The statesman is depicted by sculptor. Mars, God of War (Rome)

Mars, Lat., Greek. Ares - the Roman God of War and the patron of Roman power, the son of Jupiter and Junon.

Unlike, who was the Greek by the God of a volatile war and did not use special honor, Mars was one of the most revered Roman gods, only Jupiter stood above him. According to Roman myths, Mars was the father of Romul and Rem, the founders of Rome. Therefore, the Romans considered themselves his descendants and believed that Mars loves them more than all other nations and ensures them victory in the wars. In archaic times, Mars also revered as harvest, fields, forests and spring. This is evidenced by a number of surviving prayers of farmers and the name of the first month of spring (March).

The wife of Mars was the goddess of Sturdy (Nerio), which is known only that Mars had to kidnap her. But Romulus and Rem gave him the witness to Ray Silvia, the daughter of the Latin king of the numerator. The battles of Mars were constantly accompanied by Pallor and Pavor, the "pallor" and "horror", corresponding to the satellites of Ares and Phobos. As his forefather, the Romans called him the name Mars Pater or Marspiter, as a God of war giving victory, he was called Mars Victor. Mars showed his favor to Rome ancient times, dropping off his own shield from the sky so that he guarded the city. By order of the king Numa Pumpilia subsequently, eleven exactly the same shields were made so that an attacker, who would think of kidding Mars's shield, failed to identify it. All year, these shields were kept in the sanctuary of Mars on the forum. Only on March 1, on the birthday of God, his priests (Salia) wore them around the city in a solemn procession, dance and singing. Mars's sacred animals were wolf, woodpecker, symbol - spear.

"Mars and Ray Silvia", Rubens

Romans honored Mars special festivals. In addition to the processions of Saliyev, these were, in particular, horse contests (Ekvirii), which took place annually on February 27 and March 14. However, the most important festival was the so-called "suvietaurry", which took place in five years at the end of the next census of the Roman population (cencing). She concluded that around the Romans, who gathered at the Mars and built in combat, were held three times, a pig, sheep and bull, which were then sacrificed to Mars. This victim, the Roman people cleared themselves from all sins and provided himself with help and protect Mars for the future.

In addition to Mars, the Romans knew and drew other gods of the war: in ancient times, this was primarily identified with the founder of Rome Romulov; They read the goddess of war. Later under the Greek influence, they transferred some properties to their goddess Minerva, and as a result she also became the goddess of war. However, the cult of Mars as the God of war resolutely prevailed to the very fall of ancient Rome.

"Battle of Mars and Minerva", Jacques Louis David

In honor of Mars, Romans built several temples and sanctuations in their city. The oldest of them stood on the Marsfield (on the left bank of the Tiber), where military exercises were held, censor reviews and folk assemblies, which in ancient times the question of the declaration of war was resolved. The sanctuary of Mars on the forum is also very ancient. Going to war, each commander came to the sanctuary, shook Mars's shields, asked God's help and promised him a part of military prey. The most magnificent temple was dedicated to the emperor Augustus Marsu Avenger (Mars Ultser) in memory of the retaliation, comprehended by the killers of his adopted father, Julia Caesar. The temple was consecrated in 2 g. s. On the new forum August, several damaged columns and the foundation of the temple statue are preserved. Marso field in Rome disappeared as a result of the development of the Empire during the Empire. At the end of 1 c. n. e. The emperor Domitsian ordered the stadium in his place, the contours of which correspond to the current Roman Square of Navon. (Centuries later, new Marsh fields arose in Paris, St. Petersburg and in other cities - even in Detroit).

"Venus, Mars and Grazi", Jacques Louis David

Mars has long been dead together with the rest of the antique gods, but unfortunately, humanity brings all new and new victims to him: Mars is the most famous and still live symbol of war. Already in the most ancient times, Mars switched from mythology to astronomy as a "bloody planet". In 1877, American astronomer A. Hall opened two satellites of Planet Mars, Dimos and Phobos, the existence of which foresaw the Swift 150 years before this discovery. Many antique statues and images of Mars have been preserved, and in the new time they were created even more (see Apec article).

In a number of cities, the place of military reviews was called the Marse field:

"I love warlike liveliness
Funny Marsh Fields ... "
- A. S. Pushkin, " Bronze Horseman».

In 1798, Napoleon's troops were captured by Northern Italy and Switzerland. Russia, by agreement with these countries, should have helped in war with France. Allies Countries appealed to Paul I asking for the Commander-in-Chief of the Russian-Austrian Army of Field Marshal Alexander Vasilyevich Suvorov. However, by the time Suvorov was sent by the emperor to the link in his estate. I had to write a letter to Pavlu I writing a colonom: "Count Alexander Vasilyevich! Now we are not time to pay. God is forgiven. The Roman emperor demands you to the heads of your army and presents you the fate of Austria and Italy ..."

From the military campaign, the Graph Suvorov returns to the victory. For such a case, Paul I ordered to build a monument to the commander in Gatchina. For the first time in Russian history, it was decided to put a monument in the life of the hero.

In 1799, the draft sculptor Mikhail Ivanovich Kozlovsky was adopted. A. N. Voronikhin also participated in the project development. A monument is unique in that he became the first major monument to fully created by Russian masters. The sculpture of the Lantryman Vasily Ekimov, which under the contract dated October 12, 1800, was obliged to cast and polish the statue by April 1, 1801. But there was a delay due to the large loading of the foundry workshop. At the same time, the gate was cast there for Mikhailovsky Castle, statues, bowls and vases for a large cascade in Peterhof. The bronze bas-relief on the pedestal performed the sculptor F. G. Gordeyev.

During the design, the planned location of the monument was changed. Paul I wanted to see him from my new residence - Mikhailovsky Castle. For the manufacture of a pedestal, the material remained from the construction of St. Isaac Cathedral: "Tivdia" (Olonetsky) light red polished porphyr. Steps to the pedestal are made of Serdobolsky Wild Stone with Mood Kella. Kozlovsky compared several times on the unscrupulousness of contractors who performed pedestal. It was dirty and not in the necessary sculptor proportions, then installed "Koso and One Boke".

Lifted monument never became. A year before the discovery, the Count Suvorov died. I did not see the opening of the monument and the emperor himself, in the Mikhailovsky castle two months before the opening of the monument, he was killed. Monument A. S. Suvorov was opened on May 5, 1801 at the Marsfield at the shore of the sink. The ceremony was attended by a new emperor Alexander I.

Sculptor Kozlovsky depicted Suvorov in the image of the god of the war of Mars, who shielded with the coat of arms Russian Empire Covering the altar with the crowns of the Neapolitan and Sardinian kings and Tiara Pope of Roman.

In 1818, at the proposal of the architect K. Rossi, the monument was transferred to the center of just created Suvorov Square. In 1834, the pedestal of the cherry marble blocks suffered due to severe frosts. He was replaced by a pedestal of pink granite.

During the blockade of Leningrad, the monument planned to hide, one of the options assumed his movement to the basement of the neighboring house. However, it was not possible to do so. Meanwhile, one of the blockade days the artillery shell flew next to the monument and flew just at that basement where he could be a monument. For all war time The monument to Suvorov did not suffer.

Grandpaper. Published an entertaining article from the journal "Arch" from October 3, 1910. It seems to scold new monuments - our long tradition.

Stumbling stone

Almost simultaneously opened monuments: in St. Petersburg - Alexander III, and in Moscow - Gogol. For a long time there was no longer heard so many disputes and so much indignation. There was a legend that a certain patron suggests to replace the monument to Gogol a new, more "decent", the legend is implausible, if only because the first subscription gave the amount sufficient only for negligible in terms of the size of the monument. About the monument of Emperor Alexander II such a legend did not appear, but indignation on a short horse's tail was enough.

Involuntarily remembered that Pushkin's Pushkin's Pushkin's monument in Moscow, the sculptor Alexander Pokukeshin - approx. Grandpaper), extremely ugly in silhouette, with a figured, little like Pushkin, and with a cordless pedestal, did not cause protests and, along with The monument to Alexander II, in which it is difficult to decide what is more - lapping or ordinary, is considered one of the Moscow sights.

The monument of Gogol is not magnificent, but relatively applied. It is such a Gogol, oppressed by everyday vulgarity closer to Moscow. In the plan there is no ordinary for the monuments of pyramidality, and the ribal ribbon is beautifully looking for a black pedestal. Gogol's figure itself - the sorrowful Gogol of recent times - ugly. There is no volatile form in it, but there is no vulgarity - this inevitable satellite of domestic monuments. Last - a lot.

The public calmly carried a mockery over the art when they put the statue of Glinka, but could not make a short horse at the monument of Alexander III. Every vulgarity and ordinaryness for her is better attempts to go new way. What's next? Repetition of the Toppery monuments, repetition of terrible Busts of the Alexandrovsky Garden in St. Petersburg? Money goes on it, but it would not be sorry for them; It is scary with the idea that before the Museum of Alexander III, a dreary ordinary monument will be erected, just as the species of the Kremlin spoiled the huge monument to Alexander II. And the end-edge is not visible a series of longing the leading monuments that appear in Saratov, Wilna, etc.

Such a phenomenon is characteristic not only for Russia. Both in Germany and in France, and in Italy, the monuments grow like mushrooms. Of course, French and, perhaps, even Italian monuments are not honing Siegesallee (Victory Avenue in Berlin - Approx. Grandpaper) and our Alexander Park. But among the French monuments there is a lot of voyage ordination. Not only: although everywhere there are a few real sculptures-artists, but they are the monuments and not get it, and if they get, then the implementation is furnished with obstacles in the form of commissions distorting the intentions of artists.

So, the streets are urged by disgusting works, and to our idea of \u200b\u200bgreat people, memories of busts and monuments are mixed, which are not suitable for playing in the form of bottles for vodka.

The statement of monuments to political figures is completely understood. Who would remember the name of Maulzol, if the wife had not erected him famous monument (Mausoleum)? Is there anyone of the public, even educated, would know the names of Guatemalaty or Colloni if \u200b\u200bthey were not perpetuated by Donatello and Verokki? Completely naturally, the desire to perpetuate people, shivering a short time, images of their beautiful shapes.

But what makes the monuments of Sofokla, Dante and Pushkin, i.e. Those who "the monument to yourself erect the wrong", eternal. Centuries will pass, monuments will disappear, the languages \u200b\u200bwill die on which these poets wrote, and yet the slightest passing of their works will be enough for the memory of them to die, and their name stood above the name of the rulers.

But, except for reminders of a great man, the monument has another appointment to decorate an area or garden, and this value is the most important. For people living in the city or attending it, a monument is primarily a decoration, and then - a reminder. Therefore, it is necessary, discussing monuments, first of all, ask the question of their beauty.

It is now almost forgotten about it, and seek the idea and similarity with a person depicted, demanding only that it is slightly gluable, just like this is the obsolete beauty. To achieve this, the sculptor should be accustomed to an inesthetical point of view, as it is difficult to find beautiful in modern figures. A real sculptor-artist has to worry about the drama if he decided to build a monument in the form of a figure of some suton, a bald modern figure.

In public, it is accepted with disregard to refer to the idealized monuments of the former times. And if it makes an exception, recognizing Falcontiete Peter ("Copper Horseman") an ideal monument, then this happens only because the genius sometimes wins all the crowd. But as contemptuously belongs to the excellent monument of Rastrelli (in front of the Mikhailovsky castle in St. Petersburg), to the elegant Suvorov Kozlovsky (a monument to Alexander Suvorov in the form of Marsa's god from Marsov Fields) and to Minin Martos (Monument to Minin and Pozharsky on Red Square in Moscow). The first public puts the clothes of an ancient commander, without thinking that for Rastrelli and for all Russian Peter, first of all, the emperor who created the Great Empire, and for the nearest contemporaries the Transfiguration uniform of the time of Poltava battle was not the precious relic, which he seems to us now.

It was often expressed that the elegant Mars is not the emblem of Suvorov, who singer on the pollosy and screaming rooster. But they forgot that the killing was only a mask for a commander, which easily fulfilled the theoretically campaigns. For the offspring of Suvorov, not a shreddent, gray old old man, but the hero of the romantic Italian campaign. So I understood his Kozlovsky, and could hardly be the best monument to the Great Communion, like "God of Brants, going to save the kings."

The Monument of Minin and Pozharsky represents the heroes of the Romans, and not in Ziphany and Armenians. But if you chase as historical likelihood, I would have to get to the groundnight of all heroes, and how many political figures would have been at the same time insignificant personalities put forward by a need for a chance! What a collection of freaks would filled our squares and streets! Martos did not think about some weaknesses of the same Pozharsky, but imagined the perfect heroes. And it is difficult to come up with a monument to a stronger in theory and on the beauty of the relief. Let the individuals be not so or not quite so; The monument to them depicts how they made their fantasy people. Centuries will be held, the memory will disappear about the meaning of them, as unreal now for us the memory of the brand of Azeri. But to remember their name will be due to the monument, as they remember the name of the Roman emperor, thanks to the Capitol statue.

When creating a monument to Gogol, the author thought about the writer, as a man, about it is possible to fully characterize it. The skeptical spirit of our time put forward a religious mourn the mood of Gogol of the "Correspondence with Friends", realism prevented to develop any brilliant side of his spirit to the detriment of the rest. That is why there is no monumental, eternity in the monument, and only experimentality, etude. This is a monument not to Gogol, and the monument to our sick time, which is not able to admire and the adolescence of the pretty, but only to the powerless fitting of all sorts of theories. The monument to Gogol is bad, he is ugly, but this is a faithful imprint of the Godina of the Philosophical Articles of Meriazhkovsky and Rozanova, the literature "Libra" and "Knowledge". So it is necessary to relate to it and also appreciate Pushkin monument on passionate boulevard - the best reflection of the illegal era. This advantages are curious in the future for the historian of culture, but they do not give the monument, they spoil the place, and those who will destroy them in the name of beauty will be right.

But in the monument of Gogol, there is still something comforting. Pushkin monument is bad, but the author and the public consider it excellent; Gogol's bad, but felt, with what pain and suffering, the author sought an expression of his idea that could pour out in a beautiful form if the country had raised artistic culture. Monument is bad, but from him the road for the better; And from Pushkin monument one road - to Glinka on theater Square in St. Petersburg.

And "Gogol", and "Pushkin", Moscow and St. Petersburg, and "Glinka", and every bust of "Lomonosov", "Zhukovsky", etc. Having prevented to be good monuments that he was thinking about beauty when creating them. In one case, an exception occurred: by some miraculously, the construction of the monument to Alexander III went to this artist, far from the crowd of the crowd. It would be primarily beautiful and it would be similar to the deceased emperor - this is the task of the master. The second is easily achievable for the Master of the Impressionist, and the first requires concessions.

To be beautiful, it is necessary to retreat from reality; A horse out of meat and bones is one, a bronze horse is another. That is why Rastrelli's horses and Trubetsky are so far from reality. But some of the retreats were inevitably different, and before Trubetsky did not have that school, which prepared Dontello and Verokkio's road. The tireless long-term work could not eliminate all the flaws, and the illegal removal could easily be a story to the monitoring of creation, to deprive. His power, which is influenced in this heavy rider. Leaving aside all other, you need to confess that the work of Trubetskoy in terms of the figure of the figure, on beauty, presentation and strength does not have equal among monuments recent years. Comparison of her with the monuments of Viktor Emanuel and Garibaldi, similar to the horse's position, have to be attributed to the discharge of the degree of people who do not understand the sculpture. And those among the contemporaries, alas, too much.

As for the idea, the Trubetsky, of course, there was no idea. There was a desire to create an image that existed in his imagination from stories, images, etc. He achieved him and, looking for only beauty, found almost that everything. The image, this Trubetsky, merged with the spirit of the emperor, with the spirit of politics. This can be easily noted according to the reviews of dissatisfied. They, each in their own way, indignant on Trubetsky to an expression that, in the opinion of each, there was a deficiency or, rather, it was not to the extent that I would be given to the late emperor.

Moscow is waiting for a new monument to the same emperor; He must be assumed to satisfy the "patriots", although over time they are aware that the guardianship does not achieve and the remote hint of the power and the power that Trubetskoy poured into its creation. Time will passThe political issues of our time will be played, and the Trubetsky monument will be proud of St. Petersburg, the same pride as Petr Rastrelli (in front of Mikhailovsky Castle), Petr Falconet, Rumyantsev Obelisk and Suvorov.

To all these monuments and the crowd, and fate were non-sillets. Rastreleyevsky "Peter" almost a century broke into the shed; "Commission" spoiled pedestal of the Falconetov monument; Obelisk Rumyantseva is subject to a dense square and covered with cast-iron Amur. Front and rear of "Suvorov" watered disgusting lamppost poles. So appreciates the crowd of those who brought her beauty!

About Monument Peter I, erected in front of the Sampsonievsky church, it would be possible not to talk. Like all the works of the anticoline, and this is deprived of sculptural beauty, and you can regret that the sacrifices did not guessed to put a copy of that wondrous bust of Rastrelli, who hides in the unreleased Hall of the Winter Palace, where, by the way, there are also excellent busts of Peter's associates. That's where Peter is really beautiful - "like God's thunderstorm".

The appearance of this statue in front of the crowd could really explain to her Peter. Doesn't anyone find anyone who instead of the third copy of the Antorthska will remember the sculpture of the brilliant Rastrelli.

Unfortunately, there is still something worse than anactive, this is Bernshtamovsky (Leopold Bernestam) works on the banks of the Neva. Of course, the proximity of the collapsed Palace Bridge And the unsuccessful Panayan theater justify to a certain degree in the formulation of the ugly lump of bronze, but he supplies Admiralty Arch before one of the main pride of Russian architecture. Similar works place somewhere between the eighties (XIX century - approx. Grandpaper).

Oh neither grieving, the emergence of these statues of Peter or Glinka, still a rare feeling of bitterness had to experience at the exhibition of projects of the monument to Alexander II. It was not literally no hint of either beauty or monumentality. It was not even necessary to join, and only occasionally was funny. Among everything was a good statuette of Trubetsky, but just just the "statuette", suitable perhaps as a model of the prize on the races. For the monument there was no absolutely nothing.

All this suggests: It is not necessary to abandon the sculptural monuments at all, the monumental sculpture died. I would not go to the monuments of architectural similar to the monuments of lawyers in Padua or Chapel, erected by John Grozny at the place where he received the news of the birth of a son. Alexander II Moscow monument is like a transition to the construction monument, but the transition is only formal: there is no beauty, not only architectural. And if there is no beauty, then the monument is dead and, despite the magnitude, they do not notice it, as invisible colossal income houses - boxes.

It is impossible not to pay attention to the very process of creating monuments, because in this just the root of evil is. Usually after death and before the anniversary, they think to perpetuate the memory of a person's wonderful. A commission of people from people are created, for the most part of the art of alien, the conditions of the competition are established, and people want to judge the impression of a grand monument in a small figurine.

Often, however, it is impossible to reduce sculptural works; So, reducing Venus Milos, apoksuomen, etc. ridiculous. In times of Renaissance, this question was solved otherwise: forced to fulfill an independent work, as in the famous Hibacy competitions with Bruntelles and Brunelands with Donatello. It is necessary to return to this order. The jury should only be artistic, presented models - only sketches, and when the best, then between them should be made by the choice through the responsible work.

The second one should be carried out if possible, this is the need for architectural monuments. Russian cities are so poor fountains, monumental entrances in gardens and squares, arbors, etc., that the appearance of all this would be more than preferably. And if at present the sculpture is in decline, due to the lack of demand, the architecture begins to revive, and it is already felt that the architects of decorators could unfold their strength; Not only preferably and it is necessary that architectural monuments are included in the conditions of competitions, but it is absolutely necessary that the architects themselves acquaint more often at exhibitions with the possibility of such works. Drawings and plans for the public are little convincing, and when it is also seeded Mahina, it is more difficult to figure them out. Perspective views and models would make it easier to understand. Why group of architects and not risk setting a series at least, for example, monumental benches for squares; Maybe it would be kind for orders, the sad busts and disgusting cast iron benches of our squares would be supplanted

Mikhail Ivanovich Kozlovsky is one of the founders of Russian classicism.

Gifted with a variety of talents and a rapid creative temperament, it is more known as an outstanding sculptor. It is unlikely that some of his contemporaries managed with such skill to express the epoch of the great wars and a high lift of Russian public thought. His works, whether they are connected with the heroic of antiquity, or the glorious past Russia, embodied the ideas of living modernity. Using the language of the allegory, the sculptor invariably nominates the topic of protest, struggle and suffering. According to the strength of the tragic sound, the work of Kozlovsky echoes the poetry of Derzhavin. Organic proximity binds its sculpture with the works of ancient masters. The world of ideas and images, courageous plastic of heroes, contemplating, suffering, struggling, akin to the creations of the Great Michelangelo.

Like most artists of the XVIII century, Kozlovsky came out of a democratic environment. He was born in St. Petersburg on October 26, 1753 in the family of a military trumpeter. Father served in the Baltic Gallery Fleet, in Unter-Officer Rain. The family lived on the outskirts of the capital in the Admiralty Gallery Harbor. In 1764, as of his father, the eleven-year-old Michael, trained in Russian diploma and arithmetic, was taken among the pupils of the Academy of Arts. Three years later, a talented student was distributed to the sculpture class to Professor Nicola Hilla. The years of studying Mikhail Kozlovsky coincided with the period of ripening classicism in European painting, sculpture and architecture. The cornerstone of the aesthetics of classicism is the idea of \u200b\u200bimitating masters Ancient Greece and Rome. The main features of the theory of classicism are torn to the rationalist and metaphysical dogma of the European, mostly German and French philosophy of enlightenment. From 1774 to 1779, Kozlovsky held a retired academy in Rome. In 1779, he went to Marseille and from there to Paris. In February 1780, the Marseille Academy of Arts honored his rank of academician. Pensioners of Kozlovsky talk about how carefully he studied the ancient monuments, penetrating deeply into the essence of the theory of classicism. He was as closely attentive in the work of the masters of the New Time. His enthusiastic review of Michelangelo's "terrible court" has been preserved. The great master of the Renaissance, unfortunately, was underestimated by the artists of the 18th century, but Kozlovsky saw kinship with his own creativity and temperament in his "terrible dressing and art." 1

Kozlovsky returned to St. Petersburg in 1780, a mature master and immediately took a prominent place in the Russian artistic environment. He quickly entered the circle of advanced noble intelligentsia. His first work in the homeland argued the virtues and the immortal glory of great people who earned the gratitude of the Fatherland. Examples of civil values \u200b\u200band love for the Motherland Kozlovsky embodied in historical bas-reliefs, graphic compositions, sculpture. Self famous work Kozlovsky - Monument A.V. Suvorov at the Marsfield in St. Petersburg and holding a central place in the plan of the ensemble of a large cascade in Peterhof, the sculptural group "Samson, bursting a mouth of the lion."

The Russian Museum presents the classical statues of Mikhail Kozlovsky. Consider four of them - sophisticated, sharp, alive, solid, logically clear - images of ancient heroes.

1780s G.G.

The statue of the "Vigor of Alexander Macedonsky was performed by Kozlovsky in the second half of the 1780s. Probably the customer was Favorite Catherine II Potemkin. He wished to portray the future "king of the four sides of the world," who gives all his time to study and even sacrificing the sake of reading to submit this valiant example of youth. "Alexander" should have decorated with a festival in the Tauride Palace, conceived by Potemkin for the Empress. It is known as Catherine, the prestormal of his young chosennes, supplied with the approval of the extremely busy "older" favorite, wanting to create outstanding state leaders from them, but, alas, did not have any success.

Statue carries allegorical meaningThe plot is taken from the works of the ancient historian Quinta Kurction. I quote his legends: "Alexander in young still years, with the reign of the father of his philip, wanting to save great knowledge in sciences, tried to rebuild himself from sleep and always fell asleep, having a copper ball in his hand, who, with deep sleep, falling in the pelvis, awake Its produced by a knock. "

Kozlovsky depicted Alexander, sitting on his bed at the moment of complete exhaustion, when him, during the night occupation, struck treacherous fatigue. To solve their plan, the sculptor elected a complex pose, deploying a shape of the young man in depth. A strong trained body bent, defeated by God's sleep, curly the rejected head rests on a bent left hand, one leg is thrown to another. Right hand fingers barely holding a copper ball over the bowl. Another second, and they will smoke - the ball with a loud knock will fall and wakes Tsarevich. Kozlovsky completely managed to convey the state of the rear-year man. Alexander sleeps until the ball falls.

In order to enjoy the beauty of the body of a young athlet, you have to get around it around and repeat it again. You will be fascinated not only by the main character, but also a sculptural still life that tells about his world. A small bed is covered with a cloth falling by wavy folds. Kozlovsky managed to transfer their elegant lines in marble. Right hand with a bowl rests on a helmet, decorated with a lush sultan. Special attention attracted the shield leaning towards the lie and decorated with bas-relief on the favorite story of Alexander "Education Achilles Centaur".

Polycart

The image of the ruler of the samos of a polycrate, rich and lucky man, treacherously destroyed - one of the most tragic and in the work of Kozlovsky, and in Russian art of the second half of the 18th century. Sculptor executed a statue in 1790. The plot is learned from ancient history - famous historical fact. Ancient Greek Samos Tyrant was brutally deceived by the Persian Satrap with the Orowood, inviting it in 522 BC. In the city of Magnesia to deny the treasure. Polycrate trustfully arrived, but a treacherous orroita came with him treacherously, ordered to grab him and crucify. The plot taken from the ancient history served as a sculptor to respond by the language of the allegory to the events of living modernity. The advanced people of the 18th century saw in the polycratic symbol of variability of happiness. Thior Polycrat was rich and gracious to treasure, ambitious, ruthless to his subjects, terrible for enemies, but he did not escape betrayal and died terrible death. During the years of the French revolution, this image acquired a new, even greater, relevance. About the polycratic People of the 18th century, accustomed to thinking by allegories, remembered because they saw around a lot of "polycrats" and "policiaries" - deceived by the brutal fate of the former lucky people. The statue was created in Paris, in the rapid years of the revolution, where Kozlovsky was with his students. Kozlovsky managed to embody the pathos of suffering and struggle in the form of a dying person. He knows what is doomed, but passionate thirst for freedom is expressed in a tense, unequal struggle with death, immeasurable excitation. The body of the polycrate bends in unbearable flour, but every muscle is tense, the hand, compressed in the fist, thickened up, the leg is sharply assigned to the side. The whole figure with swollen veins, painfully tense muscles, is covered by a rapid impulse. The polycrate is looking for supports, hoping to gain force. He crares out to break the way as a servant Michelangelo, but the forces leave him, death is coming. The drooping head, a lifeless hanging hand, talk about the hopelessness to free themselves. The exhausted face of the deathly distorted flour. On the trunk of the tree to which the polycrate was tried, an ancient Greek inscription was carved: "... no one can consider himself as a lucky time while he is alive."

The monument to the Russian commander A. V. Suvorov was solemnly opened on May 5, 1801, in the first anniversary of the death of Suvorov, on the Marsfield. Generalissimus is represented in the form of the ancient Roman God of Marsa. Suvorov himself, recognized by the genius of combat operations, was often called the "God of War" for his swiftness, inflexibility and speed. The author of the monument was made by the sculptor M. Kozlovsky, and the pedestal was made according to the project of architect A. Voronikhina. Master F. Gordeev created a bas-relief on a pedestal, where the fame and the world were depicted in allegorical form, which autumn shield with the inscription: "Prince ITALY, Count Suvorov Ramniksky, 1801." These titles are reminded of the most high-profile victories of Suvorov: on the River Rimnik in the Russian-Turkish War, 1787-1791, as well as in Italy, where the commander struck the French army.

The monument to the famous warrior, who is known for the fact that not a single battle did not lose in his life, was conceived during the life of Suvorov: in 1799, the emperor Paul I ordered to log out a triumphal monument, similar to those who were raised by the victorious commander Ancient Rome. In 1801, the monument was opened at the Marsfield, and in 1818 he was postponed to Suvorov Square, where he is currently.

Suvorov is depicted with a sword, which he amazes the invisible enemy, and a shield. This shield is covered with a three-marked altar, which is located Neapolitan and Sardinian crowns, as well as papal tiara. Lilies are growing behind the altar from the ground - symbols of Russia protected by the peoples of Italy. The monument became a symbol of the valor of domestic weapons and the invincibility of the Russian army.

How to get

To get to the metro station "Nevsky Prospect" or "Living Dvor" (access to the Griboedov Canal) and go along the Griboedov Canal to the side of the numbering of houses, focusing on the dome of the rescue-on-blood. Having reached the rescue-on-blood and encouraging it, go through the wash river. Then you need to go through the Marsh field towards the embankment and go to Suvorov's Square, in the center of which is the monument.

Historical reference

1730-1800 - years of the life of Alexander Vasilyevich Suvorov.
September 11, 1789 - the victory of the Russian and Austrian troops under the command of A. V. Suvorov over the Turkish army on the River Ramnik.
1799 - Order of Paul I to log out a triumphal monument in honor of Suvorov.
On May 6, 1800, Suvorov was buried in Alexander Nevsky Lavra.
1801 - A monument to the Great Communion was installed on the Mars Field.
1818 - Monument moved to Suvorov Square.

Legends and myths

During the war, Suvorov's monument, as well as Kutuzov and Barclay de Toll monuments, was not combined. People believed that while the sculptures of the Great Communion were well, the enemy would not be in the city. The troops, which went to the front, salute the monument to the Great Communion.

There is a legend, according to which the monument to Generalissimus still wanted to hide in the basement of one of the houses near the Suvorov Square. However, at night, one of those who was responsible for the transfer of the monument was in a dream of the Suvorov himself: he threatened with his finger and reminded that during his life was never a coward and would not want to be after death. He was angry with the panties dying in the war first. The order for the transfer of the monument was canceled, and in a few days the enemy shell, flying past the monument to the bronze head, pleased right at that very basement in which they wanted to hide the monument.