Chapters "Basic steps french art”, “French architecture of the 17th century”, “French architecture of the late 17th and 18th centuries”, “The general state of architecture in Europe in the 17th and XVIII centuries» section «Architecture France XVII- XVIII centuries "from the book of Auguste Choisy" History of Architecture "(Auguste Choisy, Histoire De L "Architecture, Paris, 1899). Based on the publication of the All-Union Academy of Architecture, Moscow, 1935

The main stages of the new art

Let us return to French architecture at the end of the 16th century, by the time the wars of religion had ceased. Architecture survives all the vicissitudes of the period of return to peace and prosperity: it is modest and prudent after the wars of the League, wasteful under Richelieu, majestic and solemn to excess under Louis XIV, cold and strict on the eve of the revolution. Let us consider successively those means that she used either separately or simultaneously.

French architecture of the 17th century

Stone and brick architecture and its forms

Combination of brick and stone.- Under Henry IV, decorative effects are often achieved by such constructive techniques in which color contrasts give, at little cost, facades of a lively and varied look; such is the construction of the walls in the form of a frame of hewn stones filled with rough masonry.

The filling surface is covered with colored plaster: according to a tradition dating back to the early Renaissance, the framing of openings is connected through all floors ( rice. 437), forming long white stripes from the foundation to the lucarnes, which stand out against the red background of the walls and against the blue background of the slate roofs.

Always using simple means, this architecture strives at the same time for color contrasts and clear contours, for the patterned outlines of roofs and lucarnes; she uses little profiling and completely avoids small details: here there are only contours and a play of colors.

The earliest monuments of this style include Palace of Mayenne on Rue Saint-Antoine dating back to the era of Henry III.

Then follow: under Henry IV Palace of the Cardinal of Bourbon at the Abbey of Saint-Germain des Pres, buildings on Place Dauphine and Place des Vosges ( rice. 437); under Louis XIII - the main core of the Palace of Versailles; one of the latest examples of this style is Mazarin Palace(National Library), built by François Mansart in the minority of Louis XIV. To the same architecture belongs rambouillet palace.

The use in stone architecture of forms that arose from the combination of stone and brick.- The previous group, as a derivative of it, includes a number of buildings built entirely of stone, but borrowing decoration from the mixed construction we have just described.

As examples of this peculiar transfer of forms, we cite: under Louis XIII - Palace of Sully on Rue Saint-Antoine, built J. Ducerceau, Sorbonne And Cardinal Palace, built Lemercier; at the beginning of the reign of Louis XIV - Palace d'Aumont on Rui Street, built Fr. Mansart.

Decoration with orders

The architecture of brick and stone, clearly imbued with a desire for economy, is most suitable for buildings that require nothing more than elegant simplicity. For monumental structures, order decorations are resorted to, and in France, as in Italy, they hesitate between two decisions: whether to make these decorations in accordance with the scale of the entire facade, or on the scale of only the floor they adorn. Hence, there are two currents in the order architecture, which we will follow below.

Decoration linked to the scale of the floors.- When the decoration is linked to the scale of the floors, then usually different orders are placed on each floor; such are the buildings of Tanlay (department of Yonne), erected at the end of the reign of Henry IV.

Under Louis XIII, the tradition of using small warrants was continued by S. de Brosse in Luxembourg Palace and on the facade Saint Gervais.

The same method builds Lemercier central pavilion in Louvre courtyard and in the palace Liancourt(rice, 438) - his main work, from which only one drawing has come down to us.

Early in the reign of Louis XIV Lepotre applies the same method of decoration in Beauvais Palace(rue François Miron); with the same way we meet in the castle Bussy Rabutin(Cote d "Or); the last representative of this system was Fr. Mansart (Chateau Mason, Pavilion of Gaston d'Orléans in Blois).

The system of small warrants at the beginning of the 17th century was the least successful. At Thorpann Palace, an attempt was made to find a compromise solution: to keep the entablature and destroy the pilasters or replace them with pillars.

During the entire reign of Henry IV, we meet only one frank application of the traditional system - the gallery of the Louvre ( rice. 439). This beautiful composition gives us an idea of the flexibility that art still retained. The lower floor was built earlier (it dates back to the era of Catherine de Medici), and it had to be coordinated with the wing of the palace, the cornice of which was at the M level; this transition is provided by the MN mezzanines.

Now consider the opposite system:

Decorating with a colossal warrant.- Among the first buildings where several floors were combined into one large order of pilasters, we already called the wing Chantilly castle relating to the era of Henry II.

We present a fragment of the facade ( rice. 440, C). It clearly shows the difficulties that are associated with this system. The entablature reach an exorbitant size in order to maintain proportionality with the pilasters; windows are lost and seem to be obscured. For the sake of the entablature, they make concessions to classical proportions, but, in order not to deprive the windows of their significance, they capture part of the roof with them, turning them into a kind of lucarnes, not connected either with the facade or with the roof; sometimes they even try to cover the windows of two floors with one frame, as if simulating one common opening.

Thanks to all these compromises, the colossal order becomes one of the usual elements of French architecture. We meet him under Henry III in Palace Diane de France(rue Pave, in the Marais); under Henry IV, it was used in the gallery connecting the Louvre with the Tuileries (Fig. 440, L); built during the time of Louis XIII Palace of the Duchess of Savoy(Rue Garancière) is an example of Ionian pilasters, decisively out of scale. Dorian pilasters of a more modest size adorn the Palace of Versailles.

By the beginning of the reign of Louis XIV, a tendency to large orders is more and more decisively manifested. They find in them that greatness that meets the new claims of the monarchy. left And Dorbe they are used in the old southern facade of the Louvre, in the castle of Vaud, in the College of the Four Nations (Institute); Lemuet uses this solemn form to Palace d'Avo(Temple Street); Fr. Mansart uses it on the main façade Minims monastery in the Faubourg Saint Antoine.

Subsequently, Perrault, in 1670, borrowed a colossal warrant as a theme for his Louvre colonnade, and in the 18th century. Gabriel will repeat this order in the palaces of the Place de la Concorde.

Treatment of facades with rustication and panels

Rust treatment. We have already pointed out the consequences that follow from the use of a colossal warrant: the need for huge cornices and the need to over-enlarge openings. It is possible to preserve to some extent the grandeur that the order, rising from the very foundation of the building, gives to the architectural composition, if the pilasters are replaced by rusticated blades. At the same time, costs are reduced, and at the same time, since the forms of the order become, as it were, only implied, the requirements of proportions become less imperative, which makes it possible to limit both the value of entablature and the size of windows.

The segmentation of the facades with rusticated blades instead of pilasters was used by Lemercier in the reign of Louis XIII in Castle Richelieu and in the Cardinal Palace; under Louis XIV, these techniques were used L. Bruant- for processing facades Homes for the disabled, Fr. Mansart - for Val de Grae, Perrault - for the northern ledge of the Louvre.

Decorating with panels.- Architecture does not stop on this path to simplification. In the end, these rusticated shoulder blades are also destroyed; the entablature that tops the facade rests on bare walls, barely decorated with frames that outline the boundaries of intermediate panels.

The courtyard of the House of Invalids is an excellent example of such facades, where only the profiles of cornices and blades remain from the orders. In the same vein, Perrault decorates

Observatory, Fr. Blondel - gate Saint-Denis, Bulle - gate Saint-Martin.

French architecture of the late 17th and 18th centuries

Official style.- In the last third of the XVII century. impoverishment of taste begins, the onset of decline is felt. To prevent it, in 1671 Colbert established the Academy of Architecture and instructed her to fill in the gaps in artisan apprenticeship by teaching theory. He sends architects to Rome to draw inspiration there, orders the publication of works on the monuments of classical antiquity, tries to revive art by elevating the position of its masters. But decrepit art is powerless to revive and rejuvenate. Generation Lemercier and Fr. Mansara is dying out; the generation following him still creates several works worthy of the previous period, but in general style becomes flabby, the performance is mediocre.

In striving for a false ideal of nobility, they stop, following the example of the Italians, on monotonous facades that repeat the same motifs throughout - and this cold symmetry hides the location of the parts of the building so much that behind the same facade there are both chapels and stairs, and even baths; mask even the roofs. The main desire is not to reveal anything from the outside that would remind of material everyday needs.

It is this kind of architecture, as if created not for mere mortals, that the king likes. Jules Hardouin-Mansart applied it fully to the Palace of Versailles ( rice. 441, A); the façade, in which all these tendencies are clearly reflected, belongs to 1675. The tradition of high art and the decline of the eighteenth century. - Last years 17th century marked by a return to more varied forms; then the style of Hardouin-Mansart becomes more flexible, which, perhaps, should be attributed to the collaboration with him of other architects, among whom Saint-Simon names Lassurance.

Be that as it may, but before the death of Hardouin-Mansart (1708), there seems to be some revival: he ends his activity with two masterpieces - the House of
Valides and the Chapel of Versailles. The disasters of the end of the reign of Louis XIV check this revival, and it is resolutely resumed only after the establishment of the Regency. From this moment on, there are, so to speak, two architectures: one continues the strict traditions of the previous period, the other embarks on a path of refined elegance, which very truthfully reflects the sophistication of contemporary society.

The style of the new school, the "rococo" genre, is established only by 1730 and finds its main spokesman in the person of Boffrand; the style of the classical school has successively Gabriel, Soufflet, and finally Louis and Antoine.

Throughout the second half of the reign of Louis XV, both schools exist completely independently: while the palaces of Nancy are overloaded with rococo decorations, the Place de la Concorde is distinguished by the majestic dignity and grandeur of its magnificent outlines ( rice. 441, V, 1750) Messy School mid-eighteenth V. fizzles out by the time of Louis XVI: the philosophical movement directs minds towards antiquity. Tastes change completely, and even the school of Gabriel and Soufflet is tried to be surpassed in purity of forms. With the approach of the revolution, they fall into dryness, and with the revolution, a crisis of art begins, the way out of which is barely visible only in our era.

The general state of architecture in Europe in the 17th and 18th centuries

In the 17th and 18th centuries Europe is influenced partly by modern Italy, partly by France. In general, French influences predominate; Thus, French architects build most of their palaces for the German princes: in Berlin, in Munich, in Stuttgart, in Mannheim.

Inigo Jones, from which classical architecture in England begins, apparently developed his own style by directly studying the monuments of Italy and founded a school, the successor of which in the 18th century. came Chambers, the builder of Somerset Palace.

Wren (S. Wren), architect of the Cathedral of St. Paul in London, adjoins the school that created the Les Invalides in France; the Cathedral of St. Paul, in turn, served as the main model for America in the construction of the Capitol in Washington.

in Russia in the 18th century. mainly Italian influence is manifested - in the palaces of St. Petersburg.

As for Italian art, the echo of which is all modern architectural schools, then his last creations were: Bernini's colonnade on the square of St. Peter, a majestic, but not strict facade, given by the architect Al. Galilee of the church of San Giovanni in Laterano, and the cold buildings of Vanvitelli in Caserta.

MAIN STAGES OF THE NEW ART

FRENCH ARCHITECTURE OF THE 17TH CENTURY

Stone and brick architecture and its forms

The earliest monuments of this style include Palace of Mayenne on Rue Saint-Antoine dating back to the era of Henry III.

Decoration with orders

Under Louis XIII, the tradition of using small warrants was continued by S. de Brosse in Luxembourg Palace and on the facade Saint Gervais.

The same method builds Lemercier central pavilion in Louvre courtyard and in the palace Liancourt(rice, 438) - his main work, from which only one drawing has come down to us.

Now consider the opposite system.

Subsequently, Perrault, in 1670, borrowed a colossal warrant as a theme for his Louvre colonnade, and in the 18th century. Gabriel will repeat this order in the palaces of the Place de la Concorde.

Treatment of facades with rustication and panels

The courtyard of the House of Invalids is an excellent example of such facades, where only the profiles of cornices and blades remain from the orders. In the same vein, Perrault decorates Observatory, Fr. Blondel - gate Saint-Denis, Bulle - gate Saint-Martin.

FRENCH ARCHITECTURE OF THE END OF THE 17th AND 18th CENTURIES

Official style.- In the last third of the XVII century. impoverishment of taste begins, the onset of decline is felt. To prevent it, in 1671 Colbert established the Academy of Architecture and instructed her to fill in the gaps in artisan apprenticeship by teaching theory. He sends architects to Rome to draw inspiration there, orders the publication of works on the monuments of classical antiquity, tries to revive art by elevating the position of its masters. But decrepit art is powerless to revive and rejuvenate. Generation Lemercier and Fr. Mansara is dying out; the next generation still creates several works worthy of the previous period, but in general the style becomes flabby, the execution mediocre.

It is this kind of architecture, as if created not for mere mortals, that the king likes. Jules Hardouin-Mansart applied it fully to the Palace of Versailles ( rice. 441, A); the façade, in which all these tendencies are clearly reflected, belongs to 1675. The tradition of high art and the decline of the eighteenth century. - The last years of the XVII century. marked by a return to more varied forms; then the style of Hardouin-Mansart becomes more flexible, which, perhaps, should be attributed to the collaboration with him of other architects, among whom Saint-Simon names Lassurance.

Throughout the second half of the reign of Louis XV, both schools exist completely independently: while the palaces of Nancy are overloaded with rococo decorations, the Place de la Concorde is distinguished by the majestic dignity and grandeur of its magnificent outlines ( rice. 441, V, 1750) A messy school in the middle of the 18th century. fizzles out by the time of Louis XVI: the philosophical movement directs minds towards antiquity. Tastes change completely, and even the school of Gabriel and Soufflet is tried to be surpassed in purity of forms. With the approach of the revolution, they fall into dryness, and with the revolution, a crisis of art begins, the way out of which is barely visible only in our era.

THE GENERAL STATE OF ARCHITECTURE IN EUROPE IN THE 17th AND 18th CENTURIES

in Russia in the 18th century. mainly Italian influence is manifested - in the palaces of St. Petersburg.

August Choisy. History of architecture. August Choisy. Histoire De L "Architecture

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12-49. French architecture 17th century. Growth of cities. Gardens and parks. Rise of classicism. Works by Leveaux, Mansara. Ensemble of Versailles. Parisian squares.

;font-family:"Arial";color:#5e6669;background:#ffffff">XVII century one of the brightest eras in the development of Western European artistic culture. The most significant and valuable that was created by this era is associated primarily with the art of five European countries Italy, Spain, Flanders, Holland, France. I'll talk about France

;text-decoration:underline;color:#ff0000">City growth

;font-family:"Arial";color:#5e6669;background:#ffffff">The architecture of French classicism of the 17th century was characterized by logical and balanced compositions, clarity of straight lines, geometric correctness of plans and strict proportions.

;font-family:"Arial";color:#5e6669">Construction and control are concentrated in the hands of the state. A new position of "architect of the king" and "first architect" is introduced. Huge amounts of money are spent on construction. Government agencies control construction not only in Paris, but also in the provinces. Town-planning works are widely deployed throughout the country. New cities arise as settlements near the palaces and castles of the kings and rulers of France. In most cases, new cities are designed in the form of a square or rectangle in plan, or in the form of more complex forms - five, six, eight, etc. squares formed by defensive walls, ditches, bastions and towers. Inside them, a strictly regular rectangular or radial-ring system of streets with a city square in the center is planned. Examples include the cities of Vitry-le-Francois, Saarlouis, Henrichemont, Marle, Richelieu, etc.

;font-family:"Arial";color:#5e6669">Old medieval cities are being rebuilt on the basis of new principles of regular planning. Straight highways are being laid, urban ensembles and geometrically regular squares are being built on the site of a chaotic network of medieval streets.

However, in the years French Revolution steps were taken that played a significant role in the history of architecture. In 1794, the Commission of Artists was formed, which was engaged in the improvement of the city, and also planned changes in its appearance. These plans had an impact on subsequent urban transformations in Paris, already implemented in the Napoleonic era.

;text-decoration:underline;color:#ff0000">Paris squares

;color:#ff0000">1) ;font-family:"Helvetica";color:#258fcc"> Place Vendôme

R ;font-family:"Helvetica";color:#292929">Located in the 1st arrondissement of Paris, the octagonal Place Vendôme was named after the son of Henry IV and his mistress, the Duchess de Beaufort, the Duke of Vendôme, whose mansion was located nearby.

P ;font-family:"Helvetica";color:#292929">The horse was designed by an architect;font-family:"Helvetica";color:#292929">Jules Hardouin-Mansart;font-family:"Helvetica";color:#292929">;font-family:"Helvetica";color:#292929">and was built in 1699-1701 according to the classical "royal" scheme: houses with elegant facades form a closed space, in the center of which there is an equestrian monument to Louis XIV. Unfortunately, the monument like many other symbols of the monarchy, it was destroyed during the French Revolution.

P ;font-family:"Helvetica";color:#292929">during the reign of Napoleon Bonaparte, a bronze column was erected in the center of Place Vendôme, made (1806-1810) by the architects Jacques Gonduin and Jean-Baptiste Leper. The column, 44 meters high, was cast from Austrian and Russian cannons, and the Roman column of Trajan served as a model for the Vendome column.

IN ;font-family:"Helvetica";color:#292929">the Andome column is adorned with a spiral bas-relief depicting Napoleon's victories and surmounted by a statue of the emperor (sculptor Antoine-Denis Chaudet). In 1814, the figure of Napoleon was replaced by the white flag of the Bourbon dynasty, and the sculpture itself was later melted down.

IN ;font-family:"Helvetica";color:#292929"> In 1833, a new statue of Napoleon was erected on top of the column by order of Louis Philippe I. And a little later, by order of Napoleon III, who feared that the statue would suffer from bad weather conditions , in the 1850s, the sculpture was exhibited in the Les Invalides, and a copy replaced it on the column.

IN ;font-family:"Helvetica";color:#292929">during the Paris Commune in 1871, the Vendome Column was dismantled member of the Central Committee, the artist Gustave Courbet, insisted on this. But this was not enough for the Parisians as a result, the column was completely destroyed. After defeat of the Paris Commune, the Vendome column was restored and crowned with another copy of the statue of Napoleon (Gustave Courbet was obliged to pay all expenses).

H ;font-family:"Helvetica";color:#292929">Dating back to the Second Empire, Place Vendôme houses the most luxurious boutiques and famous jewelry houses, including Chanel and Cartier. The Ritz Hotel, whose creator Cesar Ritz offered its guests interior and comfort worthy of royal blood.The guests of the hotel at one time were Coco Chanel (by the way, she lived in the hotel for the last 37 years of her life), Charlie Chaplin, Agnes Hemingway, Scott Fitzgerald and many more.

;font-family:"Helvetica";color:#258fcc">2)Charles de Gaulle Square or Star Square

ABOUT ;font-family:"Helvetica";color:#292929">one of the busiest squares in the French capital Place Charles de Gaulle (also known as Place des Stars) is located in the 8th arrondissement of Paris, on top of Chaillot hill.

P ;font-family:"Helvetica";color:#292929">the appearance of the square was not mentioned in any urban planning project, but the construction of the Tuileries Palace and the garden of the same name required a worthy design of the residence of the kings. Therefore, the famous landscape architect of the 17th century, Andre Le Nôtre, right up to the hill of Chaillot paved an avenue (now the famous Champs Elysees), which ended in a round square, and 5 new roads diverged from it in different directions - it was from here that the square originally got the name of Star Square. more like a fork in the road than a square.

WITH ;font-family:"Helvetica";color:#292929">1836, the square is decorated with the majestic Arc de Triomphe, erected in its very center by order of Napoleon Bonaparte and glorifying the military victories of France.

ABOUT ;font-family:"Helvetica";color:#292929">the shape of the square was finally formed only in 1854, when, according to the plan of the prefect of Paris, Baron Haussmann, 7 more streets were added to the square, and then there were 12 avenues-beams. The most famous and wide of these Champs-Elysées, connecting the Place des Stars with Place de la Concorde.

IN ;font-family:"Helvetica";color:#292929"> In 1970, Place des Stars was officially renamed Place Charles de Gaulle in honor of the first president of the Fifth Republic, but Parisians often continue to use the old name.

;font-family:"Helvetica";color:#258fcc">3) Place de la Concorde

;font-family:"Helvetica";color:#292929">The central square of Paris Place de la Concorde is a magnificent creation of the Classical era and is rightfully considered one of the most beautiful in the world.

;font-family:"Helvetica";color:#292929">The architectural project of the future square, the place for which the square was chosen by Louis XV himself, was completed in 1757. The construction was completed only in 1779, and in the very center of the new square, originally called Royal, an equestrian statue was erected by sculptors E. Bouchardon and J.-B. Pigalle.

;font-family:"Helvetica";color:#292929">During the French Revolution, it was decided to rename the square into the Place de la Révolution and demolish the equestrian monument. A guillotine was placed here, on which Louis XVI, Marie Antoinette, L A. Saint-Just, C. Corday, J. J. Danton, C. Desmoulins and M. Robespierre In total, more than a thousand executions were carried out.

;font-family:"Helvetica";color:#292929">In 1795, as a sign of reconciliation of the estates after graduation revolutionary events the square was again renamed this time to Place de la Concorde.

;font-family:"Verdana";color:#000000;background:#ffffff">The ancient Egyptian obelisk (Luxor obelisk), two fountains, equestrian groups and marble statues depicting the cities of France appeared under Louis Philippe. In 1835, the architect Gittorf completed the design of the square, observing the principles of Gabriel's planning: it is not built up around the perimeter with houses, thanks to which wide vistas open up from any point of the square.

;font-family:"Helvetica";color:#258fcc">4) Pyramid Square

R ;font-family:"Helvetica";color:#292929">Located opposite the entrance to the Tuileries Garden, the Pyramid Square got its name in memory of Napoleon Bonaparte's expedition to Egypt.

P ;font-family:"Helvetica";color:#292929">formerly, on the site of the square was the Academy of Horse Riding, which was run by the personal groom of three monarchs Henry III, Henry IV and Louis XIII Antoine de Pluvenel.

IN ;font-family:"Helvetica";color:#292929"> in the center of the square is an equestrian statue of Joan of Arc, made by sculptor Emmanuel Fremier. The monument was commissioned by the republican government back in 1870 after the fall of the Second Empire and installed on the square in 1874 not far from the place where Joan of Arc was wounded in 1429 during the siege of Paris.

More squares in Paris:

;font-family:"Arial";color:#000000">Greve Square

;font-family:"Arial";color:#000000">Pigalle

;font-family:"Arial";color:#000000">Place de la Bastille

;font-family:"Arial";color:#000000">Victory Square

;font-family:"Arial";color:#000000">Place des Vosges

;font-family:"Arial";color:#000000">Republic Square

;font-family:"Arial";color:#000000">Place Tertre

;font-family:"Arial";color:#000000">Chatelet Square

;font-family:"Arial";color:#000000">Place Saint-Michel

;font-family:"Arial";color:#000000">Nation Square

;font-family:"Arial";color:#000000">Place Madeleine

;text-decoration:underline;color:#ff0000">Rise of Classicism. Works by Leveaux, Mansart. Ensembles of Versailles

;color:#000000;background:#ffffff">The most profound reflection of the essential features of the era manifested itself in France in the forms and progressive trends in the art of classicism.

;font-family:"Arial";color:#5e6669;background:#ffffff">Classicism is a stylistic trend in European art, the most important feature of which was the appeal to ancient art as a standard and reliance on the traditions of the High Renaissance.

;font-family:"Arial";color:#000000;background:#ffffff">The second half of the 17th century was the time of the highest flowering of French classicism architecture.

;font-family:"Arial";color:#000000;background:#ffffff">The organization of the Academy of Architecture, whose director was appointed the prominent architect and theorist François Blondel (1617-1686), had a great influence on the development of architecture. Its members were prominent French architects L. Briand, J. Guittar, A. Le Nôtre, L. Levo, P. Miyan, etc. The task of the Academy was to develop the main aesthetic norms and criteria of classicism architecture, which should guide the architects.;font-family:"Arial";color:#000000"> Architectural features of the middle and second half of XVII centuries are reflected both in the huge volume of construction of large ceremonial ensembles, designed to glorify and glorify the ruling classes of the era of absolutism and the powerful monarch - the sun king Louis XIV, and in the improvement and development artistic principles classicism.

;font-family:"Arial";color:#000000">In the second half of the 17th century, a more consistent use of the classical order system is observed: horizontal divisions prevail over vertical ones; high separate roofs constantly disappear and are replaced by a single roof, often masked by a balustrade; three-dimensional composition buildings become simpler, more compact, corresponding to the location and size of the interior.

;color:#000000;background:#ffffff">Representatives of classicism found the embodiment of their social ideals in Ancient Greece and republican Rome, as well as the personification of aesthetic norms for them was ancient art.

;color:#000000;background:#ffffff">Basic style features architecture of classicism on the example of the Palace of Versailles.

;color:#000000;background:#ffffff">Only under the conditions of a powerful centralized monarchy was it possible at that time to create huge urban and palace ensembles made according to a single plan, designed to embody the idea of the power of an absolute monarch. It is no coincidence, therefore, that the flowering of French architecture Classicism belongs to the second half of the 17th century, when the centralization of absolutist power reached its peak.Progressive tendencies in the architecture of French classicism of the 17th century were fully and comprehensively developed in the ensemble of Versailles, grandiose in scale, boldness and breadth of artistic design (16681689).

;font-family:"Arial";color:#333333;background:#ffffff">The pinnacle of classicism in 17th-century French architecture was the Versailles Palace and Park Ensemble, a grandiose state residence of French kings built near Paris. The history of Versailles begins in 1623 from a very modest feudal-like hunting castle, built of brick, stone and roofing slate at the request of Louis XIII.;font-family:"Arial";color:#6699cc;background:#ffffff">Louis Leveaux;font-family:"Arial";color:#333333;background:#ffffff"> (c. 161270) and famous garden and park decorator;font-family:"Arial";color:#6699cc;background:#ffffff">André Le Nôtra;font-family:"Arial";color:#333333;background:#ffffff"> (16131700) Modifying and expanding the original modest castle, Levo creates a composition that is imaginative in plan with an imposing façade overlooking the park, over the design of which works Le Nôtre. A colossal order, which has long belonged to the typical and favorite means of Levo, is placed on the basement. However, the architect tried to bring some freedom and liveliness into the solemn architectural spectacle: the garden and park facade of Levo had a terrace on the second floor, where it was later built;font-family:"Arial";color:#6699cc;background:#ffffff">Mirror Gallery;font-family:"Arial";color:#333333;background:#ffffff">. As a result of the second building cycle, Versailles formed into an integral palace and park ensemble, which was a wonderful example of the synthesis of the arts architecture, sculpture and landscape gardening art. In 167889. the ensemble of Versailles was rebuilt, under the leadership of the largest architect of the end of the century;font-family:"Arial";color:#6699cc;background:#ffffff">Jules Hardouin-Mansart;font-family:"Arial";color:#333333;background:#ffffff"> (1b4b1708) Hardouin-Mansart further enlarged the palace by erecting two five-hundred-meter-long wings at right angles to the south and north façades Hardouin-Mansart built two more floors above the terrace of Levoux, creating along the western facade the famous;font-family:"Arial";color:#6699cc;background:#ffffff">Mirror Gallery;font-family:"Arial";color:#333333;background:#ffffff">, ending with the Halls of War and Peace (168086). Hardouin-Mansart also built two corps of Ministers (167181), which formed the so-called "Court of the Ministers", and connected these buildings with a rich gilded lattice. The architect designed all the buildings in the same style. The facades of the buildings were divided into three tiers. The lower one, modeled on the Italian Renaissance palace-palazzo, is decorated with rustication, the middle the largest is filled with high arched windows , between which are columns and pilasters.The upper tier is shortened, it ends with a balustrade (a fence consisting of a number of figured columns connected by railings) and sculptural groups that create a feeling of magnificent decoration, although all facades have a strict appearance.All this completely changed the appearance of the building , although Hardouin-Mansart left the same height of the building.Gone are the contrasts, the freedom of fantasy, nothing is left but an extended horizontal three-story building, united in the system of its façades hells with basement, front and attic floors. The impression of grandeur that this brilliant architecture produces is achieved by the large scale of the whole, by the simple and calm rhythm of the whole composition. Hardouin-Mansart knew how to combine various elements into a single artistic whole. He had an amazing sense of ensemble, striving for rigor in decoration. For example, in;font-family:"Arial";color:#6699cc;background:#ffffff">Mirror Gallery;font-family:"Arial";color:#333333;background:#ffffff"> he applied a single architectural motif uniform alternation of piers with openings. Such a classicist basis creates a feeling of clear form. Thanks to Hardouin-Mansart, the expansion of the Palace of Versailles acquired a natural character The extensions were strongly connected with the central buildings.The ensemble, outstanding in terms of architectural and artistic qualities, was successfully completed and had a great influence on the development of world architecture.

;font-family:"Arial";color:#000000">One of the works of architecture of the second half of the 17th century, in which the predominance of mature artistic principles of classicism is already clearly felt, is the country ensemble of the palace and park of Vaux-le-Vicomte near Melun (1655 -1661).

;font-family:"Arial";color:#000000">The creators of this outstanding work, built for the general controller of finances Fouquet, were the architect Louis Leveaux (c. 1612-1670), the master of landscape art André Le Nôtre, who planned the park of the palace , and the painter Charles Lebrun, who took part in decorating the interiors of the palace and painting the plafonds.

;font-family:"Arial";color:#000000">In the structure and appearance of the building, as well as in the composition of the ensemble as a whole, there is undoubtedly a more consistent application of classic architectural principles.

;font-family:"Arial";color:#000000">This is manifested primarily in the logical and strictly calculated planning solution of the palace and the park as a whole. The large oval-shaped salon, which forms the central link of the suite of front rooms, has become the compositional center not only of the palace, but also of the ensemble as a whole, since its position at the intersection of the main planning axes of the ensemble (the main park alley running from the palace and the transverse ones, coinciding with the longitudinal axis of the building) makes it the "focus" of the entire complex.

;font-family:"Arial";color:#000000">Thus, the building of the palace and the park are subject to a strictly centralized compositional principle, which allows bringing the various elements of the ensemble to artistic unity and highlighting the palace as the main constituent part ensemble.

;font-family:"Arial";color:#000000">For the composition of the palace, the unity of the internal space and volume of the building is typical, which distinguishes works of mature classical architecture. the tranquility of the silhouette of the building.The introduction of a large order of pilasters, covering two floors above the base, and a powerful horizontal of a smooth, strict classical entablature in profiles, the predominance of horizontal articulations over vertical ones in the facades, the integrity of order facades and volumetric composition, not characteristic of castles of an earlier period. gives the appearance of the palace monumental representativeness and splendor.

Architecture in FranceXVIIcentury. Style definition problem

Introduction

The great geographical discoveries, begun back in the Renaissance, followed by the colonization of the New World, then the victory of heliocentric cosmogony, theories of the infinity of worlds were supposed to shake people's minds, change their worldview. Renaissance anthropocentrism and naive faith in the harmony of the world no longer met the spiritual needs of man. If anthropocentrism remains unshakable, then where is this center in the infinity of the Universe? “The whole visible world is just a barely perceptible touch in the vast bosom of nature. Man in infinity - what does he mean? - Pascal wrote in the 17th century, as if in response to the Renaissance idea of man as a “great miracle”, which God placed at the head of the world. In the 17th century, man already understands that he is neither the center of the universe nor the measure of all things.

The difference in understanding of the place, role and capabilities of a person distinguishes, first of all, art XVII centuries from the Renaissance. This different attitude towards man is expressed with extraordinary clarity and precision by the same great French thinker Pascal: "Man is just a reed, the weakest of the creatures of nature, but he is a thinking reed." Man created the most powerful absolutist states in Europe in the 17th century, formed the worldview of the bourgeois, who was to become one of the main customers and connoisseurs of art in subsequent times. The complexity and inconsistency of the era of intensive formation of absolutist nation-states in Europe determined the nature new culture, which is usually associated in the history of art with the Baroque style, but which is not limited to this style. The 17th century is not only baroque art, but also classicism and realism [Ilyina 2000: 102] .

1. Architectural style in France 17th century

The history of art is sometimes seen as a history of successive styles. The semicircular arches of the Romanesque style were replaced by Gothic lancet arches, later the Renaissance, which originated in Italy, spread throughout Europe, defeating the Gothic. At the end of the Renaissance, a style arose that received the name "Baroque". However, if the previous styles have easily distinguishable features, it is not so easy to determine the features of the Baroque. The fact is that throughout the historical period from the Renaissance to the 20th century, architects operated with the same forms drawn from the arsenal of ancient architecture - columns, pilasters, cornices, relief decor and so on. IN in a certain sense it would be fair to say that the Renaissance style dominated from the beginning of Brunelleschi's activity until our time, and in many works on architecture this entire period is designated by the concept of "Renaissance". Of course, over such a long time, tastes, and with them architectural forms, have undergone significant changes, and in order to reflect these changes, there was a need for smaller style categories.

It is curious that many of the concepts denoting styles were at first just abusive, contemptuous nicknames. Thus, the Italians of the Renaissance called "Gothic" a style that they considered barbaric, brought by the tribes of the Goths - the destroyers of the Roman Empire. In the word "mannerism" we can still distinguish the original meaning of mannerism, superficial imitation, which critics of the 17th century accused of artists of the previous period. The word "baroque", meaning "bizarre", "absurd", "strange", also arose later as a caustic mockery in the fight against the style of the 17th century. This label was used by those who considered arbitrary combinations of classical forms in architecture unacceptable. With the word "baroque" they branded masterful deviations from the strict norms of the classics, which for them was tantamount to bad taste. It is no longer so easy to see the differences between these trends in architecture. We are accustomed to constructions in which there is both a daring challenge to classical rules and their complete misunderstanding [Gombrich 1998: 289].

Art historians cannot come to a consensus regarding the style in the art of that time. The main question is how to distinguish between such concepts as baroque and classicism. Let's make a reservation right away that for different countries, works of art that are attributed to a particular style will have their own characteristics. It is worth noting that the existence of style in different parts of Europe has its own duration, which means that the time frame will be blurred. Let us turn to one of the modern dictionaries to identify the main features of the Baroque. Baroque- (from Italian barocco - bizarre, strange), art style, which occupied a leading position in European art from the end of the 16th to the middle of the 18th centuries. Born in Italy. The term was introduced at the end of the 19th century by Swiss art historians J. Burkhardt and G. Wölfflin. The style embraced all types of creativity: literature, music, theater, but was especially pronounced in architecture, fine and decorative arts. The renaissance sense of the clear harmony of the universe was replaced by a dramatic understanding of the conflict of being, the infinite diversity, the immensity and constant variability of the world around us, the power over man of powerful natural elements. The expressiveness of baroque works is often built on contrasts, dramatic clashes between the sublime and the base, the majestic and the insignificant, the beautiful and the ugly, the illusory and the real, light and darkness. A penchant for composing complex and wordy allegories coexisted with extreme naturalism. Baroque works of art were distinguished by redundancy of forms, passion and intensity of images. As never before, there was a strong feeling of the "theatre of life": fireworks, masquerades, a passion for dressing up, reincarnations, all kinds of "tricks" brought into a person's life a playful beginning, unprecedented entertainment and bright festivity [National Historical Encyclopedia: #"667315.files/image001 .gif">

Rice. 9 Place Louis the Great (Place Vendôme)

Rice. 10 Mirror Gallery of the Palace of Versailles

Rice. 11 Versailles. View of the Royal Palace and park from the west. Architects Louis Leveaux, Jules Hardouin-Mansart, André Le Nôtre. aerial photography

ARCHITECTURE OF FRANCE OF THE XVII CENTURY Completed by: Student of grade 10 a MBOU secondary school No. 94 Mikhailova Christina Checked by: History teacher Fatekhova Tatyana Alekseevna

In the 17th century, the principles of classicism took shape and gradually took root in French architecture. It also contributes to state system absolutism. - Construction and control over it are concentrated in the hands of the state. A new post of "Architect of the King" is introduced. - In urban planning main problem becomes a large urban ensemble with development carried out according to a single plan. New cities arise as military Salomon de Bros Luxembourg outposts or settlements near the palaces of the palace in Paris 1615 -1621 rulers of France. They are designed in the form of a square or rectangle in plan. Inside them, a strictly regular rectangular or radially circular system of streets with a city square in the center is planned. The old medieval cities are being rebuilt on the basis of new principles of regular planning. Large palace complexes are being built in Paris - Jacques Lemercier Palais. Luxembourg Palace and Palais Rho. Piano Paris 1624-1645 yal (1624, architect J. Lemercier).

François Blondel (1617-1686) made an important contribution to the theory and practice of French classicism. Among his best works is the triumphal arch, usually called the Porte Saint-Denis in Paris. One of the works of architecture of the second half of the 17th century, in which the predominance of the mature artistic principles of classicism is already clearly felt, is the country ensemble of the palace and park of Vaux-le-Vicomte near Melun

Jules Hardouin-Mansart Victory Square in Paris Begun in 1684 Place Vendôme 1687 -1720 Jules Hardouin-Mansart, Liberal Bruant Ensemble of Les Invalides in Paris Jules Hardouin-Mansart Les Invalides Cathedral 1679 -1706

In 1630, François Mansart introduced into the practice of building urban dwellings a high, broken form of the roof, using an attic for living quarters. The device, which received the name of the author "attic".

The peculiarities of the architecture of the middle and second half of the 17th century are reflected both in the huge volume of construction of large ceremonial ensembles, designed to glorify and glorify the ruling classes of the era of absolutism and the powerful monarch - the sun king Louis XIV, and in the improvement and development of the artistic principles of classicism. - there is a more consistent application of the classical order system: horizontal divisions prevail over vertical ones; - the influence of Italian Renaissance and Baroque architecture is increasing. This is reflected in the borrowing of baroque forms (curved pediments, lush cartouches, volutes), in the principles of solving the interior space (enfilade), especially in interiors, where baroque features are observed to a greater extent than classicism.

Baroque techniques are combined with the traditions of French Gothic and the new classicist principles of understanding beauty. Many religious buildings, built according to the type of basilica church established in the Italian Baroque, received magnificent main facades, decorated with orders of columns and pilasters, with numerous crepes, sculptural inserts and volutes. An example is the Church of the Sorbonne (1629 -1656, architect J. Lemercier) - the first religious building in Paris, crowned with a dome.

The full and comprehensive development of the trend in the architecture of classicism of the 17th century is received in the grandiose ensemble of Versailles (1668 -1689). The main creators of this most significant monument of French classicism of the 17th century were the architects Louis Leveau and Hardouin-Mansart, the master of landscape art Andre Le Nôtre (1613-1700) and the artist Lebrun, who participated in the creation of the interiors of the palace.

The peculiarities of the construction of the ensemble as a strictly ordered centralized system based on the absolute compositional dominance of the palace over everything around are due to its general ideological design. To the Palace of Versailles, located on a high terrace, three wide straight radial avenues of the city converge, forming a trident. The middle avenue of the trident leads to Paris, the other two - to the royal palaces of Saint-Cloud and So, as if connecting the main country residence of the king with various regions of the country.

The Theater of Versailles The Mirror Gallery The Staircase of the Queen The premises of the palace were distinguished by luxury and a variety of finishes. Expensive finishing materials (mirrors, embossed bronze, precious woods), the widespread use of decorative painting and sculpture - all this is designed to create an impression of stunning splendor. In the Mirror Gallery, thousands of candles were lit in shining silver chandeliers, and a noisy, colorful crowd of courtiers filled the palace suites, reflected in high mirrors.

The park sculpture of Versailles is actively involved in the formation of the ensemble. sculptural groups form complex and beautiful combinations with a variety of fountains and pools. The park of Versailles with its wide promenades, abundance of water served as a magnificent "stage platform" for colorful and magnificent spectacles - fireworks, illuminations, balls, performances, masquerades.

QUESTIONS 1. What is the new position introduced in France in the XVII century. ? A) The architect of the king B) The sculptor of the king C) The royal architect 2. What is the name of one of the best works of Francois Blondel? A) Invalides Cathedral B) Luxembourg Palace C) Arc de Triomphe in Paris 3. In what year did Francois Mansart put into practice the construction of an attic? A) 1660 B) 1632 C) 1630

4. Name the architect - the author of the Sorbonne church. A) Perrot B) Lemercier C) Left 5. What is the link between the royal palaces of Saint-Cloud and So? A) Regions of the country B) the main country residence of the king with various regions of the country C) The country residence of the king and the Palace of Versailles