Petersburg State Academy of Art and Industry. Opening hours of the museum and exhibition hall

Alexey Rybnikov.

I continue my story about visiting St. Petersburg, the previous part was devoted to

Today there will be a story about visiting the building of the former Stieglitz School, now it is the St. industrial academy named after A. L. Stieglitz.
I beg your pardon for the quality photo in the museum it’s dark, you can only take pictures without a flash, and my weak soap dish hardly pulls out in such situations.

The building was designed by the first director of this educational institution - the architect M. E. Messmacher.

In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz (1814-1884).

In front of the entrance to the museum there are two bronze floor lamps, they are decorated with figures of the way, busy with creativity.

The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 (about 7 million rubles) and trained artists of decorative and applied arts for industry, as well as teachers of drawing and drafting for secondary art and industrial schools.

A prominent role in the development of this educational institution was played by a prominent statesman, son-in-law of Baron Stieglitz, Alexander Alexandrovich Polovtsov (1832 - 1909).

In 1885, according to the project of M.E. Messmacher, the construction of a special museum building begins. At international auctions, with well-known foreign and Russian antique dealers and collectors, with the active participation of A.A. Polovtsov acquired collections of objects of applied art. A unique museum collection is gradually taking shape, distinguished by its diversity and high artistic level of the monuments of Antiquity, the Middle Ages, the Renaissance, and included works of Western European, Eastern and Russian applied art XVII and XVIII centuries.

Since its opening, the museum has been at the center cultural life Petersburg. Brilliant exhibitions of the World of Art Association (1898), Historical Exhibition of Art Objects (1904), Exhibition of Church Antiquities (1915) and many others were held in its Great Hall. The museum becomes one of the most important elements aesthetic education future artists. In 1892, 200 people studied at the school; there were departments: general art, majolica, decorative painting and carving, embossing, woodcuts and etching, porcelain painting, weaving and printing.

Pupils of the Stieglitz School fruitfully worked in various areas of the art industry: at the Imperial porcelain and glass factories, in the jewelry firm of Carl Faberge, workshops Imperial theaters. Their skill and inspired work created authentic masterpieces who made the glory of the Russian applied art of the Silver Age.

Anteroom.

Calm creative activity The school and its museum was interrupted in 1915: World War made tough adjustments to the life of Russia and its capital, completely subordinating it to the laws of wartime. In August 1915, the School Council decides on the temporary provision of museum premises Russian society Red Cross to set up workshops for the production of gas masks for the army and dressings for 900 workers, as well as storage facilities.

Events at the fronts were not going well, and it was decided to prepare the museum's collection for evacuation to Vyatka. 257 boxes with the museum collection and 55 boxes with the School library (the rarest editions, manuscripts, engravings) were prepared for transportation. They were temporarily placed on the first floor of the building, in the Gothic and Russian halls, where they stood until the early 1920s.

The political and economic instability that hit Russian society, a premonition by representatives of the propertied sections of the population of revolutionary events, forced them to part with their family values, family heirlooms and art collections. In Petrograd at that time, both the official and illegal antiques market flourished, so a huge number of the most various works art during this period found new owners. But not only a great offer antique market explains the purchasing activity of the Museum of the School, but also the obvious senselessness of saving Money schools in a situation of catastrophic inflation. All this undoubtedly contributed to the fact that it was in the museum of the School that a significant number of art treasures.

Until 1919, the leadership of the School acquired for the museum both individual exhibits and entire rather expensive collections. So, for example, at the end of 1915, a collection of bronze items with cloisonne enamel created in the Caucasus in the 13th century was purchased from Count A.A. Bobrinsky for 18,000 rubles, in 1916 a number of art objects from the collection of the famous Russian historical painter K.E. Makovsky, in October 1918, a collection of products with enamel of the 18th century was purchased from the head of the library of the School, a well-known collector of Russian antiquities in the capital, architect I.A. Galnbek for 18,890 rubles, from a certain Bork for 20,000 rubles bought a collection of Russian glass, consisting of 160 items.

In addition, the first post-revolutionary years were marked by the replenishment of the museum’s collection and through donations: in July 1918, the famous researcher of Russian architecture V.V. Polovtsov Jr. donated a collection of Persian miniatures to the museum.

After the revolution, the Stieglitz School, like other educational institutions of that time, is going through a period of reforms. Not only its name is changing (the educational institution becomes higher school decorative arts) and the main directions of its activities are being adjusted, but, finally, in 1918, together with the Academy of Arts, it is reorganized into the State Labor Educational Workshops of Decorative Arts.

Despite the political and economic difficulties of the first post-war years, due to the uncertainty of the legal status of the School Museum, it remained one of the main museum centers in Petrograd. It was in this museum that the largest private collections of the city were transferred for storage, which undoubtedly saved them from destruction and plunder. So, in August 1917, Princess E.G. of Saxe-Altenburg, apparently, before leaving for emigration, transferred to the museum her personal collection of art treasures, consisting of 1791 items (porcelain, crystal, bronze, enamels, furniture, tapestries) for storage.

In December of the same 1917, a collection of applied arts - porcelain, crystal, carved bone and stone, which included 2801 items. In 1918, A.A. Polovtsov transferred to the museum part of his personal art collection and property from his dacha on Kamenny Island, in 1919 and somewhat later, the museum received the collections of princes Gorchakov, Shakhovsky, Musin-Pushkin and others.

Hall "Teremok".

As a result, by the beginning of the 1920s, up to forty thousand unique works applied arts, which needed to create appropriate storage conditions. The building of the museum during the years of post-war devastation was in a catastrophic condition and required urgent overhaul. In March 1923, the Council for Museum Affairs of the Petrograd Department of Scientific and Artistic Institutions (PUNU) resolved the issue of transferring the Museum of the School from the jurisdiction of the Academy of Arts to the subordination of PUNU.

In the autumn of 1923, an act was signed to transfer the museum "with all the collections listed in the inventory books" to the State Hermitage. This forced action was a salvation for the museum, since only the Hermitage at that difficult time could guarantee the preservation of the collections for national culture. So in Petrograd appeared new museum- I branch State Hermitage (former museum Stieglitz School), which existed as an independent institution until the early 1930s.

New trials fell to the lot of the museum during the Great Patriotic War. At the very beginning of the war, the glass dome of the Bolshoi exhibition hall, significant damage was caused to the building from direct hits of two shells and an air bomb. The Hermitage employees, in the spring of 1942, began to transport and transfer thousands of objects of applied art to the main building of the Hermitage on Palace Embankment in order to save them from death.

Immediately after the blockade was broken, in the winter of 1943, the city authorities decided to open a school for architectural decoration of buildings on the basis of the former Stieglitz School to train master restorers: marblers, sculptors, mosaicists, cabinetmakers, painters.

A new stage in the life of the museum began on February 5, 1945, when the Council of People's Commissars of the USSR adopted a resolution on the re-establishment of an art-industrial school in Leningrad. In 1949 it becomes the highest educational institution, and in 1953 he was named after the People's Artist of the USSR, sculptor V.I. Mukhina.

The museum, recreated at the same time as the school, was returned part of its collection from the Hermitage, the Russian Museum, where the exhibits got in the 1930s, and objects of applied art were transferred from other museum organizations: the Museum of the History of Religion and Atheism, the State Research Museum architecture them. A.V. Shchusev, Museum of the Moscow Institute of Applied and Decorative Arts.

In 1994, LVHPU them. V. I. Mukhina was transformed into the St. Petersburg State Academy of Art and Industry. December 27, 2006 the Academy was named after A. L. Stieglitz.

Today, the museum exposition is located on the first floor of the building. The museum collection contains samples of Russian and Western European arts and crafts of the 16th and early 20th centuries, Soviet applied art, industrial design. In the museum you can see rare collections of Russian tiled stoves 18th century, Soviet fabrics of the 1920s-1940s, artistic furniture, porcelain, metal, ceramics, fabrics, glass, costumes of the 16th and early 20th centuries.

M.E. Messmacher. Decorations of the southern wall of the Roman stairs with the image of St. Peter's Cathedral in Rome. end of 1885

Raphael (Papal Gallery).

If you climb the stairs, you can get to the sculpture workshop.

View from the stairs.

The huge main hall is an "atrium" covered with a double iron-glass dome. It is executed in the form of a majestic two-tiered arcade, similar to the courtyards of Italian Renaissance palazzos. The striking contrast of this traditional theme is a floating floor structure, made according to the type of lattice construction trusses of the French engineer C. Polonso. This is one of the most daring and perfect examples new architecture"iron and glass" in Petersburg construction of the late 19th century.

The F.C. San Galli factories made the metal base of the double glass ceiling Great Hall museum. The painted glass to cover this dome was produced by the well-known Munich firm Zettler.

View of the Great Exhibition Hall of the School and the Italian stairs from the gallery.

The Large Exhibition Hall, two floors high, dominates the volumetric and spatial solution of the building and is the compositional center of the entire building. In the architectural design of the hall, Messmacher used traditional scheme courtyard Italian palazzo with a two-tiered arcade, made in the forms characteristic of Italian Renaissance architecture. The space of the hall is covered with a huge glass dome.

We climb the luxurious marble staircase, on the upper platform of which there is a sculpture of A.L. Stieglitz by M.M. Antokolsky,

Even on the approaches to the school from the Fontanka, a huge glass dome is visible from afar, blocking the space of the Great Exhibition Hall. This is not visible from the outside, but in fact there are two domes - external and internal.

In the very first “Mesmakher edition”, the inner dome was entirely stained glass, and a greenhouse was located in the space between the domes. The climate is perfect for this! But during the war, a bomb hit the hall and the dome was destroyed. Restored at the end of the forties of the twentieth century, for more than half a century it again fell into a deplorable state. But on the occasion of the 125th anniversary of the School of Construction and the glazing of the dome was restored again.

It turned out as always chaotically and probably a bit too much information.

I really regret that I wandered around the school building myself and there was no one to show and tell me everything, it’s a pity that I didn’t see and most the beauty of this wonderful building.
But on the other hand, I have something to come to St. Petersburg again.

Previous parts of the report.

Museum of Baron A. L. Stieglitz On the territory of the former Salt Town in 1885-1895. the museum building was erected. The building was designed by the first director of the museum arch. R.A. Messmacher. By the time the museum opened, it contained over 15,000 works of applied art. After the revolution, the collection was transferred to the Hermitage. CENTRAL SCHOOL OF TECHNICAL DRAWING Baron A. L. Stieglitz (Salt per., 13-15) Art and Industry Academy. Stieglitz is one of the most famous art universities not only in Russia, but also in Europe and the world. The history of the academy begins in 1876, when, according to the rescript of Alexander II, the central school of technical drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz (1814 - 1884). The history of the school before the revolution is the history of the intensive development and formation of the school . Founded Jan. 1876 (opened 11/12/1879) together with the initial one. school of drawing, drawing and modeling on the initiative and at the expense of Baron A. L. Stieglitz. The school existed on a percentage of the capital bequeathed to them in 1884 (about 7 million rubles) and trained artists of decorative and applied arts for industry, as well as teachers of drawing and drawing for secondary art and industrial schools. The school became known as the Central (CUTR) after its creation in the 1890s. branches in Narva, Saratov, Yaroslavl. After October 1917, the school was transformed several times. In 1918, the school was reorganized into the Petrograd State Art and Industrial Workshops, which in 1922 were transformed into a school for architectural decoration of buildings under the city Executive Committee. Closed in 1924. In 1943-45, on the basis of the CUTR, the Khudozh.-Prom. school (now the Art and Industry Academy). Ch. the building of the school was built in 1878-81 (architect R. A. Gedike and A. I. Krakau) and built on the 5th floor (1886, architect Messmacher). The adjacent museum building was built in 1885-96 according to the project of Messmacher (since 1945 the Museum of Decorative and Applied Art). University - Leningrad Higher School of Industrial Art. Since 1953, LVHPU has been named after the People's Artist of the USSR Vera Ignatievna Mukhina. In 1994, LVHPU named after. V.I. Mukhina was renamed into the St. Petersburg State Academy of Art and Industry. In December 2006, the Academy was named after Alexander Ludwigovich Stieglitz. The new name of the academy is St. Petersburg State Academy of Art and Industry named after A.L. Stieglitz (SPGHPA named after A.L. Stieglitz).

Saint Petersburg. Museum of Applied Arts of the St. Petersburg State Academy of Art and Industry named after V.I. A. L. Stieglitz

Museum of Art and Industry Academy. A.L. Stieglitz has always been at the center of the cultural life of St. Petersburg. Its unique museum collection is distinguished by the great variety and high artistic level of its exhibits. Today, the museum's funds include about thirty thousand objects of applied art from antiquity to the present day. This is an extensive collection of Western European porcelain and Eastern ceramics, furniture of the 16th-19th centuries, a collection of Russian tiled stoves of the 18th century, artistic metal and fabrics, as well as the best student works over the past half century, reflecting all areas of Soviet arts and crafts.

In fourteen halls located on the ground floor, you can see more than 1300 works of arts and crafts and artistic crafts from the 9th century BC. until the beginning of the twentieth century. IN Italian gallery an exhibition of Dutch and French cabinets of the sixteenth and nineteenth centuries was launched; Italian and Spanish majolica, French and English faience, German “Steinguts” (clay stone products) and “jasper masses” by J. Wedgwood, Meissen and Berlin porcelain - all this can be seen in the museum today.

Ancient Russian stoves were collected all over Russia especially for the museum.

Interiors of the Stieglitz Artistic and Industrial Academy.Furniture carved from stone.

Halls of the Academy. The Grand Exhibition Hall is a two-story hall, reminiscent of the courtyard of an Italian palazzo, originally intended for student and faculty exhibitions. It was the largest not only in the museum, but in all of St. Petersburg. Along the perimeter, the hall is surrounded by a spectacular two-tier gallery, which creates best conditions to review exposure. This arcade serves as a support for a double glass ceiling (originally, the inner dome was stained glass, and a greenhouse was located in the inter-dome space). By analogy with the facade of the building, the hall is decorated with a frieze of sculptural portraits artists, architects and sculptors. The arcades of the second tier are separated by powerful pylons decorated with four columns. Half-arches of a two-flight marble staircase lead to the gallery of the second floor. At the top of the stairs at Messmacher there is a marble statue of Baron A.L. Stieglitz, the work of M.M., sitting in an armchair. Antokolsky. IN Soviet time the monument was removed. But the sculpture survived, and in June 2011 it was returned to its historical place (photo source:). Since 2002, a plaster copy of the large frieze of the Pergamon Altar (180-160 BC) donated by the Hermitage has been placed along the perimeter of the Great Hall.

Furniture set for the living room in the style of the "third rococo". FROM THE PALACE OF Countess E.V. SHUVALOVA. France, Paris, 1890s. Birch, carving, French enamel, gesso, gilding, embroidery, metal, bone.

In 1876, by decree of Alexander II, the Central School was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz. technical drawing. The school existed on a percentage of the capital bequeathed by A. L. Stieglitz in 1884 and trained artists of decorative and applied arts for industry, as well as teachers of drawing and drawing for secondary art and industrial schools. January 1898 - S. P. Diaghilev organizes the Exhibition of Russian and Finnish Artists, in which Finnish artists V. Blomsted, A. Gallen-Kallela and others participate along with A. N. Benois and M. A. Vrubel. The school became known as the Central School after creation in the 1890s of branches in Narva, Saratov, Yaroslavl. The first director was from 1879 to 1896 - the architect Maximilian Egorovich Messmacher. In 1892, 200 people studied at the CUTR; there were departments: general art, majolica, decorative painting and carving, embossing, woodcuts and etching, painting on porcelain, weaving and stuffing. IN different years CUTR teachers were: A. D. Kivshenko, M. K. Klodt, A. T. Matveev, V. V. Mate, A. I. von Gauguin, N. A. Koshelev, A. A. Rylov. After October 1917, the school was transformed several times. In 1918, the school was named the State Art and Industrial Workshops. In 1922, the school, with the museum and library attached to it, merged into the Petrograd VKHUTEIN, and in 1924, ceased to exist as an independent educational institution. In 1945, by decision of the government, the school was re-established as a multidisciplinary educational institution that trained artists of monumental, decorative, applied and industrial art. In 1948, it became a higher educational institution - the Higher Art and Industrial School. In 1953, the Leningrad Higher School of Industrial Art, by order of the Soviet government, was named after People's Artist USSR, Member of the Academy of Arts of the USSR - Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative art of the USSR. In 1994, LVHPU them. V. I. Mukhina was transformed into the St. Petersburg State Academy of Art and Industry. December 27, 2006 the Academy was named after A. L. Stieglitz. The new name of the academy is St. Petersburg State Academy of Art and Industry named after A. L. Stieglitz.

About the St. Petersburg State Academy of Art and Industry. A. L. Stieglitz, everyone knows about the famous “Fly”. Despite the fact that in 2006 the academy was returned historical name, Petersburgers prefer to call the Academy by its former name, received in honor of the sculptor Vera Mukhina. Mucha was and remains a workshop of talents, where unique art forms in painting, applied arts and design. Its graduates received world recognition and first prizes at international exhibitions, among them such names as K. Petrov-Vodkin, A. Rylov, A. Ostroumova-Lebedeva, A. Matveev, S. Chekhonin and many others. And today's students of Mucha show no less promise than their predecessors.

Story

The St. Petersburg State Academy of Art and Industry owes its appearance and fame to Baron Alexander Ludwigovich Stieglitz, a well-known businessman and philanthropist. A great admirer of the arts, a highly educated and enlightened person, it was Stieglitz who sponsored a million rubles in 1876 for the construction of the Central School of Technical Drawing “for both sexes”, and also subsequently assisted in the creation of an art and industrial museum and a rich library at the school.

Thus, a building in the Neo-Renaissance style appeared in Solyany Lane, erected according to the project of architects R.A. Gedike and A.I. Krakau. Later, in the late 80s, the museum building was erected with funds bequeathed by Baron Stieglitz. The author of the project was the first director of the school, architect M.E. Messmacher. Almost all finishing works interior decoration were carried out by students and teachers of the school. The interior of each hall was thought out taking into account the era to which the exhibits belonged. And the original glass dome, designed to illuminate the main Youth Hall of the museum, is still perfectly visible from the Fontanka embankment.

In Soviet times, the school was reorganized and for a long time was part of the Petrograd Higher Artistic and Technical Institute, but after the war the school was returned to its former importance.

Museum of Arts and Crafts and Exhibition Hall today

Do not pass by, it is worth a look into Mukha not only because of the museum exposition, although it is magnificent. Here you will find a small and fascinating walk into the past. Luxurious decoration of walls and ceilings, exquisite painting, supported by interior items, will allow you to enjoy the aroma of a bygone era while flipping through the pages of history. lovers modern painting will get a lot of pleasure from getting to know the works of students presented at the permanent vernissage.

Contacts

Museum of Decorative and Applied Arts of the St. Petersburg State Art and Industry Academy

St. Petersburg, Solyanoy lane, 13/15.

St. Petersburg State Art and Industry Academy named after. A. L. Stieglitz

Salt lane, 13

Opening hours of the museum and exhibition hall

Every day from 11.00 to 16.00, except Sunday, Monday and last Friday of each month.

Excursions by appointment.

Coordinates : 59°56′37″ N sh. 30°20′27″ E d. / 59.94361° N sh. 30.34083° E d. / 59.94361; 30.34083(G) (I) K: Educational institutions founded in 1876

federal state state-financed organization higher education "St. Petersburg State Academy of Art and Industry named after A.L. Stieglitz"(Stieglitz Academy) is one of the most authoritative Russian universities that trains specialists in the field of fine arts and design. Founded in 1876 with funds donated by Baron Alexander Stieglitz.

The main building of the academy is located in a building designed by the first director of this educational institution - architect M. E. Messmacher.

Story

School of technical drawing

In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz (-).
The school existed on interest from the capital bequeathed by A. L. Stieglitz in 1884 (about 7 million rubles) and trained artists of decorative and applied arts for industry, as well as teachers of drawing and drawing for secondary art and industrial schools.
January - S. P. Diaghilev organizes the Exhibition of Russian and Finnish Artists, in which, along with A. N. Benois and M. A. Vrubel, Finnish artists V. Blomsted, A. Gallen-Kallela and others take part.
The school began to be called Central after the creation of branches in Narva, Saratov, Yaroslavl in the 1890s. The first director from 1896 was the architect M. E. Messmacher.
In 1892, 200 people studied at the CUTR; there were departments: general art, decorative painting and carving, majolica, embossing, woodcuts, painting on porcelain, weaving and stuffing.
Over the years, the teachers of the CUTR were: A. D. Kivshenko, M. K. Klodt, A. T. Matveev, V. V. Mate, A. I. von Gauguin, N. A. Koshelev, A. A. Rylov.

CUTR in the artistic culture of Latvia

From the first years of creation Central School of Technical Drawing, this educational institution has become very popular among the youth of Latvia, who want to get an education in the field of arts and crafts.

Approximately 130 ethnic Latvian students have been educated at the CUTR. Some of them later became teachers of this school, among them: Gustav Shkilter - a specialist in decorative finishing of buildings (1905-1918), Karl Brenzen - taught artistic processing glass and stained glass (1907-1920), Yakov Belzen - a teacher in drawing and painting (1905-1917), Julius Jaunkalnynsh - in porcelain painting (1896-1918).

Masters of art educated in Central School of Technical Drawing, subsequently laid the foundation artistic culture Latvia and became the creators art education Latvian Soviet Socialist Republic:

State art and industrial workshops

LVHPU named after V. I. Mukhina

In 1945, by decision of the government, the school was recreated as a multidisciplinary secondary specialized educational institution that trained artists of monumental, decorative, applied, industrial and restoration art.
In 1948, it became a higher educational institution - the Higher School of Industrial Art, which retains a unit where specialists with secondary education are trained. special education(the so-called "department of masters").
In 1953, by a government decree, the Leningrad Higher School of Industrial Art was named after the People's Artist of the USSR, full member of the USSR Academy of Arts, sculptor Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative and applied art of the USSR.

Academy of Art and Industry

The university has 1500 students and 220 teachers.

At half past six, Napoleon rode on horseback to the village of Shevardin.
It began to dawn, the sky cleared, only one cloud lay in the east. Abandoned fires burned out in the faint morning light.
To the right, a thick lone cannon shot rang out, swept and froze in the general silence. Several minutes passed. There was a second, third shot, the air shook; the fourth and fifth resounded close and solemnly somewhere to the right.
The first shots had not yet finished ringing before others rang out, again and again, merging and interrupting one another.
Napoleon rode up with his retinue to the Shevardinsky redoubt and dismounted from his horse. The game has begun.

Returning from Prince Andrei to Gorki, Pierre, having ordered the bereator to prepare the horses and wake him up early in the morning, immediately fell asleep behind the partition, in the corner that Boris gave him.
When Pierre woke up completely the next morning, there was no one in the hut. Glass rattled in the small windows. The Rector stood pushing him aside.
“Your excellency, your excellency, your excellency ...” the bereytor said stubbornly, without looking at Pierre and, apparently, having lost hope of waking him up, shaking him by the shoulder.
- What? Began? Is it time? Pierre spoke, waking up.
“If you please, hear the firing,” said the bereytor, a retired soldier, “already all the gentlemen have risen, the brightest ones themselves have long passed.
Pierre hastily dressed and ran out onto the porch. Outside it was clear, fresh, dewy and cheerful. The sun, having just escaped from behind the cloud that obscured it, splashed up to half of its rays broken by the cloud through the roofs of the opposite street, onto the dew-covered dust of the road, onto the walls of houses, on the windows of the fence and on Pierre's horses standing by the hut. The rumble of cannons was heard more clearly in the yard. An adjutant with a Cossack roared down the street.
- It's time, Count, it's time! shouted the adjutant.
Ordering to lead the horse behind him, Pierre went down the street to the mound, from which he had looked at the battlefield yesterday. There was a crowd of military men on this mound, and the French dialect of the staff was heard, and Kutuzov's gray-haired head was visible with his white cap with a red band and a gray-haired nape sunk into his shoulders. Kutuzov looked through the pipe ahead along the high road.
Entering the steps of the entrance to the mound, Pierre looked ahead of him and froze in admiration before the beauty of the spectacle. It was the same panorama that he had admired yesterday from this mound; but now the whole area was covered with troops and the smoke of shots, and slanting rays bright sun, rising behind, to the left of Pierre, they threw at her in the clear morning air a piercing light with a golden and pink tint and dark, long shadows. The distant forests that complete the panorama, as if carved out of some kind of precious yellow-green stone, could be seen with their curved line of peaks on the horizon, and between them, behind Valuev, the big Smolensk road cut through, all covered with troops. Closer, golden fields and copses gleamed. Everywhere - in front, on the right and on the left - troops were visible. All this was lively, majestic and unexpected; but what struck Pierre most of all was the view of the battlefield itself, Borodino and the hollow above Kolochaya on both sides of it.
Above Kolochaya, in Borodino and on both sides of it, especially to the left, where the Voyna flows into Kolocha in the swampy banks, there was that fog that melts, blurs and shines through when the bright sun comes out and magically colors and outlines everything seen through it. This fog was joined by the smoke of shots, and through this fog and smoke lightnings of morning light shone everywhere - now over the water, then over the dew, then over the bayonets of the troops crowding along the banks and in Borodino. Through this fog one could see the white church, in some places the roofs of Borodin's huts, in some places solid masses of soldiers, in some places green boxes, cannons. And it all moved, or seemed to move, because the mist and smoke stretched all over this space. Both in this locality, the lower parts near Borodino, covered with fog, and outside it, higher and especially to the left along the entire line, through the forests, through the fields, in the lower parts, on the tops of the elevations, were constantly born of themselves, out of nothing, cannon-shaped, then lonely, sometimes herd, sometimes rare, sometimes frequent clubs smokes, which, swelling, growing, swirling, merging, were seen throughout this space.
These gunshot smokes and, strange to say, their sounds produced the main beauty of the spectacle.
Puff! - suddenly one could see round, dense smoke playing with purple, gray and milky white colors, and boom! - the sound of this smoke was heard in a second.
"Poof poof" - two smokes rose, pushing and merging; and "boom boom" - confirmed the sounds that the eye saw.
Pierre looked back at the first smoke that he had left in a rounded dense ball, and already in its place were balls of smoke stretching to the side, and poof ... (with a stop) poof poof - three more, four more, and for each, with the same constellations, boom ... boom boom boom - answered beautiful, solid, true sounds. It seemed that these smokes were running, that they were standing, and forests, fields and shiny bayonets were running past them. On the left side, over the fields and bushes, these large smokes with their solemn echoes were constantly born, and closer still, along the lower levels and forests, small gun smokes, which did not have time to round off, flared up and gave their small echoes in the same way. Fuck ta ta tah - the guns crackled, although often, but incorrectly and poorly in comparison with gun shots.
Pierre wanted to be where these smokes were, these shiny bayonets and cannons, this movement, these sounds. He looked back at Kutuzov and at his retinue in order to check his impression with others. Everyone was exactly the same as he was, and, as it seemed to him, they looked forward to the battlefield with the same feeling. All faces now shone with that hidden warmth (chaleur latente) of feeling that Pierre noticed yesterday and which he fully understood after his conversation with Prince Andrei.
“Go, my dear, go, Christ is with you,” said Kutuzov, without taking his eyes off the battlefield, to the general standing next to him.
Having listened to the order, this general walked past Pierre, to the exit from the mound.
- To the crossing! - the general said coldly and sternly in response to the question of one of the staff, where he was going. “And I, and I,” thought Pierre and went in the direction of the general.
The general mounted a horse, which was given to him by a Cossack. Pierre went up to his bereytor, who was holding the horses. Asking which one was quieter, Pierre mounted the horse, grabbed the mane, pressed the heels of his twisted legs against the horse’s stomach, and, feeling that his glasses were falling off and that he was unable to take his hands off the mane and reins, he galloped after the general, arousing the smiles of the staff, from the barrow looking at him.

The general, behind whom Pierre rode, went downhill, turned sharply to the left, and Pierre, losing sight of him, jumped into the ranks of the infantry soldiers walking ahead of him. He tried to get out of them first to the right, then to the left; but everywhere there were soldiers, with equally preoccupied faces, preoccupied with some invisible, but obviously important matter. Everyone was looking with the same dissatisfied questioning look at this fat man in a white hat, for some unknown reason, trampling them with his horse.
- Why does he ride in the middle of the battalion! one shouted at him. Another pushed his horse with the butt, and Pierre, clinging to the pommel and barely holding the shy horse, jumped forward the soldier, where it was more spacious.
There was a bridge ahead of him, and other soldiers were standing by the bridge, firing. Pierre rode up to them. Without knowing it himself, Pierre drove to the bridge over the Kolocha, which was between Gorki and Borodino and which, in the first action of the battle (taking Borodino), was attacked by the French. Pierre saw that there was a bridge ahead of him, and that on both sides of the bridge and in the meadow, in those rows of hay that he noticed yesterday, soldiers were doing something in the smoke; but, in spite of the incessant shooting that took place in this place, he did not think that this was the battlefield. He did not hear the sounds of bullets squealing from all sides, and the shells flying over him, did not see the enemy who was on the other side of the river, and for a long time did not see the dead and wounded, although many fell not far from him. With a smile that never left his face, he looked around him.
- What does this one drive in front of the line? Someone shouted at him again.
“Take the left, take the right,” they shouted to him. Pierre took to the right and unexpectedly moved in with the adjutant of General Raevsky, whom he knew. This adjutant looked angrily at Pierre, obviously intending to shout at him too, but, recognizing him, nodded his head to him.
– How are you here? he said and rode on.
Pierre, feeling out of place and idle, afraid to interfere with someone again, galloped after the adjutant.
- It's here, right? May I come with you? he asked.
“Now, now,” the adjutant answered and, jumping up to the fat colonel who was standing in the meadow, handed something to him and then turned to Pierre.
“Why did you come here, Count?” he told him with a smile. Are you all curious?
“Yes, yes,” said Pierre. But the adjutant, turning his horse, rode on.
“Here, thank God,” said the adjutant, “but on Bagration’s left flank there is a terrible frying going on.
– Really? Pierre asked. – Where is it?
- Yes, let's go with me to the mound, you can see from us. And it’s still tolerable with us on the battery, ”said the adjutant. - Well, are you going?
“Yes, I am with you,” said Pierre, looking around him and looking for his bereator with his eyes. Here, only for the first time, Pierre saw the wounded, wandering on foot and carried on a stretcher. On the same meadow with fragrant rows of hay, through which he had passed yesterday, across the rows, awkwardly turning his head, lay motionless one soldier with a fallen shako. Why didn't they bring it up? - Pierre began; but seeing stern face adjutant, who looked back in the same direction, he fell silent.
Pierre did not find his bereytor and, together with the adjutant, rode down the hollow to the Raevsky barrow. Pierre's horse lagged behind the adjutant and shook him evenly.
- You, apparently, are not used to riding, count? the adjutant asked.
“No, nothing, but she jumps a lot,” Pierre said in bewilderment.
- Eh! .. yes, she was wounded, - said the adjutant, - right front, above the knee. Bullet must be. Congratulations, Count,” he said, “le bapteme de feu [baptism by fire].
Passing through the smoke along the sixth corps, behind the artillery, which, pushed forward, fired, deafening with its shots, they arrived at a small forest. The forest was cool, quiet and smelled of autumn. Pierre and the adjutant dismounted from their horses and walked up the mountain.
Is the general here? asked the adjutant, approaching the mound.
“We were just now, let’s go here,” they answered him, pointing to the right.
The adjutant looked back at Pierre, as if not knowing what to do with him now.
"Don't worry," said Pierre. - I'll go to the mound, can I?
- Yes, go, everything is visible from there and not so dangerous. And I'll pick you up.
Pierre went to the battery, and the adjutant rode on. They did not see each other again, and much later Pierre learned that this adjutant's arm had been torn off that day.
The barrow that Pierre entered was that famous one (later known to the Russians under the name of the kurgan battery, or Rayevsky battery, and to the French under the name la grande redoute, la fatale redoute, la redoute du center [large redoubt, fatal redoubt, central redoubt ] a place around which tens of thousands of people were laid and which the French considered the most important point of the position.
This redoubt consisted of a mound, on which ditches were dug on three sides. In a place dug in by ditches stood ten firing cannons protruding through the openings of the ramparts.
Cannons stood in line with the mound on both sides, also firing incessantly. A little behind the cannons were infantry troops. Entering this mound, Pierre never thought that this place dug in with small ditches, on which several cannons stood and fired, was the most important place in battle.
Pierre, on the contrary, it seemed that this place (precisely because he was on it) was one of the most insignificant places of the battle.
Entering the mound, Pierre sat down at the end of the ditch surrounding the battery, and with an unconsciously joyful smile looked at what was happening around him. Occasionally, Pierre would get up with the same smile and, trying not to interfere with the soldiers loading and rolling the guns, who constantly ran past him with bags and charges, walked around the battery. The cannons from this battery continuously fired one after another, deafening with their sounds and covering the whole neighborhood with gunpowder smoke.

Saint Petersburg. Museum of Applied Arts of the St. Petersburg State Academy of Art and Industry named after V.I. A. L. Stieglitz

In fourteen halls located on the ground floor, you can see more than 1300 works of arts and crafts and artistic crafts from the 9th century BC. until the beginning of the twentieth century. An exhibition of Dutch and French cabinets of the 16th-19th centuries has been launched in the Italian gallery; Italian and Spanish majolica, French and English faience, German “Steinguts” (clay stone products) and “jasper masses” by J. Wedgwood, Meissen and Berlin porcelain - all this can be seen in the museum today.

Ancient Russian stoves were collected all over Russia especially for the museum.

Interiors of the Stieglitz Artistic and Industrial Academy.Furniture carved from stone.

Halls of the Academy. The Grand Exhibition Hall is a two-story hall, reminiscent of the courtyard of an Italian palazzo, originally intended for student and faculty exhibitions. It was the largest not only in the museum, but in all of St. Petersburg. Along the perimeter, the hall is surrounded by a spectacular two-tier gallery, which creates the best conditions for viewing the exposition. This arcade serves as a support for a double glass ceiling (originally, the inner dome was stained glass, and a greenhouse was located in the inter-dome space). By analogy with the facade of the building, the hall is decorated with a frieze with sculptural portraits of artists, architects and sculptors. The arcades of the second tier are separated by powerful pylons decorated with four columns. Half-arches of a two-flight marble staircase lead to the gallery of the second floor. At the top of the stairs at Messmacher there is a marble statue of Baron A.L. Stieglitz, the work of M.M., sitting in an armchair. Antokolsky. In Soviet times, the monument was removed. But the sculpture survived, and in June 2011 it was returned to its historical place (photo source:). Since 2002, a plaster copy of the large frieze of the Pergamon Altar (180-160 BC) donated by the Hermitage has been placed along the perimeter of the Great Hall.

In 1876, by decree of Alexander II, the Central School of Technical Drawing was founded with funds donated by the banker and industrialist Baron Alexander Ludwigovich Stieglitz. The school existed on a percentage of the capital bequeathed by A. L. Stieglitz in 1884 and trained artists of decorative and applied arts for industry, as well as teachers of drawing and drawing for secondary art and industrial schools. January 1898 - S. P. Diaghilev organizes the Exhibition of Russian and Finnish Artists, in which Finnish artists V. Blomsted, A. Gallen-Kallela and others participate along with A. N. Benois and M. A. Vrubel. The school became known as the Central School after creation in the 1890s of branches in Narva, Saratov, Yaroslavl. The first director was from 1879 to 1896 - the architect Maximilian Egorovich Messmacher. In 1892, 200 people studied at the CUTR; there were departments: general art, majolica, decorative painting and carving, embossing, woodcuts and etching, painting on porcelain, weaving and stuffing. Over the years, the teachers of the CUTR were: A. D. Kivshenko, M. K. Klodt, A. T. Matveev, V. V. Mate, A. I. von Gauguin, N. A. Koshelev, A. A. Rylov. After October 1917, the school was transformed several times. In 1918, the school was named the State Art and Industrial Workshops. In 1922, the school, with the museum and library attached to it, merged into the Petrograd VKHUTEIN, and in 1924, ceased to exist as an independent educational institution. In 1945, by decision of the government, the school was re-established as a multidisciplinary educational institution that trained artists of monumental, decorative, applied and industrial art. In 1948, it became a higher educational institution - the Higher Art and Industrial School. In 1953, the Leningrad Higher School of Industrial Art, by decree of the Soviet government, was named after the People's Artist of the USSR, Full Member of the Academy of Arts of the USSR - Vera Ignatievna Mukhina, who made a great contribution to the creation of monumental and decorative art of the USSR. In 1994, LVHPU them. V. I. Mukhina was transformed into the St. Petersburg State Academy of Art and Industry. December 27, 2006 the Academy was named after A. L. Stieglitz. The new name of the academy is St. Petersburg State Academy of Art and Industry named after A. L. Stieglitz.