Perhaps there are few monuments in the world as recognizable as the famous “ Bronze Horseman", installed on Senate Square St. Petersburg.

For two centuries it has been a symbol Northern capital, its pride and place of pilgrimage for tourists. Many St. Petersburg legends are associated with it, one of which served as the plot for Pushkin’s poem of the same name. But who is depicted on the Bronze Horseman monument?

The concept of the monument

“The Bronze Horseman” was solemnly presented to the public during the reign of Empress Catherine. This happened on August 7, 1782, exactly one hundred years after the most famous monarch in the history of our country, Peter the Great, ascended the throne of the Russian state. It was his equestrian statue that later became known as the Bronze Horseman.

Catherine always considered herself a successor to Peter's work in strengthening the power and glory of Russia, increasing its territory and wealth. It is not surprising that for the centenary of the coronation of the great emperor, she planned to create a majestic monument to him. For this purpose, the most famous sculptor of France at that time, Etienne-Morris Falconet, was invited to Russia.

The artist agreed to work for a fairly modest remuneration, inspired by the opportunity to create a truly majestic work of monumental art.

History of the creation of the monument

Although Catherine wanted to see a traditional monument in the European style, where Peter would be represented as an ancient Roman emperor, Falcone immediately rejected this idea.


He saw the monument as completely different - powerful and at the same time flying, mobile, embodying the desire for new horizons.

At that time, no one had yet created an equestrian statue depicting a rearing horse. The main difficulty was to accurately calculate its weight and make the monument stable when supported by just three small points – the horse’s hind hooves and the tip of the horse’s tail.

It took a lot of time to find a pedestal for the monument - a huge solid rock in the shape of a wave. It was found after a long search near Lakhta, and it took a lot of work to deliver the block weighing 1,600 tons to St. Petersburg. For this purpose, a special road was built with wooden rails covered with copper, along which the rock was rolled using thirty steel balls. Transporting the pedestal took almost a year and was a brilliant engineering task in itself.

Even more difficulties arose during the casting of the statue. It was designed to be hollow from the inside, with the front part having thinner walls than the back. The abundance of small details and the complexity of the work led to numerous errors and alterations, which, in turn, increased the production time of the monument.


Falconet had to study foundry himself, since the craftsmen assigned to help him had little understanding of what the sculptor wanted from them. The statue was completely cast only in 1777, after several unsuccessful attempts.

Falcone never got to see main work His life was completely completed: Catherine was angry with him for his numerous delays, and he had to leave Russia home to France.

The sculpture was completed by A. Sandots, who completed the external decoration of the monument, Y. Felten, who supervised the installation of the statue on the pedestal, and F. Gordeev, who sculpted the snake that is trampled by Peter’s horse and which symbolizes the enemies of Russia.

Legends associated with the Bronze Horseman

The magnificent monument gave rise to many legends. Some of them inspired horror - such as stories that on moonless nights the emperor’s statue comes to life, jumps off its pedestal and gallops through the streets of the city he built. Others were based on real events.


So, they say that the idea for the monument to Falcone was inspired by an incident that happened to Peter on the banks of the Neva. One day the tsar bet with his entourage that he would jump from one bank of the Neva to the other. This happened approximately in the place where the monument now stands. The emperor took a running start on his horse and exclaimed: “God and I!” - and flew to the other side. Of course, he immediately wanted to repeat the jump and, shouting: “Me and God!” - sent the horse into a jump.

However, this time the horse fell into the icy water of the Neva approximately in its middle, and the king had to be pulled out by boats. From then on, as they say, Peter did not allow anyone to put himself higher than God.

The French sculptor E.M. Falconet arrived in Russia at the invitation of Catherine II in the fall of 1766. His student Marie-Anne Collot arrived with Falconet. Falconet thought out in advance the program of the monument to the “benefactor, transformer and legislator” of Russia, executed in an innovative way for its time, extremely laconic and global in design. symbolic meaning form. Work on the equestrian sculpture lasted 12 years. M.-A. took part in the creation of the statue of Peter I. Collo, who painted the portrait of the emperor. At the same time, the issue of choosing a place to install the monument was being decided, and a search was underway for a gigantic stone for the pedestal. The so-called “thunder stone” was found in the vicinity of the village of Lakhta. To transport the stone weighing more than 1000 tons, original designs and devices were used, a special barge and ships were built.

Under the direction and participation of Falcone, the casting of the equestrian statue in bronze was carried out by master foundry maker E. M. Khailov. In August 1775, the first, not entirely successful, casting of the sculpture took place. Due to a break in the mold and a fire in the workshop, the upper part of the bronze casting was damaged and it was “cut off.” The final casting of the missing upper part of the statue was carried out by Falconet in 1777. In the summer of 1778, the work of casting and chasing the sculpture was completely completed. In memory of this, the author engraved an inscription in Latin on the fold of the rider’s cloak, which, translated, reads: “Sculpted and cast by Etienne Falconet, Parisian, 1778.” In September of the same year, the sculptor left St. Petersburg. The sculptor F.G. Gordeev took part in the creation of the monument, according to whose model the snake under the horse’s hooves was cast. The progress of work on the construction of the monument after E. Falcone’s departure from Russia was monitored by the architect Yu. M. Felten.

In 1872, on the initiative of the St. Petersburg City Duma, on the occasion of the celebration of the 200th anniversary of the birth of Peter I, 4 lamp posts with candelabra, made at the Chopin factory, were installed at the monument.

According to E. Falconet's plan, there was no fence around the monument. In a letter to D. Diderot, the sculptor wrote the following about this: “There will be no bars around Peter the Great, why put him in a cage?” Contrary to the author’s idea, a fence made by master Stefan Weber was installed for the opening of the monument. In 1903, in connection with the 200th anniversary of the founding of St. Petersburg, the fence, as distorting the original author’s plan, was removed, “thanks to which the monument, the idea of ​​​​which is embedded in the thought of unbridled movement forward, appeared for the first time in all its beauty.”

In 1908, the Academy of Arts created a special commission to study the condition of the monument, and the following year, 1909, the monument underwent serious restoration for the first time, including opening the hatch in the horse’s rump, when over 150 buckets of water that had penetrated inside through numerous cracks were removed. Under the leadership of sculptor I.V. Krestovsky in 1935-1936. Research and restoration work was carried out on the monument.

Modern research of the monument and a complex of restoration work were carried out by the State Museum of Urban Sculpture in 1976. By this time, serious concerns were caused by cracks in the horse’s supporting legs, the cause of which had to be determined. For the first time in the history of the monument, an extensive research program was developed and carried out on the composition of bronze, the state of the protective oxide film - patina, and the strength of the internal frame of the equestrian statue. The study involved scientists from the Polytechnic Institute, laboratories of the Kirov and Izhora plants, and the Research Institute named after. Efremov and other enterprises. Using special equipment, gammagraphy was carried out, as a result of which it became clear that the cause of the cracks was the “overburning” of the metal when, to re-cast the top of the sculpture, Falcone heated its bottom to a high temperature. The composition of bronze has been determined, which contains more than 90 percent copper. The cracks were sealed with inserts cast from specially smelted bronze. The supporting frame was examined and strengthened. Research has shown full picture design features of the monument. The height of the sculpture is 5.35 m, the height of the pedestal is 5.1 m, the length of the pedestal is 8.5 m.

"The Story of the Bronze Horseman"

Charity wall newspaper for schoolchildren, parents and teachers “Briefly and clearly about the most interesting things.” Issue 98, August 2016.

Catherine II, Denis Diderot, Dmitry Golitsyn, Etienne Falconet, Yuri Felten, Ivan Bakmeister, Alexander Radishchev, Ludwig Nikolai, Lewis Carroll and many others: quotes from correspondence and memoirs.

Wall newspapers of the charitable educational project “Briefly and clearly about the most interesting things” (site site) are intended for schoolchildren, parents and teachers of St. Petersburg. They ship free to most educational institutions, as well as to a number of hospitals, orphanages and other institutions in the city. The project's publications do not contain any advertising (only founders' logos), are politically and religiously neutral, written in easy language, and well illustrated. They are intended as informational “inhibition” of students, awakening cognitive activity and the desire to read. Authors and publishers, without claiming to be academically complete in presenting the material, publish Interesting Facts, illustrations, interviews with famous figures of science and culture and thereby hope to increase the interest of schoolchildren in the educational process..ru. We thank the Education Department of the Administration Kirovsky district St. Petersburg and everyone who selflessly helps in distributing our wall newspapers. Special thanks to Nadezhda Nikolaevna Efremova, Deputy Director for Research, for the materials and consultations provided.

2016 marks the 300th anniversary of the birth of the French sculptor Etienne Maurice Falconet. His only monumental work– the world-famous monument to Peter I on Senate Square, known to everyone as the Bronze Horseman. Our wall newspaper contains the main stages of the creation of this, perhaps, the most striking symbol of St. Petersburg. To feel the atmosphere of enlightenment together with the reader Catherine's era, we tried to give the floor to direct participants and eyewitnesses of the events described. Secrets of the Bronze Horseman revealed during the restoration, as well as fascinating story We plan to discuss its pedestal - the “Thunder Stone” - in our next issues.

"Leading to Amazement"

Senate square. Drawing by an unknown author.

“Monument to Peter the Great in Leningrad - outstanding work Russian and world plastic arts. Erected on the banks of the Neva almost two hundred years ago, it became a shining example of the triumph educational ideas, - this is how Doctor of Art History, Professor Abraham Kaganovich begins his fundamental book “The Bronze Horseman” (1975). – Time turned out to have no power over the monument; it only further confirmed its enduring historical significance and aesthetic value. The monument not only glorifies the hero, the outstanding statesman, - in a vivid figurative form it captures the changes that occurred in Russia in the first quarter of the 18th century, at the time of state reforms that radically changed the life of the country... Of great interest is not only the content of the monument, its plastic merits, but also the history of its creation "

Earlier authors also spoke in the same enthusiastic tone (and emphasizing a special interest in the history of the creation of the monument). Thus, the librarian of the Imperial Public Library, writer and theologian Anton Ivanovsky in the book “Conversations about Peter the Great and His Colleagues” (1872) exclaimed: “Which of us, passing through Petrovskaya Square, did not stop in front of the monument to Peter I... which, in its beauty, , majesty and lofty idea has no equal on the entire globe... how much work and incredible efforts did it take to build this marvelous monument, which amazes not only us, but also foreigners? The history of the construction of this monument is so interesting and at the same time instructive...” Entire volumes have been written about the creation of the Bronze Horseman (the most interesting books are listed at the end of the wall newspaper), so we will very briefly note here the key points of this “entertaining and instructive story,” trying to adhere to the memories of contemporaries and assessments of recognized experts.

“Not made by art like this”

Why did Catherine not like the statue by Rastrelli?

Monument to Peter I by B.K. Rastrelli in front of the Mikhailovsky Castle.

In 1762, Catherine II began to reign. The Senate immediately obsequiously proposed erecting a monument to herself. The young empress decided that she would act more wisely, perpetuating the memory not of herself, but of Peter the Great, the transformer of Russia, thereby emphasizing the continuity of her rule.

It is noteworthy that by the time the need arose to erect an equestrian monument to Peter I in St. Petersburg, an equestrian statue of Peter I in St. Petersburg... already existed. We are talking about a sculpture by the Italian sculptor Bartolomeo Carlo Rastrelli. He made a model of the monument during the life of Peter I, having previously made a wax mask-cast directly from the emperor’s face and thereby achieved the greatest portrait resemblance. In 1747, the sculpture was cast in bronze, but after that, forgotten by everyone, it was stored in a barn. Catherine, having examined the monument, came to the conclusion that “it was not made by art in the way that it should represent such a great monarch and serve to decorate the capital city of St. Petersburg.” Why?

With the death of Empress Elizabeth Petrovna, the Baroque era ended in Russia. It's amazing how quickly even the most beautiful creations can go out of style! Empress Catherine the Great and her associates were no longer attracted to lush “curls”; the time of classicism was coming. In art, the simplicity and clarity of the image, the rejection of decorative details, respect for the free personality of the enlightened hero, the motives for conquering wild prejudices and ascending from dense ignorance to bright reason began to be valued. It is natural that during this period architects appreciated the pristine beauty of natural stone. So, “the image created by Rastrelli, where the formidable emperor dominated,” Kaganovich concludes, “in many ways looked like an anachronism. The Age of Enlightenment could not accept such a limited interpretation of it. A new, deeper and more modern solution for the monument was needed.”

"An experienced and talented sculptor"

Why did you choose Falcon?

Sculptural portrait of Etienne Falconet, made by his student Marie-Anne Collot (1773). Museum of the city of Nancy, France.

As Mikhail Pylyaev reports in his famous book “Old Petersburg. Stories from the former life of the capital,” in 1765, Catherine ordered the Russian envoy in Paris, Prince Dmitry Golitsyn, to find her “an experienced and talented sculptor.” Famous French sculptors were considered as candidates for the role of creator of the monument to Peter the Great: Augustin Pazhu, Guillaume Coustou (younger), Louis-Claude Vasse and Etienne Falconet (emphasis on French tradition placed on the last syllable). The presence of Golitsyn’s impeccable artistic flair is confirmed, in particular, by one of his friends, the philosopher-educator Denis Diderot: “The prince... has incredibly succeeded in his knowledge of art... he has lofty thoughts and a beautiful soul. And a person with such a soul does not have bad taste.” Diderot recommended that Golitsyn (as well as Catherine herself, since they were in friendly correspondence) opt for Falcon: “Here is a man of genius, full of all sorts of qualities characteristic and unusual for a genius. He has an abyss of subtle taste, intelligence, delicacy, charm and grace... he crushes clay, processes marble, and at the same time reads and reflects... this man thinks and feels with greatness.”

On August 27, 1766 (250 years ago), Falcone signed a contract for the production of an “equestrian statue of colossal size” in St. Petersburg. In September of the same year, accompanied by his student Marie-Anne Collot, he left Paris for St. Petersburg, where he arrived about a month later and immediately began work. The secretary of the Russian Historical Society, Alexander Polovtsov, in the preface to “Correspondence of Empress Catherine II with Falconet” (published in 1876) indicated: “The artist who undertook such a difficult task and such a long journey was not one of those foreigners who fled to Russia who were not lucky at home, and who thought of finding easy bread in a barbaric country, in their opinion, no, Falconet was exactly fifty years old, and in these fifty years he had already earned place of honor among my fellow citizens...

On September 10, 1766, Falconet left Paris; his things were sent by sea... it turns out that in 25 boxes one only contained the artist’s belongings, the rest were filled with books, engravings, marble, as well as casts and photographs for the Academy of Arts.” Advising his friend, Diderot exclaimed: “Remember, Falconet, that you must either die at work, or create something great!”

“Diderot gave me the opportunity to acquire a person who, I think, has no equal: this is Falconet; he will soon start a statue of Peter the Great, and if there are artists who are equal to him in art, then I boldly think that there are none who could be compared with him in feelings: in a word, he is Diderot’s soulmate,” - so Catherine herself responded about the arriving sculptor.

"Great Deeds and Most Memorable Adventures"

What's "bad" about antique statues?

The statue of the Roman Emperor Marcus Aurelius in Rome is the only equestrian statue to survive from antiquity.

One of the projects of the monument to Peter I by B.K. Rastrelli “with allegorical figures.” Detail of the “Plan of the capital city of St. Petersburg...” by Mikhail Makhaev (1753).

At first, Catherine’s entourage was inclined to copy the composition of one of the equestrian monuments to kings and commanders installed by that time in European countries. This is, first of all, a statue of the Roman emperor Marcus Aurelius in Rome (160–180s); statue of the Italian condottiere (mercenary) Bartolomeo Colleoni in Venice (sculptor Andrea Verrocchio, 1480s); statue of the Elector (ruler) of Brandenburg Friedrich Wilhelm in Berlin (sculptor Andreas Schlüter, 1703); statue of King Louis XIV of France in Paris (sculptor François Girardon, 1683; destroyed during French Revolution 1789-1799) and other outstanding works.

So, Jacob Staehlin, activist Russian Academy scientist and memoirist, wrote: “A statue of His Majesty on a horse will be erected, and its pedestal will be decorated with bas-reliefs glorifying his great deeds and his most memorable adventures.” At the corners of the pedestal there were supposed to be statues of the vices that Peter “with undaunted courage deposed,” namely: “gross ignorance, insane superstition, mendicant laziness and evil deception.” As a backup, there was an option with statues of “heroic spirit, untiring courage, victory and immortal glory.”

Architect Johann Schumacher proposed to build in front of the Winter Palace or in front of the Kunstkamera building “in view of the courtyard, the collegium, the Admiralty, and especially the ships sailing along the Neva River... a building... of white marble, cast metal and red gilded copper and with convex work ", surrounded by allegorical figures of seas and rivers, "showing the space of this state."

Baron Bilinstein proposed erecting a monument on the banks of the Neva - so that Peter would look with his right eye at the Admiralty and towards the entire Empire, and with his left eye at Vasilyevsky Island and the Ingria he conquered. Falcone retorted that such a thing was only possible with strabismus. “The right and left eyes of Peter the Great made me laugh very much; this is more than stupid,” Catherine echoed him. “You seem to think, dear sir,” Falconet wrote to the baron, “that the sculptor is deprived of the ability to think, and that his hands can only act with the help of someone else’s head, and not his own. So find out that the artist is the creator of his work... Give him advice, he listens to it because in the smartest head there is always enough space to accommodate delusion. But if you act as an official distributor of ideas, then you will only be funny.”

Even Diderot recommended a convoluted solution to Falconet: “Show them your hero... driving barbarism before him... with his hair half loose, half braided, with his body covered with wild skin, casting a fierce, menacing look at your hero, fearing him and preparing to be trampled by the hooves his horse; so that on the one hand I see the love of the people stretching out their hands to their legislator, watching him off and blessing him, so that on the other hand I see the symbol of the nation, spread out on the earth and calmly enjoying peace, relaxation and carelessness.”
Ivan Betskoy, president of the Academy of Arts, head of the Commission on Stone Construction (and also the official appointed by Catherine to be in charge of everything related to the construction of the monument to Peter), insisted that Falcone take the statue of Marcus Aurelius as a model. Their dispute went so far that Falcone was forced to write an entire treatise, “Observations on the Statue of Marcus Aurelius.” Along with a deep analysis of ancient sculpture, Falcone ironically notes that in such a pose the horse will not be able to take a single step, since the movements of all its legs do not correspond to each other.

Catherine supported Falcone as best she could: “Listen, throw away... the statue of Marcus Aurelius and the bad reasoning of people who do not understand any sense, go your own way, you will do a hundred times better by listening to your stubbornness...”

“The ancients were not so superior to us; they did not do everything so well that there was nothing left for us to do,” the sculptor believed. It took unsurpassed courage and self-confidence to move away from the age-old traditions of depicting rulers in military armor calmly sitting in identical poses on measuredly walking horses, surrounded by allegorical figures.
The place for the monument was determined on May 5, 1768, when Betskoy announced to the Senate: “Her Imperial Majesty deigned to verbally command the monument to be erected on the square between the Neva River, from the Admiralty and the house in which the Governing Senate is present.”

"Hero on the Emblematic Rock"

How was Falconet's idea born?

Engraving “Equestrian statue of Peter the Great” from the album “Costume of the Russian Empire” (London, 1811).

A snake under a horse’s hooves is a symbol of defeated envy.

While still in Paris, Falconet thought about the design of the future monument and made its first sketches. “That day when I sketched on the corner of your table a hero and his horse jumping over an emblematic rock, and you were so pleased with my idea,” he later wrote to Diderot. – The monument will be made simply. There will be no barbarity, people's love, or a symbol of the nation there. Peter the Great is his own subject and attribute: all that remains is to show it. I imagine the hero not as a great commander and conqueror, although he was, of course, both. We must show humanity a more beautiful sight, the creator, legislator, benefactor of his country... My king does not hold a rod in his hand, he extends his beneficent hand over the country over which he flies, he climbs this rock, which serves as his foundation - an emblem of difficulties which he overcame. So, this fatherly hand, this jump over a steep cliff—this is the plot that Peter the Great gives me.”

The clothes of the future rider caused serious thought. The options offered included a European suit that was fashionable at the time, a Roman toga, military armor, and ancient Russian attire. About modern clothes Ivan Bakmeister, a librarian of the Academy of Sciences, who personally knew Falcone, categorically spoke out in his remarkable work “Historical News of the Sculpted Equestrian Image of Peter the Great” (1783): “The French clothing for the heroic sculptured image is completely obscene, erect and sea buckthorn.” Antique and knightly clothing “is a masquerade when worn by a person who was not a Roman, and especially when he is not depicted as a warrior... If this is an old Moscow caftan, then it is not suitable for someone who has declared war on beards and caftans. If you dress Peter in the clothes that he wore, then it will not make it possible to convey movement and lightness in a large sculpture, especially in an equestrian monument. Therefore, Peter’s costume is the clothing of all nations, all people, all times - in a word, a heroic costume,” Falcone concluded.

The snake as an important element of the composition also appeared as a result of much thought. “This allegory gives the object all the power inherent to it, which it did not have before... Peter the Great was opposed by envy, that is certain; he bravely overcame it... such is the fate of every great man,” Falcone convinced Catherine. “If I ever made a statue of Your Majesty, and if the composition allowed it, then I would throw envy at the bottom of the pedestal.” The Empress answered evasively: “I neither like nor dislike the allegorical snake. I wanted to find out all sorts of objections to the snake...” And there were many objections: some thought that the snake was too “smooth” and it would be better “made with greater curvatures,” others that it was too big or too small. And Betskoy, in conversations with Catherine, presented the snake only as a manifestation of the sculptor’s whim. It soon became clear that the wise Falconet intended the snake not only as a bright artistic image, but also as part of the supporting structure: “People... perhaps too sensitive to the slightly bold but simple trick of my inspiration, believe that the snake should be removed... But these people do not know, like me, that without this happy episode the support of the statue was would be very unreliable. They didn't calculate the strength I needed with me. They do not know that if they listened to their advice, the monument would be unstable.” The fate of the snake was decided by these words of Catherine: “there is one old song that says: if it is necessary, then it is necessary, this is my answer regarding the snake.”

As Kaganovich figuratively put it, “the horseman crushed with his passionate energy, the swiftness of his impulse, a deadly obstacle, a clot of envy, deceit and betrayal that interfered with the free movement of progress.”

Let us finally cite a significant remark by Lewis Carroll (author of Alice in Wonderland) from his Diary of a Travel to Russia (1867): “If this monument had stood in Berlin, Peter would undoubtedly have been busy directly killing this monster, but here he doesn’t even look at him: obviously, the “killer” principle is not recognized here.”

“I have completed my main job!”

How was the work on the model?

Adolphe Charlemagne. M.-A. Collo sculpts the head of Peter I, fragment (1867). Filmstrip “The Bronze Horseman” (1981).

Drawing of a model of the monument to Peter the Great, made by artist Anton Losenko in Falconet’s workshop (1770). Museum of the city of Nancy (France).

Falcone arrived in St. Petersburg at the end of 1766 and, already at the beginning of the next year, having agreed on the composition of the future monument, he began making its “small model”. A year later she was ready and received the highest approval. On February 1, 1768, " big model" - V life size future bronze statue.

The master’s selfless and thoughtful work on every detail is emphasized by the following memories: “... when I had the idea to depict a horse in a gallop and on the rise in sculpture, I turned not to my memory, and even less to my imagination, in order to make an accurate model. I studied nature. To do this, I commissioned the making of a slide, which I gave the slope that my pedestal should have. I made the rider gallop: first, not just once, but more than a hundred times; second - in different time; third - on different horses. For the eye can only grasp the effects of such rapid movements by means of many repeated impressions. Having studied the movement of the horse I had chosen as a whole, I moved on to studying the details. I examined, sculpted, drew every part - from below, from above, in front, behind, on both sides, because there is no other means of obtaining an exact knowledge of the subject; only after these studies did I believe that I had seen and was able to convey a horse rising up in a gallop, to convey the true shape of the muscles and ligaments...” (Note that the camera was invented only 60 years later).

In the contract, Falcone specifically stipulated the possibility of an unhindered choice of horses and sitters. The sculptor chose the best stallions from the court stable - they turned out to be the handsome Brilliant and Caprice. The name of one of the riders is known - Afanasy Telezhnikov. According to legend, Colonel Peter Melissino also posed for Falcone, “with a face and physique very similar to the emperor.” The sculptor was advised by a major horse expert, the English Ambassador Lord Cathcard.

A significant problem turned out to be sculpting the emperor's head.
“In order... to depict the facial features of the original in the model as accurately as possible, he received to the highest command from the Academy of Sciences, a very similar plaster cast head of Peter the Great, he also ordered from Bologna a cast from the chest image located there, very similar to the emperor similar image; In addition, he was allowed to look at his will at the image made from wax, located in the Academy, taken from the face of the emperor himself,” Backmeister testified. Apparently, after several unsuccessful attempts to produce a sculptural portrait of Peter that fully corresponded to the plan, Falcone entrusted this task to Marie-Anne Collot, with whom she, being a portrait painter, coped brilliantly.

In July 1769, a life-size clay model of the future monument was made. Until the spring of next year she was “transferred to plaster.” "I have completed my main job! – Falcone wrote to a friend. “Oh, if the monument I brought to the end was worthy of the great man he depicts, if this monument did not disgrace either art or my fatherland, then I could say with Horace: “Not all of me will die!”

"A fragment of a great epic poem"

What did the public say when the model was unveiled?

This is how the monument to Peter the Great was remembered by the Japanese traveler Daikokuya Kodai, who visited St. Petersburg in 1791. National Museum Tokyo.

Falcone contacted the Academy of Arts and invited Russian artists to discuss the shortcomings of the model, “which may still be there, in order to correct them if possible,” after which the model was exhibited “for two whole weeks for a national spectacle.” “St. Petersburg Vedomosti” wrote about this: “On May 19 from 11 to 2 and in the afternoon from 6 to 8 o’clock, the model Petru Vel will be shown for two weeks from now on. in place of the former winter palace, which is on the Nevsky Perspective, building.”
“Finally, the curtain has risen,” Falcone wrote with excitement. “I am, of course, at the mercy of the public; my workshop is jam-packed.”

“Some praised her, others blasphemed her,” Backmeister testified. – The front part of the horse’s neck, according to the expert’s notes, is made a quarter of an inch thicker than it should be... the astute husband, perhaps not without reason, noticed that the fingers of the outstretched hand were very wide. Does it follow from this, as some have thought, that they were coupled together? Such a hand would not express anything and would not mean anything. Others found that the content of the size of the head in the discussion of the legs was wrong... Others still thought simple clothing was obscene...” Someone Yakovlev “found the emperor’s mustache terrible.” The Synod prosecutor was indignant at the fact that “a man and a horse are twice as large as they usually are.” A certain Englishman demanded a “written explanation” so that he could understand “the meaning of the rock and the position of the horse.” Ludwig von Nicolai, future president of the Academy of Sciences, recalled: “Falcone... had a lot of fun at the judgments of his visitors. One kind fellow exclaimed: “My God! What was this man thinking? Of course, Peter I is called great, and that is what he was. But not the same giant!” One Privy Councilor Falcone met him near the door and, as usual, asked his opinion. “Oh, oh,” he began at first sight. - How could you make such a gross mistake? Don’t you see that one leg is much longer than the other?” - “I thank you for your remark, but let’s explore this matter in more detail.” “Falcone led him to the other side. - “Here you go! Now the other one is longer!” Two men stopped in front of the statue: “Why is Peter extending his hand into the air like that?” “You’re a fool,” the other objected, “he’s testing whether it’s raining or not.” Further, Nikolai wrote: “Falcone paid exceptional attention to the horse, and considered the image of Peter to be almost a secondary matter. He felt that in creating a horse he could surpass the ancient sculptors, but in depicting Peter he could barely reach the old masters. The Russian people, who were expecting a monument to Peter, and not his horse, did not like this, especially when he commissioned his student, Mademoiselle Collot, to sculpt the hero’s head, the main part of the whole work.”

Such criticism both amused and hurt Falcone. “Laugh at fools and go your way. This is my rule,” Catherine encouraged him. However, there were much more rave reviews.
“Today I saw the famous equestrian statue of Peter I,” wrote the French diplomat Marie Corberon, “this is the best of all its kind that I know. You know all the controversy, abuse and ridicule that it caused; I can assure you that she will make you forget all this.” Here is the testimony of one English traveler: “This work combines simplicity with the grandeur of the concept... This monument is one of a kind, and it perfectly expresses the character of both the man and the nation over which he ruled.” Falconet's teacher, Jean-Louis Lemoine (he received a small copy of the sculpture by mail) wrote this: “I always considered Falconet very talented and was firmly convinced that he would create a magnificent monument to the Russian Tsar, but what I saw exceeded all expectations.” .

Diderot, who visited St. Petersburg in 1773-1774, responded, as one would expect, enthusiastically: “This work is like a true wonderful work, is distinguished by the fact that it seems beautiful when you see it for the first time, and the second, third, fourth time it seems even more beautiful: you leave it with regret and always willingly return to it.” “The hero and the horse together make up the beautiful Centaur, whose human and thinking part is surprisingly calm in contrast to the part of the furious animal.” And again: “The truth of nature has retained all its purity; but your genius merged with it the brilliance of ever-increasing and amazing poetry. Your horse is not a snapshot of the most beautiful of existing horses, just as Apollo Belvedere is not a repetition of the most beautiful of people: both are the essence of the work of both the creator and the artist. He is colossal but light, he is powerful and graceful, his head is full of intelligence and life. As far as I could judge, it was executed with extreme observation, but deep study of the details does not harm the overall impression; everything is done in a big way. You don’t feel any tension or labor anywhere; You'll think it's just one day's work. Let me state a hard truth. I knew you to be a very skilled person, but I never imagined anything like this in your head... You managed to create in life... a fragment of a great epic poem.”

Probably, the sculptor most rejoiced at the empress’s words about “that smart beast that occupies the middle... of the workshop”: “This horse, in spite of you and between your fingers touching the clay, gallops straight to the offspring, who, of course, better than his contemporaries will appreciate its perfection.”

"Like Boldness"

History of the Thunder Stone

Medal “Like Daring”, minted in honor of the unique transportation of the Thunder Stone - from the Lakhtinsky swamp to Senate Square.

"An ordinary footstool, on which most of sculptures are approved,” wrote Backmeister, “does not mean anything and is not capable of arousing a new reverent thought in the soul of the viewer... The chosen base for the sculptured image of the Russian hero should be a wild and intractable stone... A new, daring and expressive thought! The stone itself, with its decoration, should remind of the then state of the state and of the difficulties that its creator had to overcome in achieving his intentions... At a distance of almost six miles from St. Petersburg, near the village of Lakhta, in a flat and swampy country, nature produced a stone of terrible size... Looking at it was exciting surprise, and the thought of moving him to another place was terrifying.”

They dug up a huge stone, hoisted it onto a platform with levers, dragged it along special rails to the shore of the Gulf of Finland, loaded it onto a specially designed barge and delivered it to St. Petersburg. The history of the Thunderstone is so fascinating that we decided to dedicate one of the next issues of the wall newspaper to it.

Detailed description of the casting of the statue

Making a plaster mold for the subsequent casting of the statue of Louis XIV. Yverdon Encyclopedia (1777).

Wax copy of the statue of Louis XIV with a system of tubes - for pouring bronze, flowing out wax and releasing steam. Yverdon Encyclopedia (1777).

A mold covered with iron hoops, ready to begin casting the statue of Louis XIV. Yverdon Encyclopedia (1777).
The inscription on the pedestal Latin. Can you translate it? What about the bottom line?

The technology of casting small bronze figurines was known back in the 3rd millennium BC. First, they made a model of the future figurine (for example, from wood). The model was covered with a layer of clay. After hardening, this clay shell was cut into two halves, carefully separated, the model was taken out, and the halves were again connected and wrapped with wire. A hole was drilled at the top of the mold thus obtained and molten bronze was poured inside. All that was left was to wait until the bronze hardened, remove the mold and admire the resulting figurine.

In order to save expensive metal, they learned how to make hollow figurines. In this case, the inside of the mold was coated with a layer of soft wax and the remaining void was filled with sand. A fire was lit under the mold, the wax melted and flowed out. Now the molten bronze poured on top occupied the volume in which the wax had previously been located. The bronze froze, after which the mold was dismantled, and the sand from inside the figurine was poured out through a hole left in advance.

Falcone acted on approximately the same principle (taking into account the fact that the result should have been an eight-ton, five-meter giant, and not a small figurine). Unfortunately, neither Falcone nor anyone around him made any sketches (or they have not yet been discovered). Therefore, we present here drawings illustrating the casting of the monument Louis XIV in Paris.

“First of all, the plaster mold had to be removed from the large model of the sculpture,” says Backmeister. This means that the model was coated on all sides with a thick layer of semi-hardened plaster, trying to fill every fold. The model was first coated with fat so that the plaster would not stick to it. After this plaster mold had hardened, it was cut into pieces, numbered and removed from the model. A layer of melted wax was applied to the inner surface of each piece with a brush.
Falcone understood: in order to ensure the stability of the statue, its center of gravity should be made as low as possible (like that of a tumbler doll). To do this, the walls of the statue must be thick and heavy at the bottom, and very thin at the top, no more than 7.5 mm. Taking this into account, wax of different thicknesses was applied to the mold. Then the pieces of the mold, coated with wax on the inside, were reassembled, reinforced in the right places with a steel frame. The void inside was filled with a special hardening composition of gypsum and ground brick. Now, having carefully removed the plaster mold, Falcone had the opportunity to carefully examine the wax copy of the future statue in order to make final adjustments. “Any remaining unnoticed error in the large model could then be corrected, every feature in the face brought to greater perfection. The maiden Kollot practiced especially in straightening the model of the horseman's head she had made. Several weeks were spent on this work.”
Now it was necessary to carry many wax rods to the most secluded corners of the future statue. Subsequently, having melted inside the clay mass, each such wax rod will turn into a tube - a sprue. The sprues were combined into five large pipes. Special tubes were intended to drain the melted wax, as well as to allow air to escape as the mold was filled with bronze. All these numerous tubes “fit tightly to the model and gave the appearance of a branched tree.”

This entire structure, with the greatest precautions, “had to be covered with a clay composition. The wax was coated with this liquefied matter several times until it was half an inch thick; The dry and hardened bark was covered alternately with brick, glue and earth until it became eight inches thick. In order to properly strengthen the clay mold, they surrounded it with iron strips and rims. The last job left was melting the wax." A huge fire was lit around this new, downright armored mold, which burned for eight days, after which all the wax (and there were 100 pounds of it!) flowed out, making room for subsequent bronze pouring, and the mold itself hardened and became even stronger.

“The time for casting the statue was approaching. The day before, the smelting furnace was fired, the supervision of which was entrusted to the cannon foundry master Khailov. The next day, when the copper had already melted enough, the five main pipes that were led up were opened and the copper was let in” (it should be noted that previously the word “copper” was used to refer to all metals similar in composition, including bronze). “The lower parts of the form are all already filled, which promised best success, but suddenly the copper flowed out of the clay mold and spilled onto the floor, which began to burn. The astonished Falconet (and what artist would not be astonished to see his nine-year work destroyed in a few minutes, that his honor was perishing, and that his envious people were already triumphant) hurried ahead of everyone else from there, and the danger also forced others to quickly follow him. Only Khailov, who looked with indignation at the leaking copper, stayed until the end... and picked up the leaked molten copper to the last drop into the mold, not in the least afraid of the danger to which his life was exposed. Falconet was so touched by this brave and honest act of the foundry master that, at the end of the work, he ran up to him, kissed him heartily and showed his most sensitive gratitude with the gift of several money from his own wallet... However, this casting can be considered the best, which is hardly anywhere committed. For neither in the rider nor in the horse is there a single shell or crack visible in the copper, but everything was cast as cleanly as wax.” As a result of this accident, the upper part of the monument was nevertheless damaged. “The shoulder-length horseman's head was so bad that I broke that ugly piece of bronze. The upper half of the horse’s head along a horizontal line is in the same position,” Falcone grieved. In 1777, he topped up - this time flawlessly.

“A lot of work was still required to finish the cast so that it could be publicly displayed. The composition filling the inside of the mold... and the excess iron device had to be removed; it was necessary to saw off the pipes located along the entire surface of the sculpture, which served to drain the wax, allow air to flow out, and spill molten copper; soak the bark that comes from mixing copper with clay, and beat it off with special tools; fill cracks and crevices with copper; give uneven or thickly cast parts a proportionate thickness and generally try to polish the entire sculpture in the most perfect way... Finally, Falconet enjoyed the pleasure of seeing his creation completely finished.” In memory of these events, the sculptor left the inscription on the fold of Peter I’s cloak: “Sculpted and cast by Etienne Falconet, a Parisian in 1778.”
Alas, at this stage, Falconet’s relations with Catherine’s entourage, primarily with Betsky, deteriorated so much that the master was forced to leave St. Petersburg forever, without waiting for the opening of his main creation. Backmeister wrote bitterly: “The confluence of various circumstances... made his further stay in St. Petersburg unpleasant for him, despite all the respect that his art and scholarship deserved. His departure was left to his will, and after a twelve-year stay here, he left in September 1778...”

The completion of the unfinished work was entrusted to Yuri Felten, academician, chief architect of the Office of Her Imperial Majesty's Houses and Gardens, who had been working with Falcone for several years. I wonder what was left to do? “Under the leadership of Felten,” Kaganovich reports, “two stones were placed in front and behind the rock, which somewhat lengthened the pedestal and gave it the shape that it retains to this day. Placing the statue on the pedestal was undoubtedly a great challenge. However, in in this case Felten did not encounter undue difficulties, since it is known that the calculations during the casting turned out to be so accurate, and the casting itself was carried out with such skill that the rider, mounted vertically and not yet strengthened in any way, retained reliable stability. Felten also had to, according to his “report” to the Office of Buildings, “... make a model of the parts of the snake, pour them out and strengthen them on stone. Around the monument, pave the area with large pieces of wild stone and surround it with a lattice with decent decorations,” and also “strengthen the inscription on both sides of the pedestal.” By the way, Falcone was against the fence: “There will be no bars around Peter the Great - why put him in a cage?”

The inscription on the pedestal also has its own interesting history. Diderot proposed this option: “Catherine the Second dedicated the monument to Peter the Great. The resurrected valor brought this huge rock with colossal effort and threw it under the feet of the hero.” Falcone, in a letter to Catherine, insisted on a shorter inscription: “Peter the First was erected by Catherine the Second” and clarified: “I would very much like that... they didn’t think of writing anything more... thanks to the newest bad minds, they began to make endless inscriptions, in which chatter is wasted when one apt word would be enough.” Catherine, having removed the word “erected” with a royal flourish, gave her descendants a laconic and deeply meaningful motto in St. Petersburg: “Catherine the Second to Peter the Great.”

“This simple, noble and lofty inscription expresses everything that only the reader should think about it,” sums up Backmeister.

“The image of the monarch appeared in the highest perfection”

Description of the opening of the monument

Unveiling of the monument to Peter I on Senate Square in St. Petersburg. Engraving by A.K. Melnikov from a drawing by A.P. Davydov (1782). State Hermitage Museum.

View of St. Isaac's Bridge. Colorized lithograph (1830s). The impression of the monument to Peter the Great was further enhanced by the fact that a floating bridge across the Neva was built directly opposite it (existed in 1727-1916 with interruptions).
“Behind him everywhere the Bronze Horseman galloped with a heavy stomp...” Illustration by A.N. Benois (1903) for the poem “The Bronze Horseman” by A.S. Pushkin.

Many descriptions of this spectacular festival have been preserved; The most valuable thing for us is the memories of eyewitnesses. Let's listen to Ivan Backmeister: “...Everyone looked forward with pleasure to the day on which this monument was to be opened to the public. Her Imperial Majesty deigned to set this celebration on the 7th day of August 1782... The opening of this monument followed exactly one hundred years after the accession to the All-Russian throne of the hero to whom it was erected in honor. Before the grand opening of the statue... a linen fence was placed near it, on which stones and mountainous countries were depicted in various colors. The weather was... at first cloudy and rainy; but, despite this, people flocked from all parts of the city... in the thousands. Finally, as the sky began to brighten, spectators began to gather in great crowds in galleries specially made for this occasion. The Admiralty Wall and all the windows near the houses were filled with spectators, even the very roofs of the houses were covered with them. At noon, the regiments designated for this celebration, under the leadership of their commanders, set off from their places and took the places shown to them... The number of troops extended to 15,000 people... At the fourth hour, Her Imperial Majesty deigned to arrive on a boat. Soon after this, the monarch appeared on the balcony of the Senate. Her favorable appearance attracted the gaze of countless people, filled with reverent surprise. The signal followed - at that very moment the fence fell to the ground without visible support, and the sculptured image of the Great Monarch appeared in the highest perfection. What a disgrace! (Have you noticed, dear reader, this word? A linguistic gift straight from the 18th century! You can conduct your own little research– why did the author write it that way). “The Great Catherine, filled with feeling for the feats undertaken by her ancestor for the bliss and glory of Russia, bows her head before him. Her eyes are filled with tears!.. Then nationwide exclamations were heard. All regiments congratulated the sculptured image of the hero by beating drums and saluting, bowing banners and proclaiming three times congratulations, accompanied by the thunder of cannons from the fortress, from the Admiralty and from the imperial yachts, which were immediately decorated with flags and proclaimed this joyful triumph in all parts of the city, to which it should forever be precious and holy. At the end of the day, the whole city was illuminated, and especially Petrovskaya Square, with a great variety of lights.”

Alexander Radishchev, the author of the famous “Journey from St. Petersburg to Moscow,” also impressed by the opening of the monument, wrote in a letter to a friend: “Yesterday the dedication of the monument to Peter the Great took place here with splendor in honor of the erected... The statue represents a powerful horseman, on a greyhound horse, rushing up the mountain steep, whose peak he had already reached, crushing the snake lying on the way and stopping the encroaching snake with his sting, the rapid rise of horse and rider... The steepness of the mountain is the essence of the obstacles that Peter had in putting his intentions into action; the snake lying on the way - deceit and malice that sought his death for the introduction of new morals; ancient clothing, animal skin and all the simple attire of horse and rider - the essence of simple and rude morals and lack of enlightenment that Peter found in the people whom he set out to transform; a head crowned with laurels - for the conqueror was before the legislator; the appearance of manly and powerful and the strength of the transformer; an outstretched hand, protective, as Diderot calls it, and a cheerful gaze are the essence of inner assurance that has reached the goal, and the outstretched hand shows that a strong husband, having overcome all the vices that opposed his aspirations, gives his protection to everyone called his children. Here, dear friend, is a faint image of what, looking at the image of Petrov, I feel.”

There is no need to say that even today Falcone’s immortal creation continues to inspire admiration. Art critic Solomon Volkov writes in his book “The Cultural History of St. Petersburg from the Founding to the Present Day”: “Although almost everyone understood and recognized the high merits of the monument, it was hardly clear to the first viewers that before them was one of the greatest works of sculpture of the 18th century. And of course, walking around the statue of equestrian Peter and as they moved, discovering more and more new aspects of his image - a wise and decisive legislator, a fearless commander, an unyielding monarch who did not tolerate obstacles - the crowd did not realize that before them was the most important, eternal, forever the most a popular symbol of their city."

“However, no one perceived the sculptor’s creation as deeply and subtly as Pushkin,” Kaganovich rightly concludes. In the fall of 1833 in Boldino, the monument to Peter the Great forever became the Bronze Horseman for us. Impressed by Pushkin's poem, composer Reinhold Glier created a ballet of the same name, a fragment of which became the official anthem of St. Petersburg.

"Protect the stone and bronze"

How to behave with monuments?

An employee of the State Museum of Urban Sculpture applies a special restoration agent to the statue.

The Bronze Horseman today.

Since 1932, the study, protection and restoration of the Bronze Horseman (along with other monuments of monumental art in our city) has been the responsibility of the State Museum of Urban Sculpture. Nadezhda Nikolaevna Efremova, Deputy Director of the Museum for scientific work, told us about the culture of handling monuments.

“Monuments are the most accessible form of fine art. To see, for example, a painting or theatrical production, you need to put in some effort. And the monuments are always in front of us - in the city squares. It is difficult for monuments to live in the modern world. Intensifying negative impacts, which the author could not even foresee. For example, vibration. After all, the monuments were created at a time when heavy vehicles had not yet walked the streets. Another problem is the blockage of groundwater flows as a result of economic activities. As a result, water flows under the heavy pedestal, setting its constituent stone blocks in motion. At the same time, the gaps between them increase and the seams are destroyed, which we treat with a special mastic. Monuments, although made of metal and stone, are generally defenseless against humans. I saw how on holidays people climbed onto the neck of a horse, grabbing its front legs, not realizing that the thickness of the metal here was insignificant. Pressing bronze even with the soles of boots is as easy as shelling pears. This unusual stress causes invisible cracks in the metal. In our climate - from temperature changes, from water getting inside - any microcrack grows rapidly. It is also very important not to disturb the patina - the thinnest film covering the bronze. The coloristic features of the patina are the calling card of each monument. And if someone (it is not clear why) scratches or polishes some part of the statue to a shine, he not only makes the bronze unprotected, but also destroys the unique shade of patina, which is extremely difficult to reproduce. Falcone from the very beginning refused to install a fence: “If you need to protect stone and bronze from crazy people and children, then there are sentries in the Russian Empire.” Without relying on the “sentinels,” it would be good for us to realize that any contact with the monument (except visual) is detrimental to it.”

In one of the next issues we will continue the conversation about the secrets of the Bronze Horseman revealed during its latest restoration.

What to read about the Bronze Horseman?

Kaganovich, A. L. The Bronze Horseman. History of the creation of the monument. L.: Art, 1982. 2nd edition, revised. and additional

Ivanov, G.I. Stone-Thunder: history. story. (To the 300th anniversary of St. Petersburg). St. Petersburg: Stroyizdat, 1994.

Arkin, D. E. The Bronze Horseman. Monument to Peter I in Leningrad. M.-L.: Art, 1958.

Creation of a model and casting of the monument to Peter I in St. Petersburg. Extract from the work of I. G. Backmeister 1782-1786.

Opening of the monument to Peter I in St. Petersburg. August 7, 1782 Extract from the work of I. G. Backmeister. 1786

Lewis Carroll. Diary of a trip to Russia in 1867. Translation by N. Demurova

Radishchev A.N. Letter to a friend living in Tobolsk/Communication. P.A. Efremov // Russian antiquity, 1871. – T. 4. – No. 9.

Correspondence of Empress Catherine II with Falconet. Text of letters to French, with translation into Russian. Collection of the Imperial Russian Historical Society. Volume 17. St. Petersburg, 1876. Electronic version– on the website of the Presidential Library upon application.

Shubinsky S.N. Historical essays and stories. SPb.: Type. M. Khan, 1869.

Ivanovsky, A. Conversations about Peter the Great and his employees. SPb.: type. Children's care homes. poor, 1872.

Drawing by A. P. Losenko from the Falconet monument to Peter the Great. P. Ettinger. Based on materials from the monthly for lovers of art and antiquity “Old Years”, March 1915.

Newspapers for the holidays by selecting the appropriate menu item there. We remind you that our partners in their organizations distribute our wall newspapers for free.

Yours Georgy Popov, site editor

On August 27, 2016, the premiere of the cartoon “The Bronze Horseman” took place at the “Chaika” cinema center, created by the children of the “CartoonChaika” studio based on the idea and under the direction of our friend Lena Pilipovskaya. In close contact with our project. An excellent educational cartoon in the Mustlook category!

In St. Petersburg you can drink, eat, sleep, but most importantly, look and listen. More than anything else, I love to wander the streets of this lonely ghost town in the evening, when the sun has almost sunk into the water and the noise of the wind has intensified. In such an atmosphere, it is very important to have a good interlocutor and a loyal friend nearby; it is better for him to be a man and, if something happens, to protect him from hooligans and others mythical creatures.

Once, when I had just moved to St. Petersburg, I met such a gentleman. Of course, he was old enough to be my father, but we still meet with him to spend the day and meet the night. This stone man- is not an ordinary monument, it is impossible to just walk past it without looking into its eyes, without standing at its base, it has energy that everyone should feel. It hides the true essence of the city; it is hardly possible to unravel its secret, but I managed to discover one of its facets. For me, the Bronze Horseman became a friend, and for you?

The history of the creation of the Bronze Horseman

Petersburg is a city with great history, which is why there are so many architectural masterpieces and monuments here. The most majestic for me is the Bronze Horseman.

hinted at Alexander the Great and his horse Bucephalus or Perun the Thunderer. Sometimes it goes to the extreme, and you can hear that this is one of the Horsemen of the Apocalypse.

Mysticism and music

The ambiguity in assessing the personality of Peter I - the Bronze Horseman frightened Alexander I, and he decided to ban the publication of the poem. But it was not only the mysticism of Pushkin’s hero that aroused fear in the emperor. In 1812, Napoleon was expected in St. Petersburg, so they took out all the valuable surroundings of the city. The Bronze Horseman also had to join the ranks of the nomads, but mystical story, which the emperor learned about through a friend of Galitsin, stopped him.

Major Baturin for a long time he had the same dream, in which the ghost I appeared to him. He descended from his pedestal and burst into the palace to Alexander. The major shared this nightmare with Galitsin. By the way, I read that history formed the basis of Pushkin’s poem. The monument also haunted Paul and ordinary townspeople, but all this is fiction. The monument still stands in its place and protects the city. Perhaps someday it will really come to life, as, for example, happens in literature and music.

Dostoevsky, Bely, Shevchuk, Grebenshchikov... They tried repeatedly to revive the stone face. In front of this monument, you can turn on one of the compositions and look into the distance with Peter. In order to penetrate into the essence of things, I need a special atmosphere, and since I always have headphones in my pockets, I look with pleasure at the silent Peter to the sounds of St. Petersburg rock. I offer you a playlist in which you will find the image of your Bronze Horseman, because it is in these lines that his story dies and is reborn, his the eternal City. Do you want to become a part of it? Then join in:

• “Road 21”, “Sands of St. Petersburg”, “Babylon”, “Young Lions”, “The Empress” - Boris Grebenshchikov;
• “Black Dog Petersburg”, “Saturday”, “Leningrad”, “Love” - Yuri Shevchuk;
• “Petersburg Wedding” and “Absolute Watchman” - Alexander Bashlachev;
• “The Horseman”, “Petersburg Wedding” - Alexander Vasiliev.

Attractions nearby

The Bronze Horseman monument in St. Petersburg is located in the historical center, so you can continue your journey. On the map I marked the most interesting places that are very close.

If you turn your back to the Neva, you will see St. Isaac's Cathedral. If you have time and energy, then it’s worth climbing the cathedral colonnade. From this angle, you will not look down on Peter, but he will raise his head and be surprised. For ascension and freedom you will have to pay 150 rubles, and at night - 400. Every third Wednesday of the month, workers take a day off, so it’s worth planning your visit. The Hermitage is also nearby; you can read about it in detail. Afterwards you can go to the palace bridge and go straight along it to the Spit of Vasilyevsky Island. If you are walking in the evening, you should take something warm with you, otherwise you will freeze.

My advice to you: fall in love with St. Petersburg, get acquainted with other interesting sights, go to exhibitions and theaters. Here two elements collide: water and stone. They fight just like an angel and a demon for the soul of a person in the hustle and bustle of everyday life. We don't notice it, but we must remember that the battlefield is within us.

→The Bronze Horseman

Bronze Horseman

Monument to Peter the Great "Bronze Horseman" in St. Petersburg.

The monument to Peter I "The Bronze Horseman" was erected by order of Catherine II in 1782 according to the model of the sculptor E. Falcone. The sculptor was recommended by Denis Diderot. The sculptor arrived in St. Petersburg in 1766, accompanied by his talented student Marie-Anne Collot. It was she who made Peter's head for this monument, reflecting all the originality and complexity of the emperor's character. Falcone constantly emphasized his student's equal participation in the work.

Unfortunately, Falcone did not wait for the completion of the work and the opening of the monument and, due to court intrigues, was forced to leave the city.

Extreme simplicity and rigor combined with extraordinary expressiveness and dynamism make this monument so memorable.

The statue was cast in bronze (176 tons of bronze and 4 tons of iron) and mounted on a huge granite monolith weighing 1,600 tons, which was given a wave shape, symbolizing Peter's aspirations I elevate Russia as sea ​​power, bring her out of the abyss of ignorance. The rearing horse, which, nevertheless, was firmly controlled by the king, reflected the character and rebellion of the people. And the snake under the hooves personified the enemies of Peter’s reforms (in addition, this is a skillfully executed third point of support for the monument).

This was the first monument erected on the city square of St. Petersburg. There was another ready-made monument to Peter I, executed by Rastrelli, which was kept hidden from view until 1800.

Initially, in 1762, it was proposed to erect a monument to Catherine II on Senate Square, but the empress decided to erect a monument to the founder of the city, Peter I, on the 100th anniversary of his accession to the throne.

The laconic inscription on the monument to Peter I Catherine II, according to legend, was proposed by the empress herself. Thus, she, the ideological and spiritual follower of Peter the Great, emphasized that she was “second” not after the rootless Catherine the First, but “second” after the great reformer Peter I.

On the day of the opening of the monument (August 7, 1782), Empress Catherine II was incredibly generous and showered some with favors and rewards, and forgave others for their faults... One of those forgiven by the empress that day was the insolvent debtor, archaeographer I.I. Golikov. According to legend, having received his freedom, he came to the monument to Peter the Great, fell on his knees in front of it and, in gratitude for his pardon, swore an oath to devote the rest of his life to studying and writing the history of the “acts of Peter.” He lived until 1801 and managed to write and publish 30 volumes of “The Acts of Peter the Great.”

Address: Senate Square (Decembrist Square)

There is a legend that in 1812, when St. Petersburg was in danger of a Napoleonic invasion, Alexander I ordered the statue of Peter I to be taken to the Vologda province. At this time, a certain Major Baturin had a dream that he was standing on Senate Square near the monument to Peter I and saw that the horseman was suddenly moving off the pedestal and heading towards the palace of Alexander I. The concerned emperor comes out to him, and Peter tells him the following: “Young man, what have you brought my Russia to! But while I’m in place, my city has nothing to fear!” Baturin allegedly obtained a reception from Prince Golitsyn, to whom he recounted his dream and asked to convey it to the Tsar. According to legend, Alexander reversed his decision to evacuate and the statue remained in place. And never did the boot of an enemy soldier touch St. Petersburg soil.

During the Great Patriotic War, the Bronze Horseman was lined with sandbags and covered with wooden sheets.

In the history of Imperial Russia, only two monarchs earned the titles of “Great” - Peter the Great and Catherine the Second. It was they who managed to take the country to new heights, expand its borders and change the life of the Russian people. And on this monument their names stand side by side: “To Peter the Great, Catherine the Second. Summer of 1782,” reads the inscription in Russian and Latin. The masterpiece was created by the French sculptor Etienne Falconet, his student Marie-Anne Collot worked with inspiration on the face of Peter. German architect Georg Felten skillfully chose the location for the monument. Russian peasant Semyon Vishnyakov found an unbearable boulder in the swampy land of the Lakhtinsky forests. The huge snake was sculpted by Fyodor Gordeev. Working together, Russian and foreign craftsmen erected a miracle monument with light hand A.S. Pushkin, called "The Bronze Horseman" and became one of highest achievements European art 18th century.