagen, the power in the kingdom changed, the throne was taken by Frederick IV, who refused the services of the architect. However, Domenico Trezzini began to be considered the chief in the construction of fortresses.

Denmark was an ally of Russia in the war with Sweden. In this regard, the Russian ambassador Andrei Izmailov had the opportunity, while at the court of the Danish king, to look for young specialists to work in Russia. In 1703 he invited Domenico Trezzini. On April 1, an agreement was concluded with a salary of 1,000 rubles per year (very big money for that time). In June 1703, Trezzini, along with other young specialists, went to serve Peter I. The architect intended to work in Russia for one year. Then, if the air turns out to be “very cruel and harmful to his health,” then he will be free to go “wherever he wants”[Cit. from 1, p. 25].

On July 27, 1703, Trezzini found himself in Arkhangelsk and immediately went to Moscow to get a specific job, where he arrived in August. In mid-February of the following year he went to the banks of the Neva.

Domenico Trezzini's first work in Russia was Fort Kronshlot near the island of Kotlin in the Gulf of Finland, built by May 1704. In the summer, this fort withstood the attacks of the Swedish squadron, preventing enemy ships from approaching young St. Petersburg. The fort has not survived to this day.

After the capture of Narva by Russian troops in 1704, Trezzini worked there to restore the fortifications. He recreated the destroyed fortress walls and built triumphal gates that have not survived to this day.

At the end of the summer of 1705, Trezzini was ordered to return to St. Petersburg. His first address was a house on the left bank of the Moika River (now the site of house No.), opposite the Grecheskaya Sloboda. Trezzini's first wife remained in Switzerland. In 1708 or 1709 he married a second and then a third time.

Trezzini's main and most famous work in St. Petersburg was the Peter and Paul Fortress. From the moment of its foundation, its construction was supervised by engineer Johann Kirchenstein. But after working on the banks of the Neva for just over two years, he died, unable to withstand the local harsh climate. On May 30, 1706, Domenico Trezzini began rebuilding the earthen Peter and Paul Fortress into a stone one. Work on the construction of the fortress was carried out until 1740. Here the architect headed the construction of the Peter and Paul Cathedral, Peter's Gate, built barracks, cellars and other buildings.

With the construction of the fortress and cathedral, Domenico Trezzini made a huge contribution to the development of Russian architecture. He applied here principles of construction of fortifications that were fundamentally new for Russia at that time.

During the initial period of construction of St. Petersburg, Domenico Trezzini became the chief architect of the Office of Buildings. This office was initially created to oversee the construction of the Peter and Paul Fortress, and then became responsible for the development of the city as a whole.

In 1710, according to the design of Domenico Trezzini, the first Winter Palace of Peter I was founded (on the site of the current Hermitage Theater). Almost simultaneously with this, the architect led the construction of the Summer Palace of Peter I.

To complete the work on time, the master needed apprentices. By order of Peter I, they could only be Russians, and Trezzini began to teach Russian future architects in his house on the banks of the Moika. One of his students was the architect Mikhail Grigorievich Zemtsov. Domenico Trezzini became the first teacher of architecture in Russia.

Domenico Trezzini became the author of projects for mud-dove (half-timbered) buildings that were built in St. Petersburg in the 1710s. At that time, all the bricks were used for the construction of fortifications of the Admiralty, the Peter and Paul Fortress, and Kotlin Island. Therefore, Peter I decided to build civil buildings according to the North European, half-timbered method. He entrusted the design of such houses to the Swiss. The architect built mud-brick buildings on Trinity Square, the same was the Postal Yard on the site of the current Marble Palace.

In 1712, according to the design of Domenico Trezzini, construction of the stone Peter and Paul Cathedral began. At the same time, he completed a model according to which the monastery began to be built in honor of Prince Alexander Nevsky. The architect's plan was not fully realized. According to his drawings, the right wing of the monastery (as seen from the Neva) and the Annunciation Church that closes it were built. At the same time, Trezzini drew up a design for the stone house of Admiral F. M. Apraksin, and built mud houses for A. M. Apraksin and Queen Marfa Matveevna.

Domenico Trezzini created a project for the development of Vasilyevsky Island. Here the architect planned the main city square, bounded on the west by the long building of the Twelve Colleges. Subsequently, Trezzini built both this building and the Mytny (later Gostiny) courtyard here. In the western part of Vasilyevsky Island, Galernaya Harbor was created according to the architect’s drawings.

According to the architect's drawings, a private shipyard was built on the banks of the Fontanka. It was located in an area whose layout was created by Trezzini in the form of a grid of streets parallel and perpendicular to the Neva. The architect determined the directions of modern Kirochnaya, Furshtatskaya, Tchaikovsky, Zakharyevskaya, Shpalernaya streets.

In 1715, Peter I ordered Trezzini to build a stone hospital on the Vyborg side.

From Trezzini’s report to the Chancellery of buildings in September 1716, it is known that the following work was then carried out under his leadership:

"In the Peter and Paul Fortress, the walls of the Sovereign's Bastion were raised from the water by one and a half meters, and the walls of the Peter and Paul Cathedral - by forty-two meters, figures were placed on the Peter's Gate, internal work was completed on the Postal Court and carpentry in both buildings of the mud hut hospital on the Vyborg side, between which the building is being built church" [Cit. from: 3, p. 35].

Trezzini was the first in Russia to introduce functionality into architectural style. Trezzini, together with the French architect Leblon, developed standard plans for residential buildings to accommodate different segments of the population: for the eminent, the wealthy and the “mean” (the word “mean” then had a slightly different meaning than it does now).

In 1717, Peter I ordered the architect to build a “model” house for the wealthy, and to live in it, “for example.” The Tsar indicated the place for the house on the 12th line of Vasilyevsky Island, and it was built there. However, it was not Trezzini who settled there, but Baron Osterman. By 1718, Domenico Trezzini lived in his house on the 2nd line of Vasilievsky Island (probably the site of house No. 45). He also owned one of the houses on the 5th line.

When the Fontanka River was the border of St. Petersburg, Peter I came up with the idea of ​​developing its banks at private expense. In 1721, he began to distribute coastal plots to his associates, who were supposed to set up their estates here. Projects for such estates were developed by Trezzini. The Central State Military Historical Archive contains 10 drawings of country houses with the architect’s autograph. Among such estates is the Summer Garden with the Summer Palace of Peter I, where the Swiss worked in the late 1710s - early 1720s.

Trezzini is the most sought-after architect of the Peter I era. Records have been preserved, from which it is clear what he was entrusted to do, for example, in 1720 [Cit. from 1, p. 143]:

• Bolverk of the Tsar's Majesty and other places in the fortress.
• The building of the Church of Peter and Paul is there.
• Spitz for the bell tower of the Church of Peter and Paul.
• Drawbridge at the fortification.
• Installation of a large double-headed eagle on the fortress gates.
• The building of a stone hospital.
• Large powder magazine on Vasilyevsky Island.
• Above the old sovereign's mansions, on the city island, make a barn with a roof (meaning the house of Peter I).
• On the island opposite Ekateringhof, build the sovereign's mansions and knock piles under them (the Spy Palace).
• New stoves and window frames will be installed in the barracks of Fort Kronshlot.
• Set up shops (meaning barns) on Kotlin Island.

Among Trezzini's works on St. Petersburg Island in 1721 was the completion of the former house of Prince M.P. Gagarin for the Synod, the construction of the Church of St. Matthew the Apostle behind the Sytny Market. The following year, the architect was entrusted with the renovation of the house of Peter I. In order to preserve it, Trezzini surrounded the house with a gallery with arches.

In 1722, Trezzini, through Prince Menshikov, turned to Peter I with a request to increase his salary. For such mediation, Menshikov persuaded the architect to supervise the work on the arrangement of his palace. Officially, the construction work at the Menshikov Palace was led by the architect Johann Gottfried Schedel. He was an excellent mason, but a poor architect. A few years later, Trezzini no longer hid the fact that he was supervising the work in the prince’s house. Moreover, he did not include this activity in the list of his works, which means he did not receive remuneration from Menshikov. Trezzini also never received an increase in salary from Peter I.

In the same year, Menshikov addressed Trezzini with reproaches for why he did not show due zeal for the construction of the Kunstkamera. To this the Swiss replied that “The construction of the stone library and the kunst chamber was ordered after the death of Maternovius to be completed by the architect Gerbel, and not by me...”

From 1722 to 1724, Domenico Trezzini completed the construction of the second Winter Palace of Peter I, while completely following the design of the architect Mattarnovi. The Italian did not have time to complete the construction before his death. In 1726, Trezzini erected the courtyard buildings of the building, building up the courtyard on all four sides.

In 1723-1727, a house was built for Domenico Trezzini on the banks of the Neva (Universitetskaya embankment 21). The architect never lived here. But in 1995, the area in front of this house was named Trezzini Square.

Trezzini kept a “Journal register of various works that were ordered to me by decree of the High Commander,” in which he himself recorded all the objects entrusted to him. In December 1724, these were: the Peter and Paul Fortress and all the buildings on its territory, including the cathedral; places for buildings for garrison regiments, powder magazines, shore fortification on Petersburg Island; a hospital on the Vyborg side and further planning of its territory; inspection of all government buildings; “allocation of places and measurements for stone and wooden buildings and supervision, so that they are built regularly according to the drawings”; construction of the Mytny and Gostiny courtyards on Vasilievsky Island, the building of the Twelve Collegiums, a house for academic professors behind the Kunstkamera, laying a canal from the seaside to the Black River and the construction of Galernaya Harbor; strengthening of Vasilyevsky Island; completion of St. Isaac's Church; construction of the Main Pharmacy, the office of the Particular Shipyard, powder magazines at Kronstadt, as well as stone and wooden buildings in Shlisselburg.

To cope with such a huge amount of work, the architect was helped by Gezels V. Zaitsev and G. Nesmeyanov, students I. Klerov, I. Lyudogovsky, O Chepkirin, P. Kormalin, clerk I. Gavrilov, conductors I. Maurinov, N. Nazimov, T. Kultashev . Trezzini’s “office” was allocated four chambers in the Peter and Paul Fortress and five on Vasilyevsky Island.

Only after the death of Peter I did Domenico Trezzini receive an increase in his salary. Catherine I cajoled the faithful servants of her husband. The building office decided to assign the architect a salary of 1,700 rubles per year. Menshikov adjusted this amount to 1,500 rubles per year. On January 1, 1726, Domenico Trezzini was given the rank of engineer-colonel “for his work and diligence.” According to the table of ranks, this gave the right to the title “Your Highness” and Russian hereditary nobility. A year later, the architect’s salary was nevertheless increased by Catherine I to 1,700 rubles per year.

On May 9, 1726, Catherine I ordered Trezzini to build two-story stone “outdoor chambers” at the Winter Palace, surrounding the entire courtyard with them. On May 20, the foundation was laid, and by the end of September " new ward building with stone work... built roughly".

The very next year, the wife of Peter I was replaced on the throne by the young Peter II. Menshikov settled him in his palace, next to which he started building the residence of the new emperor. The author of the project for the palace of Peter II was Domenico Trezzini. True, Peter II never lived here, and the building itself was later completed not as a palace. The architect also worked in the Menshikov Palace. In 1726-1727, two new porches and a gallery were made according to his designs." on the left side at the top". In the cellars the floor is lined with bricks," on the upper gallery there is a wooden desk with a picturesque lampshade", underneath" wooden soap dish on a stone wall", "Fourteen reversible stoves were made, one hearth, eight fireplaces", the foundation was laid for the eastern wing of the palace.

Why did Domenico Trezzini become the most active builder of Peter's St. Petersburg? Indeed, under Peter I, no less talented architects worked on the banks of the Neva: J. B. Leblon, A. Schlüter, G. Chiaveri, N. Michetti, G. I. Mattarnovi, B. K. Rastrelli. The fact is that it was the Swiss architect who was the most conscientious, hardworking and energetic. And these qualities were very much valued by the Russian Tsar. Only such an architect was able to realize most of the wishes of Peter I, to create that same Peter’s “paradise” in a place that seemed completely unsuitable for this.

With Anna Ioannovna's accession to the throne, the architect's position worsened. Domenico Trezzini continued to be an active builder, but reproaches began to pour in his direction from the favorite of the Empress, Governor-General of St. Petersburg Christopher Minich. Apparently, the all-powerful favorite decided to take over all the glory of the builder of the Peter and Paul Fortress. He demanded that all the drawings be transferred to his department, where he burned them.

Not everything Trezzini started was completed during his lifetime. So the construction of a stone hospital on the Vyborg side dragged on for 40 years. Of the twelve buildings of the colleges on Vasilievsky Island, only six were built under Trezzini, while the rest were completed only by the 1740s by his son-in-law Carlo Giuseppe Trezzini. The “outdoor chambers” at the Winter Palace were not completed.

On April 4, 1728, the Supreme Privy Council demanded from the Chancellery of Buildings a list of all the houses that Trezzini had built over the last year. Such a document was drawn up by architects Mikhail Zemtsov and Ivan Mordvinov. 23 points included: the Winter Palace, the house of the court singer Kramorsha on Bolshaya Morskaya Street, stables at the Menshikov house, chambers for the court lady Madame Yagan, a new stone porch at the Church of the Resurrection, a canal in front of the Collegium building... and even outhouses on the piers. This list does not include Trezzini’s work in the Peter and Paul Fortress, Shlisselburg, Kronshlot, Kronstadt. In total, the architect was simultaneously working on 49 projects.

Under Anna Ioannovna, lush baroque came into fashion, the style in which Francesco Bartolomeo Rastrelli worked. When Trezzini presented his drawings to the new empress in Moscow, he was entrusted only with the construction of the western gates with a bell tower at the Donskoy Monastery. From 1730 to 1733, work was carried out on their construction, which was not completed due to the cessation of funding from Anna Ioannovna. Domenico Trezzini was not entrusted with the construction of the palaces, but other government buildings continued to remain in his possession.

On July 21, 1730, the aging architect wrote to the Empress with a request to transfer to him “in Ingermanland, in the Koporye district, the Zaretskaya manor with the villages belonging to it with people and peasants, with arable land and hayfields and with all that land - into eternal and hereditary possession ". And this was done - a unique case in Russian history, when a foreign architect received an estate as a reward for his work.

In August 1731, Domenico Trezzini was instructed to move the Postal Yard to a new location - a site near St. Isaac's Church. Minich ordered the vacated area to be built up with a guardhouse and stables for the Life Guards Cavalry Regiment. After the transfer of the Menshikov Palace to the Cadet Corps, Trezzini drew up an estimate for the reconstruction of the palace premises for new needs. He also fulfilled orders from Peter I’s daughter Elizabeth, remodeling for her the gallery and stoves in Naryshkin’s house on the Bolshoi Meadow (now the Field of Mars).

The architectural style in which Trezzini worked is called “Petrine Baroque.” He is distinguished by restraint in the architectural design of buildings, which was so to the liking of Peter I. Trezzini introduced Northern European architecture, characteristic of Protestant culture, to St. Petersburg during Peter's time. However, it was used only for government buildings, while the Russian rich demanded elaborate pomp. The only exception was the king himself, who only towards the end of his reign settled in a truly rich palace. But that building was no longer designed by the Swiss Trezzini, but by the Italian Mattarnovi.

Domenico Trezzini died in St. Petersburg on February 19, 1734. On the sixth day he was buried in the cemetery near Sampsonievsky Cathedral; the grave has not been preserved. The three-story stone house of the Trezzini family in Astano has survived to this day.

And the architect Domenico Trezzini was born in Switzerland, studied in Italy, and worked in Denmark. However, he received recognition in Russia, where he became famous as the first and main architect of St. Petersburg and the founder of the early Russian Baroque.

“Agreement with Mr. Tretsin”: moving to Russia

Domenico Andrea (according to other sources - Domenico Giovanni) Trezzini was born in 1670 into a family of poor Italian nobles who lived in the Swiss city of Astano. Almost nothing is known about the early years of his life. He studied in Venice - at that time it was one of the centers of European art education, along with Rome. During his studies, Trezzini saw the flourishing of Venetian art, which was based on the traditions and values ​​of the Renaissance. This had a noticeable influence on the style of the young architect.

It is known that after studying, Domenico Trezzini returned to his hometown, where he married Giovanna di Veitis. However, he soon had to leave: he needed to feed his family, and Trezzini went to Denmark in search of work. Trezzini managed to get a job as a fortifier and eventually became "architectonic chief in the construction of fortresses", but it did not bring him the desired income.

Fort Kronshlot. Architect Domenico Trezzini. 1704. Image: artcyclopedia.ru

Narva Castle. Founded by the Danes. 1256. Photo: Litvyak Igor / Photobank Lori

The Russian ambassador to the Danish court, Andrei Izmailov, drew attention to the works of Domenico Trezzini. On April 1, 1703, he entered into an agreement with “Mr. Trecin”, which contained the following conditions:

“For his art, perfect art, I promise him 20 ducats for every month in salary and then to pay him for the whole year, starting from the 1st day of April 1703, and then he will have to pay him in full for each month, with appropriate and current money, according to that the same price as they go across the sea, that is, at the price of 6 Lyubskiy and every red piece is the same price that should be had in Danish land.
I also promise the named Trecin, as I have clearly shown my skill and artistry, to increase his salary.”

The proposed salary at that time looked absolutely fabulous. Trezzini agreed without hesitation and soon found himself in St. Petersburg.

One of the first Russian works of the architect was Fort Kronshlot. It has not survived to this day, but sketches remain that allow us to restore its appearance. The defensive structure was an octagonal tower and its outline resembled a traditional Russian bell tower, but squat and wider.

Just 2 months after the completion of construction, Kronshlot had to withstand the first “combat test”: the fort was attacked by a Swedish squadron. And the fortress withstood the assault without much damage.

“The first of the main works - St. Petersburg fortification”

In 1706, Peter I decided to rebuild the Peter and Paul Fortress: it should be turned from earthen into stone. The work was large-scale. It was necessary to promptly prepare and deliver to the fortress a huge amount of material for construction - timber, bricks, lime - and find enough workers. To manage construction, Peter founded the Office of City Affairs. Ulyan Senyavin became its head, and Domenico Trezzini (in Russian, his name was Andrei Yakimovich Trezin) was appointed his chief assistant.

Peter-Pavel's Fortress. Architect Domenico Trezzini. 1706-1740. Photo: Igor Litvyak / Lori Photobank

Peter and Paul Cathedral. Architect Domenico Trezzini. 1712-1733. Photo: Dmitry Yakovlev / Lori Photobank

Just 2 years later, the construction of the stone powder magazines of the renewed fortress was completed and the construction of soldiers’ barracks and bastions began. The fortress gates were originally wooden. However, later a special decree of the king was issued - “Do not build wooden structures along the Bolshaya Neva and large channels”- and the gates were replaced with stone ones.

By 1716 the fortress was completed. Domenico Trezzini began the construction of the Peter and Paul Cathedral on its territory. The highest point of the architectural ensemble was the Peter and Paul Bell Tower with its famous needle-like spire.

Trezzini himself considered the construction of the fortress his main work and until the end of his life he began the list of his projects with the phrase “The first of the main works - St. Petersburg fortification”.

The first architect of St. Petersburg

The Peter and Paul Fortress was far from the only work of Domenico Trezzini in St. Petersburg. When it was completed, the general architectural appearance of the new capital came under the jurisdiction of the Office of City Affairs. So Trezzini became the chief architect of St. Petersburg.

From 1710 to 1714 he was involved in the design of the Summer Palace of Peter I. The residence turned out to be quite modest for those times - in strict accordance with the tastes of the first Russian emperor: it had only 14 rooms and 2 kitchens. The facade of the building was decorated with allegorical bas-reliefs on the theme of the events of the Northern War.

Summer Palace of Peter I. Architect Domenico Trezzini. 1710-1714. Photo: Igor Lijashkov / Lori Photobank

Alexander Nevsky Lavra. Architect Domenico Trezzini. 1713. Photo: Irina Ovchinnikova / Lori Photobank

In 1715, Trezzini created the design of the Alexander Nevsky Lavra - a symmetrical architectural ensemble located between the Neva and Chernaya Rechka. The monastery was built until 1723, and all this time it was “overgrown” with workers’ settlements, gardens and vegetable gardens.

In 1717, Peter I ordered Domenico Trezzini to build "model home for the wealthy"- city stone mansion. They were supposed to replace the unaesthetic buildings that were initially erected for the residents of the young city. The architect was going to settle in a new house - beautiful and comfortable - and set an example for others. The emperor himself chose the place for construction: the corner of the Twelfth Line of Vasilyevsky Island. Trezzini carried out the emperor's decree, but for unknown reasons he did not live in the mansion himself, and Peter transferred the building into the possession of Baron Osterman.

Another building in modern St. Petersburg is called the Trezzini House; it is located on Universitetskaya Embankment. The architect also designed this house himself, and then settled in it with his family, students, personal clerk and servants.

Another famous St. Petersburg building by Domenico Trezzini is the House of the Twelve Colleges. It was erected in 1722-1742. At that time, the highest government bodies were located in it. After the dissolution of the collegiums, the building was transferred to the ownership of the Main Pedagogical Institute, and today it belongs to St. Petersburg State University.

Trezzini House on Universitetskaya Embankment. Architect Domenico Trezzini. 1721-1723. Photo: Sergey Vasiliev / Lori Photobank

House of the Twelve Colleges. Architect Domenico Trezzini. 1722-1742. Photo: A.Savin / wikipedia

Among other things, Domenico Trezzini planned the architectural appearance of most of Vasilievsky Island in the form that has been preserved to this day: strict geometric lines in the layout of streets, restrained luxury in the design of facades. It was Trezzini who became the founder of the style called Peter the Great's Baroque.

Domenico Trezzini died in 1734 and was buried in the cemetery of Sampsonievsky Cathedral in St. Petersburg. His grave has not survived to this day. A square in the Vasileostrovsky district of St. Petersburg, on which a monument to the great architect is erected, is named after Trezzini.

DOMENICO TRESINI

(c. 1670-1734)

Domenico Andrea Trezzini was born in 1670 in the small, cozy Swiss town of Astano. None of his family were famous for their wealth. But above the entrance to the house a polished shield with a noble coat of arms shone proudly.

In the second half of the 17th century, there were two main artistic centers on the Apennine Peninsula - Rome and Venice. For the poor Domenico, Venice was closer and therefore more accessible. The path from Astano to Venice lay through Milan and Borona. The famous Vitruvius, the author of the treatise “Ten Books on Architecture”, in which he summarized the experience of Greek and Roman architecture, was once born here. Trezzini could not help but linger here. The birthplace of the great Master and Teacher is the goal of pilgrimage for every young man who dreams of becoming an architect.

Trezzini's years of study coincided with the years of Venice's last triumph. Venetian art, which more carefully preserved the great traditions of the Renaissance, is also flourishing.

Returning home, Domenico married Giovanna di Veitis. He settled with his wife in a house not far from the main square of his hometown. Like every man, Domenico dreamed of a son, a successor to the family. And girls were born - first Felicia Thomasina, then Maria Lucia Thomasina. It was necessary to earn a living, and Domenico goes to Copenhagen, alone. Nothing is known about Giovanna's fate. And Domenico will meet his second daughter only twenty-one years later.

But he did not find work in Denmark either. King Christian V dreamed of creating powerful fortifications around his capital. Apparently, having heard about this, Domenico hurried north, hoping to receive an order. But when I got to Copenhagen, I saw a different ruler on the throne. The new king, Frederick IV, had no intention of building anything. And again Trezzini is forced to look for work for his daily bread.

Fortunately, in 1703, Tsar Peter needed a fortress builder. The time has not yet come to freely and calmly build a city and a port. First, it was necessary to retain the conquered lands and strengthen them. It was Domenico that Peter needed now. He was listed as the “architectonic chief” in the construction of fortresses.

On April 1, 1703, Andrei Izmailov, the Russian ambassador to the court of the Danish king Frederick IV, “made an agreement with Mr. Trezin,” a native of the canton of Tessin (in Southern Switzerland):

“I promise Mr. Tretsin, the chief architect, an Italian by birth, who here serves the Danish Majesty and will now go to Moscow to serve in the city and ward building.

For his art, perfect art, I promise him 20 ducats for every month in salary and then to pay him for the whole year, starting from the 1st day of April 1703, and then he will have to pay him in full for each month, with appropriate and current money, according to the same price, as they go across the sea, that is, at a price of 6 Lyubsky and every red piece, and in the Danish land such a price should be had.

I also promise the named Trecin, as I have clearly demonstrated my skill and artistry, to increase his salary.

I also promise the named Trecinus that he will not want to serve any longer, or if the air is extremely cruel to his health, harmful, he will be free to go wherever he wants.

The named one also happens to be given 60 efimki, at the same price as in Danish land, for the ascent to Moscow and that money cannot be put into his account, but since he no longer wants to serve, again only give him enough for the ascent from Moscow and he is free to take it with him , what will he make here and whether he will still be ill for a while, let alone give him a salary ... "

The contract for the architect Trezzini came in handy; the salary offered by Izmailov - a thousand Russian rubles - seemed like fabulous wealth. It was almost three times the salary of the bombardier-captain, whose position was filled by the tsar.

In the last days of June 1703, Trezzini, together with other people who decided to serve Tsar Peter, boarded the ship. The trading schooner, taking a fair wind into its sails, set course from Copenhagen along the coast of Norway to the distant northern Arkhangelsk.

Trezzini's first building in Russia, Fort Kronshlot, has not survived to this day. Unfortunately, neither its model nor the drawings survived. But several engravings from that time remain, and from them one can imagine what the powerful fortification that rose in the middle of the bay looked like. A squat octagonal tower, studded with cannons all around. The tower is the sister of the slender and tall octagonal bell towers of Russian churches. Only expanded in breadth as if under the weight of numerous guns.

Two months after the consecration of Kronshlot, on July 12, the Swedish squadron appeared on the horizon. The continuous bombardment continued for two days. But the fort withstood the shelling without suffering much damage. True, the Swedish ships were not damaged, but they did not risk breaking through to the mouth. It was a Russian victory. Tsar Peter could triumph. Trezzini was also happy. He proved that he knows how to work and can benefit the Russian Tsar.

In the summer of 1704, Peter summoned him to Narva. It was necessary to quickly strengthen the fortress walls and bastions broken by cannonballs, build barracks for soldiers, and cellars for military supplies. Trezzini had to deal with all this.

There, the architect erected a massive and solemn triumphal gate made of stone. The king liked the gate. The architect received the sovereign's approval. And the gate was nicknamed “Petrovsky”. Foreigners were allowed into the city only through them. Let them see the monument to Russian glory and power. Unfortunately, neither the gate nor its drawings have survived to this day. The architect himself later recalled his life in Narva without much joy.

At the end of the summer of 1705, Trezzini finally returned to the banks of the Neva to build the city. He was to be responsible for the main Russian citadel on the Baltic, for the Peter and Paul Fortress, without which St. Petersburg is unthinkable today.

The year 1706 was a special year in Trezzini’s life, a turning point. The architect's path to the future began with him. Even in winter, the sovereign ordered the reconstruction of the earthen Peter and Paul fortification in stone and brick to begin, so that its future crimson-red bastions would become a symbol of Russia’s eternal standing on the Baltic coast.

This great and powerful structure, with its mighty walls, forever fenced off Trezzini from Europe and forced him to live until his death in Russia. The architect will devote twenty-eight years to this main work of his life. Already in old age, all lists of his works will invariably begin with the phrase: “The first of the main works is the St. Petersburg fortification, which has been built with a stone building since 1706...”

The scale of the undertaking, the need for craftsmen and building materials required a new attitude to business. It was necessary to prepare and deliver a lot of slab stone for the foundation, hundreds and hundreds of thousands of bricks, selected lime, and timber at the right time. To ensure the timely fulfillment of all needs, Peter created a special Office of City Affairs. At its head he put the efficient, efficient Ulyan Akimovich Senyavin. And Trezzini, who received the order to build a stone fortification, actually became his right hand.

Later, the office would become in charge of the construction of the sovereign's houses, and then the entire layout of St. Petersburg. So gradually, little by little, Trezzini will become the person who will be responsible to the king for the external appearance of the city. But this is in the future. In the meantime, one concern: fortress.

By the summer of 1708, stone powder magazines had already been built in the fortress, the construction of barracks began, laying out two bastions in brick - Menshikov and Golovkin - and the curtains between them. Then they built a gate. Trezzini first built them from wood.

On April 4, 1714, the sovereign ordered “not to build wooden structures along the Bolshaya Neva and large channels.” At the same time, it was ordered to build the Petrovsky Gate in stone. By that time, they had already learned about large deposits of granite near Serdobol (now Sortavala). In any case, in 1715 the construction of the stone gate was in full swing.

On the fifteen-meter thickness of the fortress wall, Trezzini applied decoration from niches, pilasters, volutes and rusticated stone. And the sharply protruding cornice seems to continue the upper edge of the wall and divides the decoration into two unequal parts.

The lower one is massive, covered with roughly cut stones. Powerful pilasters along the edges of the structure and on both sides of the entrance arch restrain its expansion in width. Between the pilasters there are niches for the statues of Pallas Athena, the victorious warrior, and Athena Polias, the patroness of the city.

The upper part, above the cornice, consists of a rectangle - an attic, topped with a rounded arched pediment. Massive volutes support it and connect it with the horizontal of the fortress wall.

The attic is decorated with a symbolic bas-relief “The Overthrow of Simon the Magus by the Apostle Peter.” On the pediment and volutes there are relief compositions of helmets, armor, and fanfares. There is a feeling of strength and military triumph throughout.

By the end of the summer of 1716, the construction of the gate was completed on September 23, Trezzini reported: “The figures have been placed on the gate, and the plastering work is being completed.”

By that time, stone palaces had appeared in the capital, the fortification was being rebuilt in stone, but there was no stone temple yet. And on May 3, exactly six years after the start of the reconstruction of the fortress, instead of the old wooden church, a new stone one was laid in the name of Peter and Paul. And the king ordered Trezzini to build the temple.

Many months of intense thinking, working in fits and starts, during hours free from everyday hassles on construction sites and in the Office. Difficult but happy hours of true creativity. Most likely, by mid-1716 the model of the monastery and all the drawings were ready.

The model, alas, has not survived. But in the same year, the artist Zubov, engraving his famous “Panorama of St. Petersburg,” depicted the monastery on a separate sheet, as if it had already been built.

Brick-red, with white portals, the Trezzini ensemble was sharply different from ancient Russian monasteries, covered with formidable fortress walls. In terms of scale, in terms of solemn, strict elegance, Russia has never known such buildings. And Peter, admiring the model, readily approved of it. His new capital was acquiring a worthy structure.

From Trezzini’s original design, only the crimson-red buildings with white decor on both sides of the cathedral and the Church of the Annunciation, facing the Neva, remained in the Alexander Nevsky Monastery.

The office reported to the Tsar on August 2, 1717: “The bell tower of the Holy Church of Peter and Paul is all decorated with stone... and the spitz is tied.” This means that the clock will be set soon. They can make it in time for the arrival of the monarch. Tired, exhausted, Trezzini hurries the craftsmen. He does not take care of himself and does not spare others. The construction of the bell tower was completed mainly by the autumn of 1720. Only the spire remained uncovered by sheets of gilded copper.

The powerful rectangular base seems to emphasize the unimaginable heaviness of the entire structure. And only the pilasters slightly enliven its gloomy severity, and in front of the entrance a small portico with eight columns seems to be artificially attached to the western wall. And two niches at the edges of the facade emphasize the thickness of the masonry.

Resting on a massive base, a three-tiered quadrangular tower rises upward. Its first, lower, floor seemed to expand in width under the weight of the upper two. But he is held back on the sides by powerful volutes. With their curls they rest on the outer pilasters of the western side of the base.

The same volutes restrain the expansion of the second tier, which is possible under the weight of the third. Once again, large stone scrolls lie on the outermost pilasters of the first tier.

The third tier of the tower rushes upward. It is crowned with a gilded octagonal roof with four round windows in massive white stone frames. In the windows are the black dials of the main clock of the state.

Above the roof is a slender, graceful octagon, cut through by narrow vertical openings. Above him is a tall, also octagonal, golden crown. And on it, instead of a traditional cross or diamond, there is a thin, slender turret - the base of a sparkling needle-spire. And at the very top is an angel with a cross in his hand. From the ground to the top of the cross is 112 meters. 32 meters taller than Ivan the Great.

Only on an August day in 1720 did the clock in the bell tower begin to play. New, unusual music began to sound over St. Petersburg. And she swam over the river, exciting and surprising the inhabitants. Thirty-five large and small bells, starting from half past twelve, filled the area with their melodic chime.

Pyotr Alekseevich rejoiced. Another dream has come true. And he immediately expressed a desire to climb the bell tower, inspect the clock mechanism, and at the same time look around his city from above.

The Emperor and his entourage arrived at the fortress on the morning of August 21. The brave sentries threw back their guns. The commandant, saluting with his sword, shouted the report. And then Trezzini, in his best camisole, stepped towards the king. And he, throwing out a short “show me!” as he walked, strode forward widely.

With each tier, slightly slowing down his agility, the sovereign rose to the very top. Taking a breath, he looked back and froze in joyful delight. A large city stretches out like an oval below...

After the completion of the bell tower, the temple itself was completed, completed and decorated for another ten years.

The Peter and Paul Cathedral, built later, gave a new look to the Peter and Paul Fortress and the whole of St. Petersburg. Chamber cadet F. Berchholz wrote in 1721: “The fortress church... is the largest and most beautiful in St. Petersburg; it has a high bell tower in a new style, covered with copper, brightly gilded sheets, which are unusually beautiful in bright sunlight... The chimes on the bell tower are as large and good as those in Amsterdam, and they say they cost 55,000 rubles. They are played every morning from 11 to 12 o’clock, in addition, every half hour and hour they also play by themselves, driven by a large iron machine with a copper shaft...”

Trezzini's creation - the bell tower of the Peter and Paul Cathedral with its shining spire - remains the main distinctive feature of St. Petersburg.

But Trezzini worked not only on the creation of the Peter and Paul Fortress. In the spring of 1710, in the middle of the courtyard of the present Hermitage Theater, they began to beat piles for the first stone Winter House. This house has not survived to this day; its drawings and model, executed by Trezzini, have not survived. But documents about its structure and Alexey Zubov’s engraving “Winter Palace” have survived, from which one can judge the tsar’s requirements and the architect’s capabilities.

An extensive, three-story building with thirteen windows in a row. The lower, high basement floor was where supplies were stored and servants lived. The top two were occupied by the sovereign's family. The right and left sides of the house (each two windows wide) are sharply pushed forward. These are risalits. The center of the building, three windows wide, is also highlighted. It protrudes the length of a brick. Wide staircases lead to the front door on both sides. Six lanterns on high masts illuminate them at night. On both sides of the house there are service buildings stretching into the depths of the yard. Between them and the house there are gates with baroque pediments, on which ships with wind-filled sails are frozen.

The palace was built from good quality red brick - oblong, flat and strong. But at the request of the king, it was painted white, with gilded window frames and architectural details. A sort of dandy under a heavy leaden sky among swamp mud and crooked undergrowth.

The construction of the sovereign's Winter House was completed in the fall of 1711. The king was pleased. Trezzini pleased him and thereby strengthened his position.

Trezzini was not just an architect at the Office of City Affairs. He actually became the tsar's right hand in all construction matters in St. Petersburg: the fortress, palaces, powder magazines, cathedrals, allocating space for the construction of private houses, monitoring their beauty. And finally, the harbors. Everything had to be done with care and precision.

“Announce all sorts of ranks to the people who are building... along the banks of the Neva River and along the canals by decree of the chamber, which will henceforth be built by decree, and to those people at those of their chambers to make harbors in the same way as was done on the Admiralty Island along the bank of the great Neva River , opposite the house of Fedosei Sklyaev, but to make one harbor for two houses, as the architect Trezin will show.”

St. Petersburg even today carefully preserves the signs of the urban planning activities of Domenico Trezzini. One of them is the area from the upper reaches of the Fontanka to the east with its clear, straight lines of the current streets of Voinova, Kalyaev, Tchaikovsky, Pyotr Lavrov, Pestel. Back in 1712, the sovereign ordered the architect to make a drawing according to which “on the First line to build a stone or mud hut, back and a wooden one,” so that the bank of the Neva would look elegant and representative.

The second sign is the graphic grid of avenues and lines of Vasilyevsky Island. Perhaps, in terms of the scope of construction, the effort expended, the scale of plans, this is the main work in Trezzini’s life. More significant than the Peter and Paul Fortress. Although the latter demanded from the architect his whole life.

The country's highest institutions are called upon to act in concert, in unbreakable unity. And their houses should stand tightly pressed to each other, like twin brothers, shoulder to shoulder. And Peter ordered Trezzini to build the building of the College. Having formed a line, the twelve “brothers” stretched their front to 383 meters, almost touching the future Mytny Dvor with their left flank. Each building has its own main entrance. Own roof. High, hipped with a fracture. Very typical for the first quarter of the 18th century.

The first floor of the building is a gallery, where instead of columns there are massive rusticated pylons - wide rectangular pillars. The outermost ones are slightly wider than the others, and they have niches for statues. The second and third floors are smooth. Only pilasters between the windows. There are double pilasters at the corners. They are like a strict frame of the visual boundaries of an architectural work. Each building has eleven axes - eleven windows in length. The central part with three windows protrudes slightly forward. This is a risalit. It’s as if an unknown force, trying to emphasize the splendor of the entrance, pushes it out.

The “movement” of the wall forward or backward from the main line of the facade is one of the most characteristic features of the Baroque style. In the first half of the 18th century, architects working in Russia very often used this technique.

The entrance to the College is always in the center of the building. Overhanging it is a second-floor balcony with a beautiful wrought-iron lattice. And on the roof, above the projection, there is an elegant pediment with curvilinear outlines, as required by the Baroque style. The middle of the pediment - the tympanum - is decorated with a stucco image of the College emblem. And on the slopes lie mythological figures carved from white stone.

The unprecedented length of the building, the mesmerizing rhythm of risalits and pediments, pilasters and pylons, the rich relationship of red with white - everything gave the “Twelve Colleges” an impressive, solemn appearance and generated amazement of contemporaries.

Much later, the architectural historian M. Johansen, paying tribute to the architect, wrote: “Although Trezzini’s entire plan was not realized, nevertheless, the buildings erected according to his designs during the 18th century not only determined the appearance of Strelka, but had a clear influence on the layout and architectural design individual buildings being erected. Thus, the module for planning the square on Strelka in the 1760s, proposed by A. Kvasov, was a distance of 15 fathoms - the size of the “building” of the colleges, and the height of the same building was taken as the height standard. There is no doubt that the arcade motif... influenced the appearance of two buildings erected along the northern border of the square according to Quarenghi's designs... Everything... testifies to the great significance of this work by Trezzini not only for Peter's Petersburg, but also for subsequent times... In terms of its significance and scale, this concern should to be, undoubtedly, ranked among the most important creative ideas not only of Trezzini, but also of Russian architecture in general of that time.”

The construction of the building lasted for many years, from 1722 to 1734, the year of the architect’s death.

Trezzini came to Russia alone. He left his first wife in Astano. In St. Petersburg, Domenico - probably in 1708 or 1709 - married a second time. Giovanni Battista Zinetti, who in 1729 worked under Trezzini and lived in his house after returning to his homeland, said that the architect was married three times. He did not mention the name of his second wife. I only knew her son Peter. Third wife: Maria Carlotta. From her the architect had sons Joseph, Joachim, George, Matthew and daughter Katarina. During the first years of his stay in St. Petersburg, Trezzini settled next to the Greek settlement. He walked in German. He had no rank. Knee-length caftan made of blue cloth with large cuffs and spacious patch pockets. There is a strict silver braid on the collar and along the sides. Short pants of the same cloth down to the knees. Under the caftan there is a light short camisole without folds or a collar. During the day, boots are used to climb construction sites. In the evening - on a visit or to an assembly - stockings and shoes.

The foreign inhabitants of the Greek settlement elected Domenico as the headman of their parish. No one knew better than Trezzini how to resolve complex issues and reconcile quarreling neighbors.

In addition to the family, sixteen to eighteen men always lived in the house. Documents have been preserved that list everyone who was under Trezzini and lived with him: ten students, a clerk, a copyist and six orderlies for parcels. Own large office.

In the fall of 1717, having barely returned from Europe, Pyotr Alekseevich ordered Trezzini to build a “model” house for the wealthy on the banks of the Bolshaya Neva, on Vasilyevsky Island, and to settle in it himself as a public example of how convenient and beautiful such housing was. The king indicated the place for the house at the corner of the Twelfth Line. Trezzini built the house, but apparently never lived in it. Peter gave the house to Baron Osterman.

However, having selected the finished mansions, the king orders: “...Build him Trezina from the treasury... a stone house in the Galan style... in 2 bricks.” But, as they say, the king has mercy, but the huntsman has no mercy. Officials, without personal interest, were in no hurry to complete the assigned task, and the construction of the architect’s house dragged on for years.

Trezzini, in order to manage his affairs well and on time, really needed assistants and faithful students. And Tsar Peter wanted a foreigner to teach future Russian architects. So their interests coincided. Young people came to the house on the banks of the Moika River, obliged to study architectural art.

One of the first to settle with Trezzini was the recent minister of the provincial chancellery, Mikhail Zemtsov. He arrived at the behest of the sovereign to better study the Italian language. But it turned out that he loves architecture and understands the construction business. What is this: a coincidence or the insight of Tsar Peter?

If Domenico Trezzini had not built anything in St. Petersburg, but had only trained the first talented Russian architect, then this would be enough to remain in the memory of grateful descendants. Quite a few experienced assistant architects - Gezels - came out of the Trezzini school: Vasily Zaitsev, Grigory Nesmeyanov, Nikita Nazimov, Danila Elchaninov, Fyodor Okulov. The master did not bury his talent in the ground. He gave everything for the good of Russia - his new homeland.

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Born around 1670, in Dumenza, near Lugano, Italy, on the border with Switzerland
died February 19 (March 2), 1734 in St. Petersburg

Biography

Domenico Andrea Trezzini (Italian: Domenico Trezzini -) is an architect and engineer, Italian, born in Switzerland. From 1703 he worked in Russia, becoming the first architect of St. Petersburg. Trezzini laid the foundations of the European school in Russian architecture. Influenced many subsequent architects.

As the chief architect of St. Petersburg, Trezzini, at the direction of Peter I, compiled “exemplary” (standard) designs of residential buildings for various segments of the population (“eminent”, “prosperous” and “mean”). Trezzini's buildings are typical of the Peter the Great's Baroque architecture. They are distinguished by regularity of plans, modesty of decorative decoration, and a combination of beautiful order elements with baroque details.

He came to Russia alone, leaving his first wife Giovanna di Veitis in Astano. He married a second time in 1708, and from his third marriage to Maria Carlotta he had sons Joseph, Joachim, George, Matthew, and also a daughter Katharina. Trezzini first lived in the Grecheskaya Sloboda (in the area of ​​the Moika River embankment and Millionnaya Street), where he was elected headman. Then, in the 1720s, he settled in his own house on Vasilyevsky Island, on the corner of Universitetskaya embankment (21) and the 5th line (the house has been preserved in a rebuilt form). He was buried in the cemetery at the Church of Sampson (now Sampson's Cathedral), the grave has not survived.

Main creations:

• Project of the Alexander Nevsky Lavra complex
• Summer Palace of Peter I
• Building of the Twelve Colleges
• Trezzini House