For reference: With the increase in the size of ships, the port on the spit of Vasilyevsky Island began to lose its importance. Large ships could not pass through the natural channel to the port, and goods had to be reloaded onto smaller ships in Kronstadt. The British have a saying: the path from London to Kronstadt is shorter than from Kronstadt to Vasilyevsky Island. In 1885, a sea canal was dug, significantly deepening the shipping route to Gutuevsky Island, where the seaport was transferred.

Rostral columns (from Latin rostrum - bow of a ship) appeared on the spit of Vasilievsky Island in 1810. The construction of the columns was provided for in the project of the Exchange, developed by the French architect Jean Francois Thomas de Thomon, and carried out in 1810. They were supposed to serve as beacons and at the same time emphasize the importance of the exchange building as the center of the St. Petersburg port.
One of them was a lighthouse for ships on the Malaya Neva,

the other pointed the way to the Bolshaya Neva.

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The height of each column is 32 meters. The rostral columns are decorated with rostras. At the bottom of the column is the largest pair of rostra, strengthened so that one bow of the ship faces the Neva, the other faces the Stock Exchange.

The rostra is decorated with the figure of a naiad (river deity).

The second pair is located perpendicular to the first, they are decorated with the head of a crocodile, seahorses and fish. The rostra of the third pair is decorated with the head of a merman, and the fourth, the topmost, is decorated with images of seahorses.

Spiral staircases located inside lead to the upper platforms, where tripods with bowls-lamps for signal lights are located.

These are the entrances to the inside of the column... They are closed with simple barn locks...

The door inside the column from the Neva...

And the door inside the column from the Exchange side...

The doors are located directly under the rostra, which also serve as canopies above the doors...

The lighthouses were lit at night and in fog, and served until 1885. Hemp(!) oil was burned in braziers, and hot splashes fell on the heads of passers-by.

In Ancient Rome, there was a custom: in honor of naval victories, triumphal columns were erected, decorated with rostra (prows) of enemy ships. Triumphal columns are traditionally associated with power and strength. Rostral columns are one of the symbols of St. Petersburg, personifying the maritime power of Russia.

The sculptures decorating the Rostral columns were created in 1810-1811, simultaneously with the entire ensemble. The author of the sketches of the sculptural groups is unknown. However, in recent years it has been established that the French sculptors J. Chamberlain and F. Thibault worked on the creation of the sculptures. The first to be executed was the male figure on the northern column, and the rest of the sculptures belong to the hand of Thibault. Upon closer examination of the sculpture, differences in execution style can be seen.
The executor of the colossal figures made of Pudost stone was the famous master stonemason Samson Sukhanov, who came from poor peasants of the Vologda province. At that time he collaborated with the best architects of St. Petersburg, but then went bankrupt and died in obscurity.
For reference: Pudost stone has a low volumetric mass, porosity, frost resistance, and is also easy to process, so it was used for decorative work - wall cladding, making sculptures. It has interesting properties that other finishing materials do not have - it changes color depending on lighting and weather, taking on different shades of gray and yellowish-gray. It has a porous structure, somewhat reminiscent of the structure of pumice, which is why, when used in cladding, it gives the building a noble “antique” appearance.
The reserves of stone in the Pudost quarries were quite small, so by the end of the 19th century its reserves were almost completely exhausted.

What do the sculptures represent?
The opinion that at the foot of the columns there are allegorical images representing the four great Russian rivers (the southern ones are “Volkhov” and “Neva”, the northern ones are “Dnepr” and “Volga”) is not supported by documents and arose relatively recently. Thomas de Thomon himself wrote that “the base of each column is decorated with huge figures that symbolize the deities of the sea and commerce.” The attributes of the sculptures are quite meager, and none of them can confirm or completely refute the version that we have before us allegories of specific four rivers.

Neva

Volkhov

Volga

Dnieper

It is noteworthy that the design and construction work associated with the rostral columns were constantly under the control of the Council of the Academy of Arts, headed by the great architect A.D. Zakharov. Everything was discussed - both the practical purpose and the artistic appearance. This speaks of the enormous importance attached to these structures. Rostral columns, powerful in volume and expressive in silhouette, color and proportions, stand out clearly against the sky and are clearly visible from distant perspectives.
During the work on the Spit of Vasilievsky Island, it was raised by adding soil to avoid flooding by the waters of the Neva. In addition, the Neva was “pushed back” by about a hundred meters. In winter, thousands of people gathered on the ice in front of the switch, held festivities and sleigh races.
In 1957, gas pipes were connected to the lamp bowls installed on the tops of the columns. Bright orange torches on the rostral columns are lit during holidays and celebrations in St. Petersburg.

Charity wall newspaper for schoolchildren, parents and teachers of St. Petersburg “Briefly and clearly about the most interesting things.” Issue No. 64, September 2014.

Part two: Vasilyevsky Island.

Unusual, new, little-known monuments.

Dear friends! We continue our photo journey through “non-classical” St. Petersburg. This time, our camera captured unusual, new or simply little-known monuments of Vasilievsky Island (remember: in the last issue we talked about the informal sights of the Admiralteysky and Central districts). Send your questions, opinions and wishes to the editor, as well as photographs of unusual monuments, sculptures, bas-reliefs and other interesting objects you have noticed - together we will explore the curious corners of our wonderful city!

At the beginning of the pedestrian zone (lines 6-7) near the Vasileostrovskaya metro station. Sculptor – Akhnaf Ziyakaev, 2004. Since 1863, carriages of the first line of the horse-drawn railway have been running along the route “6th Line - Admiralteyskaya Square”. The inscription on the sign is: “Here! A model copy of the St. Petersburg “Horse Horse” carriage of the 1872-1878 model was installed. release (full size). This copy model was built based on the original drawings of the Putilov plant, which designed most of the Russian horse-drawn horses.”

(Major General, artilleryman, engineer, one of the closest associates of Peter I) on the 7th line near house 34. Sculptors - Grigory Lukyanov and Sergei Sergeev, 2003. The Korchmin battery stood on the Spit of Vasilyevsky Island, guarding St. Petersburg under construction.

(the first Russian field marshal general, the first holder of the Order of St. Andrew the First-Called, one of the closest associates of Peter I) at the Cathedral of St. Andrew the Apostle. Sculptors - Alexander Bortnik, Vladimir Aksenov, Shukhrat Safarmatov, 2007.

8 line, 23, in the yard. The history of this creature is lost in the early 80s of the last century, when, according to legend, it was built from reinforced concrete by an unknown sculptor living in this yard. Since then, local residents have carefully looked after the dragon: they remove garbage, restore severed heads, and paint them in different colors. Previously, it was possible to crawl from the monster’s mouth straight into its stomach, but after one of the children got stuck along the way, the passage had to be concreted.

On the 7th line of Vasilyevsky Island in the courtyard of house 18 (the building of one of the oldest pharmacies in St. Petersburg, owned by Wilhelm Pehl since 1858). Apparently, the tower served as a chemical laboratory. According to urban legend, the secrets of the tower are guarded by invisible griffins. You can view the tower by climbing the stairs a little above the entrance to the pharmacy.

The first chief architect of St. Petersburg, at 21 Universitetskaya embankment (this house belonged to Trezzini since the 1720s), near the Blagoveshchensky Bridge. On the pedestal there is an inscription: “Established in 2013 in honor of the 310th anniversary of St. Petersburg at the expense of a resident of the city of Zhorno, Yuri Yuryevich. Sculptor Pavel Ignatiev. Architect Pavel Bogryantsev." The great architect is armed with an impressive size compass (a symbol of harmony) and is dressed in a bearskin coat.

On the dome of the Academy of Arts building, Universitetskaya embankment, 17. Restored according to ancient drawings by sculptor Mikhail Anikushin and his students for the 300th anniversary of St. Petersburg. Minerva in Roman mythology is the daughter of Jupiter, the goddess of arts and crafts, and the word “genius” is used here in the meaning of “patron spirit.” The Academy itself (under the name “Academy of the Three Noble Arts” - painting, sculpture and architecture) was founded through the efforts of I.I. Shuvalov and M.V. Lomonosov in 1757.

A unique collection of architectural models at the Museum of the Academy of Arts (University Embankment, 17). Resurrection Novodevichy (Smolny) Monastery (pictured), St. Isaac's Cathedral, Trinity Cathedral of the Alexander Nevsky Lavra, Mikhailovsky Castle, the Stock Exchange and the Academy of Arts itself. Architects, before starting construction, assembled small models of their buildings from wood. This way they could critically examine their creations from all sides and, if necessary, make changes to the final project. It is known that Francesco Rastrelli, when designing the Smolny Cathedral, wanted to build a colossal bell tower. However, having assembled the model, the master realized that the cathedral looked better without a bell tower and decided to abandon its construction.

(statesman, adjutant general and philanthropist) in the huge round courtyard of the “Academy of the Three Most Notable Arts” founded by him, Universitetskaya embankment, 17. Sculptor - Zurab Tsereteli, 2003.

- a symbol of the arts, in the garden of the Academy of Arts. It was donated to the Academy in 1807 by the architect Andrei Voronikhin, who originally ordered it as a “spare” for the Kazan Cathedral. The column has stood in this place since 1847, and before that for several years it decorated the round courtyard of the Academy - where the monument to Count Shuvalov is now.

(the founder of Ossetian literature and painting) in the garden of the Academy of Arts. Sculptor – Vladimir Soskiev, 2009. Costa (this is his real name) studied at the Academy.

To the famous sculptor, in the garden of the Academy of Arts. The author of the composition is Vladimir Gorevoy, 2006. The master is depicted with a model of the monument to Nicholas the First on St. Isaac's Square.

In Rumyantsevsky Park on Universitetskaya Embankment. Count Pyotr Rumyantsev-Zadunaisky - military and statesman during the reign of Catherine II. He won a number of brilliant victories in the Russian-Turkish war of 1768-1774. Architects: Vincenzo Brenna and Carl Rossi, 1799. The obelisk stood on the Champ de Mars until 1818. Busts of artists Ilya Repin and Vasily Surikov are also installed in Rumyantsevsky Square.

Opposite the Academy of Arts. They cannot, of course, be called “little known” or “new”. But we couldn't pass by. They are striking, first of all, with their antiquity: about 35 centuries ago, the sphinxes were carved from syenite (a rock similar to granite) and placed to guard a temple near the Egyptian city of Thebes. Another curious detail: the heads of the sphinxes are portrait images of Pharaoh Amenhotep III, who, in fact, ordered them to be sculpted. The pharaoh was the father of the famous religious reformer Akhenaten, the father-in-law of the beautiful Nefertiti and the grandfather of the well-known Tutankhamun. The hieroglyphs, deciphered by the prominent orientalist Vasily Struve, turned out to be a listing of numerous titles of the pharaoh. The inscriptions on the pedestals read: “The Sphinx from Ancient Thebes in Egypt was brought to the city of St. Peter in 1832.”

Next to the sphinxes (mythical half-lions, half-birds) are guarded by two semicircular granite benches. For many St. Petersburg residents (especially those who make romantic dates here), these seemingly menacing creatures have become almost domestic. Are they really the ones who fly to the famous Griffin Tower? At the end of the 19th century, the griffins disappeared without a trace and were restored only in 1958 using old paintings and documents.

(to the first governor of St. Petersburg, closest friend and close associate of Peter I) at the Menshikov Palace. Sculptors – Mikhail Anikushin and Maria Litovchenko-Anikushina, 2002. The palace (an excellent example of the Petrine Baroque style) began to be built in 1710 - this is the first stone building in our city.

On the Universitetskaya embankment opposite house 13. On the pages of the granite book are lines from A.S. Pushkin’s poem “The Bronze Horseman” and the poet’s autograph. Sculptor – Evelina Solovyova, 2002.

Next to the granite book -

In the courtyard of the Philological Faculty of St. Petersburg State University, University Embankment, 11. Sculptor - Arsen Avetisyan, 2002. The Little Prince himself settled down on one of the scientific books at the foot of the pedestal. This composition is the first in the unique Park of Contemporary Sculpture in the courtyards of the University.

- a character in an allegorical story by the French writer, poet (and pilot!) Antoine de Saint-Exupéry - close-up.

In the courtyard of the Faculty of Philology. Sculptor – Vladimir Petrovichev (also known for creating the cats Tishka Matroskin and Vasilisa), 2005. For many peoples of the world, the hippopotamus is considered a symbol of good luck and prosperity. Tony's ears are polished to a shine: students scratch them in the hope of meeting their “soul mate.”

Or the “Rock Garden” in the courtyard of the Faculty of Philology. Authors: Sergei de Rocambole and Anna Nikolaeva, 2003. “The stones were sent from the largest and oldest universities in the world,” says the explanatory plaque. In the background you can see the six-meter “Tower of Babel” by Andrei Sazonov, 2010.

"Major Kovalev's Nose" in the courtyard of the Faculty of Philology. Sculptor – Timur Yusufov, 2008. We wrote about two other monuments to this famous Gogol character in the last issue of our newspaper.

Dachshund in the courtyard of the Faculty of Philology. Sculptor – Arsen Avetisyan, 2005.

In the courtyard of the main building of the University, Universitetskaya embankment, 7-9. Sculptor - Anatoly Dema, 2002. The idea of ​​​​creating this monument belongs to academician Alexander Nozdrachev. He wrote: “Humanity must be eternally grateful to the cat, which gave the world a great many groundbreaking discoveries in physiology.”

In the courtyard of the main building of the University, Universitetskaya embankment, 7-9. Sculptor – Hanneke de Munck (Netherlands), 2010. The heroes of the unusual composition, reminiscent of a flower, are one of the greatest Russian poets of the 20th century, Osip Mandelstam and his wife Nadezhda. In total, about 50 sculptures are installed in the courtyards of the University, and the collection is replenished from time to time. There are monuments of a completely classical type (the poet and diplomat Antioch Kantemir, the Bashkir orientalist Akhmet-Zaki Validov, the Dagestan poet Rasul Gamzatov, a monument to the first President of the Republic of Vietnam Ho Chi Minh), and quite unusual ones (the mythical “Second Lieutenant Kizhe” made of wire, a sculpture made of lava Vesuvius “Reflection: past, present, future” and many other very interesting compositions).

Or “Winged Genius” in front of the main entrance to the building of St. Petersburg State University, Mendeleevskaya line, 2. Sculptor - Mikhail Belov, 2007. This Guardian Angel, as written in the University magazine, “embodies the idea of ​​youth, the desire for knowledge, courage and audacity in science.”

Nuclear physicist, public figure and human rights activist, on Sakharov Square (between the buildings of the University and the Library of the Academy of Sciences). Sculptor – Levon Lazarev, 2003. A.D. Sakharov was awarded the Nobel Peace Prize in 1975 - “for his fearless support of the fundamental principles of peace among nations and for his courageous struggle against abuse of power and any form of suppression of human dignity.”

To the scientist-physiologist, creator of the science of higher nervous activity, on Tiflisskaya Street, 3 (next to the Institute of Physiology named after him). Sculptors – Anatoly Dema and Victor Oneshko, 2004. The monument was erected to mark the 100th anniversary of the awarding of the Nobel Prize in Medicine and Physiology to I.P. Pavlov (1904).

Museum of Anthropology and Ethnography (Kunstkamera), Universitetskaya embankment, 3, in the courtyard on the side of Customs Lane. Their story is like this. In the Andes in northern South America (the territory of modern Colombia), a tribe of Indians flourished in the first millennium AD, which was later destroyed by the Incas. This tribe (now called the San Agustin culture) left behind hundreds of statues of gods carved from volcanic rock. They were discovered in 1911 by the German geologist Karl Stöpel. He took plaster casts of some of the statues and made exact copies of them in Germany. 18 copies made of reinforced concrete were purchased by St. Petersburg scientist and educator Vladimir Svyatlovsky and donated them to the Kunstkamera. Until the 60s of the 20th century, these idols were kept in the museum's storerooms, after which some of them were put on public display.

Gift to the city from the North-West Customs Administration. Sculptors - Andrey Kunats and Dmitry Nikitin, 2003. On the bronze bas-relief is a reconstruction of the architectural ensemble of the Spit of Vasilievsky Island in the 1830s. “Here was the largest center of foreign trade of the Russian Empire,” says the explanatory text. The majestic Rostral Columns, erected in 1810 according to the design of the architect Tomá de Tomon, served as beacons at night and in fog. They are decorated with symbolic rostras (prows) of captured enemy ships and majestic figures of gods, according to legend, glorifying Russian rivers (the northern column has the Volga and Dnieper, the southern column has the Neva and Volkhov). Having examined Strelka, let's return to the Annunciation Bridge and continue our imaginary excursion with a walk along the Lieutenant Schmidt embankment.

on the Lieutenant Schmidt embankment at lines 14-15. The boat was built in 1955 and served in the Baltic Fleet for 35 years. Since 2010, the boat has become a museum.

Expelled by the Bolsheviks in 1922. Installed on the Lieutenant Schmidt embankment near the 8-9 line on the initiative of the St. Petersburg Philosophical Society. Architect - Alexander Saikov, 2003. From here, scientists and other representatives of the intelligentsia (more than 160 people) who were objectionable to the Soviet government were forcibly sent to Germany on two ships. “We deported these people because there was no reason to shoot them, and it was impossible to tolerate them,” wrote one of the leaders of the October Revolution of 1917, Leon Trotsky.

, “the first Russian sailor around the world” (as written on the pedestal), on the Lieutenant Schmidt embankment opposite house 17 - the building of the Naval Cadet Corps. Sculptor - Ivan Schroeder, 1870. An interesting detail: the famous admiral is depicted as thoughtful and graceful - despite the fact that he had an “iron” character and was unusually physically developed (even while sailing, he trained every day with two two-pound weights). Apparently, the sculptor sought to emphasize a special quality of the admiral’s character: a fatherly attitude towards sailors and tireless concern for their health. It’s no wonder that the whole world collected money for the installation of the monument to Krusenstern.

Dedicated to the plots of ancient Greek myths about the underworld (corner of the Lieutenant Schmidt embankment and the 21st line). “The Abduction of Proserpina by Pluto” (pictured), sculptor – Vasily Demut-Malinovsky, and “Hercules strangling Antaeus”, sculptor – Stepan Pimenov. An interesting detail: these sculptures (like some other monumental sculptures in St. Petersburg) are carved from travertine quarried near the village of Pudost near Gatchina. When extracted from the ground, this rock is unusually soft, but then gradually hardens, which has long been valued by sculptors. By the way, in one of the courtyards of the institute there lives a couple of black cast-iron sphinxes, completely unknown to the general public.

On the Lieutenant Schmidt embankment near the Mining Institute. Built in England by order of the Russian government in 1916 (originally bore the name “Svyatogor”). For half a century, along with the famous Ermak, it was the most powerful icebreaker in the world. In August, the legendary icebreaker will go to Kronstadt for repairs.

A prominent politician from the times of “perestroika”, the first mayor of St. Petersburg, in the park on Bolshoy Prospekt near the Kirov Palace of Culture. Sculptor - Ivan Korneev, 2006. One of the inscriptions on the pedestal reads: “To Anatoly Aleksandrovich Sobchak (1937 - 2000), who returned the name to the city.”

In front of the entrance to the Erarta Museum of Contemporary Art (“Era of Art”). Sculptor – Dmitry Zhukov, 2009. “Perhaps these are angels, or perhaps images of the goddess of victory Nike,” says the Museum’s website.

Those who died saving our city from fires during bombing and shelling. Bolshoy Prospekt, 73 (building of the 9th fire department, where the Fire Department Museum is now located). Sculptor – Levon Lazarev, 1981.

In the courtyard of the Peterstar building at 31 Sredny Prospekt, sculptor Nikolai Elgazin, 1994.

Museum “Submarine D-2 “Narodovolets””, Shkipersky Protok, 10. D-2 was built in 1927-31 and is one of the first Soviet submarines. During the Great Patriotic War, she took part in hostilities in the Baltic Sea. Since 1994, the boat has become a museum.

At the Pribaltiyskaya Hotel on the corner of Nakhimov and Korablestroiteley streets. Sculptor – Zurab Tsereteli, 2006 (since 2005 the monument stood on the steps of the Manege). On Peter's head is a laurel wreath of the winner, in his right hand is the symbolic Decree on the founding of St. Petersburg.

At the Pribaltiyskaya Hotel. Sculptor – Eduard Agayan, 1982. The figures, as if caught in the whirlpool of History, symbolize the past and present of the Russian fleet. On the wall are bronze masks of Naiad and Neptune.

In the “Little Havantsy” park on Nakhimov Street. Sculptor - Grigory Lukyanov, 2012 (July 5, 2012 marked the 210th anniversary of the birth of the famous admiral, hero of the Battle of Sinop and the Crimean War of 1853-1856). In Russia, this is the second full-length monument to P.S. Nakhimov (the first is in Sevastopol).

“Monument to the feat of the sailors of the Baltic Fleet in the Great Patriotic War and the heroic crew of the cruiser Kirov” on the Baltic Fleet Square (the intersection of Morskaya Embankment and Botsman Street). After the legendary cruiser was decommissioned from the fleet (in 1974), its two bow 180-mm three-gun artillery turrets were decided to be installed here as a monument.

Those who fought along with adults during the Great Patriotic War, on the Baltic Cabins Square (the intersection of Kim Avenue and Zheleznovodskaya Street). Sculptor – Leonid Eidlin, 1999.

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 are delivered free of charge 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 pretending to provide academic completeness of 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. Send feedback and suggestions to: pangea@mail.. We thank the Education Department of the Kirovsky District Administration of St. Petersburg and everyone who selflessly helps in distributing our wall newspapers. All photos in this issue: © Georgy and Anastasia Popov.

At the beginning of the 18th century, the island, where the Neva is divided into two branches - the Big and Small Neva, remained deserted; St. Petersburg residents did not want to settle in the swampy wooded area. Peter I decided to create the Admiralty and the administrative center of the capital on the island.

Peter I's plans were to dig a network of canals similar to the canals of Amsterdam. The project was developed by Jean Baptiste Leblond, but did not materialize. It is believed that the canals should have passed along the current lines of Vasilyevsky Island. To fulfill his plan to improve the island, Peter I donated it to A.D. Menshikov, who built an estate with a beautiful palace there. After A.D. Menshikov, residents of the capital began to settle here more willingly. Peter I proved that this place is suitable for life. Following the Menshikov Palace, other stone buildings began to be erected on the embankment: the Twelve Collegiums, the Academy of Sciences and the Kunstkamera, the Academy of Arts. Lush facades appeared on the southern shore of the island, on Universitetskaya embankment.

Exchange building

Work on the ensemble of the Spit of Vasilyevsky Island began at the beginning of the 19th century. On the semicircular cape, the French architect J. Thomas de Thomon erected a new Exchange building. It was preceded by the unsuccessful attempt of D. Quarenghi, who, starting in 1783, had been building his own Exchange building. D. Quarenghi's project was considered inappropriate to the appearance of the city, and the unfinished building was dismantled. In 1801, J. Thomas de Thomon submitted his first sketch for consideration to the Academy of Arts, and the project was sent for revision. A. Zakharov helped the Frenchman in improving the project.

On July 23, 1805, the foundation stone for the new Exchange building was laid, which became the compositional center of the Spit of Vasilyevsky Island. The new building was located exactly on the axis of symmetry of the cape. The architect erected a building reminiscent of an ancient temple, raising it to a high plinth - a stylobate. The monumental “temple of trade” is surrounded by two rows of Doric order columns. On both sides of the building, symmetrical facades are crowned with sculptural compositions on the theme of water elements - “Neptune with two rivers” and “Navigation with Mercury and two rivers” (or, according to another version, allegories of the Baltic Sea and the Neva). The sculptures were made from local Pudozh stone by Samson Sukhanov. In front of the building there is a semicircular area with two slopes to the water, probably for arriving goods. On both sides of the Exchange there are Rostral columns that act as lighthouses. One of the columns was a lighthouse for ships on the Small Neva, the other indicated the way to the Big Neva. The lighthouses served until 1885; they were lit in fog and at night.

Historian P.P. Svinin wrote: “At the ends of the square rise two majestic pillars, decorated with statues, ship prows and other decent images, the most remarkable of which is the colossal figure of Neptune with a trident, the work of the sculptor Thibault from Pudozh stone. Steep stairs are built into the inside of the pillars, along which you can climb to the very top them, enclosing fairly wide platforms with iron railings."

The height of the Rostral Columns is 32 meters; in clear weather, you can see Kronstadt from their top. The columns served as beacons for ships, oil was burned in braziers at the top, P.P. Svinin writes: “During the ceremonial illuminations, the Exchange, especially these pillars, are illuminated in an incomparable way. The blazing flame at the top of these last ones in iron tripods reminds the sailor of that joyful feeling that embraces his heart on a stormy night near an unknown shore at the first flickering of the lighthouse.” Later, electricity was supplied to the lamps, but this turned out to be too expensive.

In 1957, when St. Petersburg belatedly celebrated its 250th anniversary, seven-meter-high fiery torches soared above the Rostral columns for the first time. Nowadays, bright orange torches flash on the Rostral Columns on holidays and special occasions. One of these was recently at the celebration of the tercentenary of St. Petersburg.

The exchange in St. Petersburg existed until 1917. After its closure, the building was empty until the Central Naval Museum was located in it in 1939–1941. In 2013, it was decided that the Exchange would be transferred to the State Hermitage.

Here we present the results of our search for watery Ancient myths in the decor of St. Petersburg. If you want to find out how you can tell preschool children about this, then follow the link ANTIQUE SPb FOR PRESCHOOL CHILDREN

• Antique water Saint Petersburg

  
  

Admiralty

The most rich is the antique naval decor of the Admiralty. At the Admiralty you can see not only the ruler of the sea waters - Poseidon, but also his entire retinue. Moreover, images of both the king of the seas, his wife the sea queen Amphitrite, and their servants Tritons and Naiads are found repeatedly. They are located on the keystones of the window openings of the 1st and 2nd floors.

The flagpoles on the Admiralty pavilions are supported by three dolphins. To the untrained eye, these giant fairy-tale fish are unlikely to resemble dolphins, but the sculptors of that time sculpted dolphins from stories without seeing life, so the dolphins are more likely to resemble the king of fish. “The fabulous inhabitants of the deep sea at the Admiralty, carrying a flag, symbolized the entry of the Russian fleet into the wide expanses of the sea” (Nesterov V.V. Lions guard the city. - L., 1972. P. 335)

Exchange building

The facade of the Exchange is decorated with the sculptural group “Neptune with two rivers, or the Baltic Sea” (Prokofiev I.P., Demut-Malinovsky V.I.?)

At the Exchange building we first encounter the hippocampi, the sea horses of Neptune. The bodies of the hippocampi are almost completely submerged in water, and if the hippocampi emerged they would look something like this:

Neptune in St. Petersburg

One might assume that the main Neptune in St. Petersburg should have a residence on the Admiralty building. However, it is not. Reclining on the roof of the Winter Palace, as at a Roman festival, Neptune greets all ships sailing along the Neva, and is rightfully considered the main sea god of St. Petersburg. His colleague from the former Customs building (now the Pushkin House) receives the parade standing, and the famous Neptune from the Exchange building lost its dominance along with the relocation of the port from the Spit of Vasilievsky Island.
In country residences you can see a pompous monument to Neptune - the fountain of the Upper Peterhof Park.

Rostral columns

On the Rostral Columns we can also find dolphins, hippocampi and naiads. All of them became an adornment of the Rostra. Naiads can be found on the lower pairs of rostra. "The naiad is represented in the form of a young woman with lush flowing hair and wide membranous wings; her legs, reminiscent of fish tails, are intertwined, and with outstretched and slightly tilted back hands she holds on to the side of the ship. The movement creates the illusion that the bow of the ship is quickly moving towards the oncoming waves Neva" (Nesterov V.V. Lions guard the city. - L., 1972. P.336-337). Rostral Column dolphins are some of the most lifelike (despite the non-existent gills). After all, the rostra imitates one taken from a foreign ship that visited the southern seas, which means the owner of the ship probably saw real dolphins. Dolphins do not look like evil monsters, although the sculptor emphasizes the animal’s open mouth and makes an additional outline around the eyes.
For the hippocampus, the sculptor chose the most popular image, connecting the head and body of a horse with flippers and a fish tail. The image of the sea horse is created with simple, soft lines. It should be noted that the hippocampus and the dolphin adorn the same rostra.

Hippocampi in St. Petersburg

The hippocampus cannot be called the most popular mythical animal in St. Petersburg, but still in the city on the Neva you can find whole herds of these cute creatures nestling on the walls of houses, bridge gratings, decorating lanterns and even holding balconies on their wide sea-like backs. The St. Petersburg fashion for combining the elements of water and air, proclaimed by Elizaveta Petrovna when discussing the decoration of the Smolny Cathedral, made most of the hippocampi of St. Petersburg into winged creatures. Some hippocampi have a passionate love for music and never part with the lyre. There are also hippocampi that play with children. It is unlikely that these are earthly children; rather, the kids belong to the ancient divine family, but they play with the hippocampi like real earthly naughty children. On the Lomonosov Bridge they decided to cross the Hippocampus with a unicorn. The golden horn of a seahorse could break through the ice cover of the St. Petersburg rivers and raise Neptune to the surface even in winter.
Modern sculptors also strive to show imagination and cross the hippocampus with swans, strengthening the union of sky and water. Another hippocampus can be seen on the General Staff clock. As soon as we find a mate for him, he will also live on this page.

Tritons

Tritons are not always in the retinue of the Sea King. Sometimes in the city you can meet these creatures that have escaped the menacing gaze of the sea lord.

Ship sculpture

The ship sculpture appeared in our city not so long ago. In earlier times, ships calling at the port on Strelka VO, although they could have much more highly artistic examples of this art, were hardly perceived as an integral part of the city landscape. But since several ships are moored in the Neva - entertainment centers imitating ancient ships, we can talk about ship sculpture as a relatively constant part of the city landscape.
The most valuable, from the point of view of representation of ancient maritime mythology, is the sculptural composition of the “Flying Dutchman”. Naiads and Triton can be found in the sculptural decoration of the ship. Initially, the sculptures were made of dark wood, but later were gilded, which deprived the decor of a touch of antiquity and mystery, but indicated the status of the ship.

Medusa Gorgon

One of the most terrible sea monsters, Gorgon Medusa, is a frequently encountered character in our city. Her most favorite image is on shields, although there are also jellyfish unconquered by Perseus.

River ancient deities

In addition to ancient sea deities, you can also find river nymphs in the city, as well as allegories of rivers. The most famous among them include the allegories of rivers from the building of the Exchange and the bas-reliefs on the Alexandrian Column. However, paired river nymphs can be found on apartment buildings in St. Petersburg, and in the suburbs one can also find sculptural portraits of river allegories.

One of the most important projects in the life of the architect and draftsman Jean François Thomas de Thomon was the creation of the ensemble of the Spit of Vasilyevsky Island with the majestic Exchange building and rostral columns. The portal "Culture.RF" recalls the most interesting facts about the construction and decoration of the spit.

Photo: Andrey Kekäläinen / photobank “Lori”

Exchange Giacomo Quarenghi. The history of the Spit of Vasilyevsky Island began long before the building by Thomas de Thomon appeared here. In the 18th century there was already a Stock Exchange on this site. In the 1730s it was built of wood, and in the 1780s they decided to rebuild it in stone. The construction of the new Exchange was entrusted to Giacomo Quarenghi. He planned an oval-shaped building with two porticoes, to which granite stairs would lead. However, construction work proceeded very slowly. 10 thousand piles were driven into the ground, on which they managed to build a basement and walls, and the process stopped there. The treasury did not have enough funds, and the merchants, who also participated in the financing, categorically did not like the new Exchange. The main complaint was that the building did not fit into the urban landscape. Quarenghi offered to make changes to the building, but he did not want to indulge “coarse tastes.”

Coffee as a source of inspiration. In 1805, Jean François Thomas de Thomon was commissioned to develop a new design for the Exchange building. Before this, the architect had not built anything so monumental, but in addition to the building, he had to design the ensemble of the entire Vasilievsky Spit. According to legend, Thomas de Thomon was unable to complete his architectural project for a long time. And supposedly the idea for the ensemble came to the architect over morning coffee. His wife set the table and placed two cups symmetrically on an oval tray, with a coffee pot between them. So Jean-François Thomas de Thomon imagined in front of him the entire geometry of the future square with the Exchange building and two rostral columns on the sides.

"The Plagiarist" by Thomas de Thomon. Thomas de Thomon was inspired by his own albums with sketches of Roman monuments, which the architect made during his trip to Italy. Thomas de Thomon also rethought some unrealized projects of fellow architects, for which he was even reproached for copying other people's ideas. When designing the Exchange building, Thomas de Thomon took into account the architectural trends of the time - the dominance of classicism, the wishes of merchant customers who saw the Exchange building as a symbol of Russia's trading power, and the peculiarities of the St. Petersburg climate. The monumental building was built taking into account possible flooding, so it was raised on a powerful stylobate - a pedestal. Thomas de Thomon's calculations came true. During the severe flood of 1824, when the city embankments were badly damaged by the Neva flood, the water reached almost the level of the stylobate, but did not break inside the building on the spit of Vasilievsky Island.

Quarenghi's brainchild - into bricks. Thomas de Thomon's design for the Exchange did not include the preservation of the old building. The architect proposed to completely demolish it and use construction waste to fill the embankment. The venerable architect Quarenghi, the author of the Hermitage Theater and the building of the Academy of Sciences, was furious when he found out about this. To reconcile the architects, Count Alexander Stroganov, head of the Academy of Arts, proposed holding an auction. He hoped that someone would want to buy Quarenghi's unfinished building. However, there were no takers, and the old Exchange was dismantled. At the same time, it was possible to save two million bricks that were used in the construction of the new building.

St. Petersburg Parthenon. Jean François Thomas de Thomon wanted to build a building similar to the monument of ancient architecture - the main temple of the Acropolis, the Parthenon. Thomas de Thomon turned his majestic Exchange with its façade towards the Neva. The rectangular building was surrounded by a colonnade of 44 columns. Wide stairs led to the granite stylobate on which the Exchange stood. Most of the internal space was occupied by a huge main hall with an area of ​​900 square meters. One of Thomas de Thomon's contemporaries wrote: “The inner hall is one of the most beautiful in the capital in terms of its vastness and proportions”.

Construction of the switch. Jean François Thomas de Thomon supervised not only the construction of the Exchange, but also the entire architectural ensemble of the Spit of Vasilyevsky Island. The cape was completely “refurbished”. A semicircular square appeared in front of the Exchange, soil was added to the coastline of the cape, and a semicircular ledge was built on it. The arrow was decorated with granite slopes to the Neva, they were decorated with large stone balls. According to legend, master stonecutter Samson Sukhanov, who participated in the decoration of the entire architectural ensemble, cut them out by eye.

Rostral columns - lighthouses or monuments of maritime glory. The rostral columns on the spit of Vasilievsky Island were built simultaneously with the Exchange building in 1805–1810. They got their name due to the fact that they contain decorative images of the bow parts of the ship - “rostrums”. Triumphal columns have traditionally been decorated like this since the times of Ancient Rome. It is believed that the rostral columns were originally conceived as lighthouses - resin was to be poured into a bowl at the top and set on fire, which would indicate the path to ships heading to the trading port. However, it is possible that the rostral columns always served only as a triumphal monument, in which the torch burned only on holidays.

Sculptural design of the ensemble. Initially, Fedos Shchedrin and Ivan Prokofiev were invited to create sculptures for the architectural ensemble, but the artists asked too high a price for their work. As a result, the Exchange was decorated by lesser-known masters, whose names remained unknown. Above the main entrance of the building there is a sculptural group “Neptune with two rivers”, on the opposite facade - “Navigation with Mercury and two rivers”. The sculptural design of the neighboring rostral columns was carried out by Joseph Camberlain and Jacques Thibault - they created four allegorical figures of Russian rivers -