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71-600: Different from contemporary Naryshkin Baroque , favoured in Moscow , the Petrine Baroque represented a dramatic departure from Byzantine traditions that had dominated Russian architecture for almost a millennium. Its chief practitioners - Domenico Trezzini , Andreas Schlüter , and Mikhail Zemtsov - drew inspiration from a rather modest Dutch , Danish , and Swedish architecture of the time. Extant examples of

142-487: A bequest from Cardinal Mazarin across the Seine from Louvre, and contains his tomb. The grandest of the domes was that of Les Invalides , the chapel for the hospital of military veterans, built by Jules Hardouin-Mansart (1677–1706), both as a symbol of charity and of military glory. The dome is placed on a church in the form of a trek cross. The cube of the building is surmounted by a cylindrical column of two drums, giving

213-569: A fountain in the middle, first based on the Italian model, appeared in Paris in the Place Royal (now Place des Vosges ) between 1605 and 1613. The buildings had high mansard roofs, and tricolor facades of broke, stone, and slate . In the beginning, a statue of Louis XIII on horseback was placed in the center. A smaller square, Place Dauphine , originally with thirty-two houses, was built on

284-533: A high drum created feeling of loftiness and impression of a variety of forms. The design for octagon on quadrangle churches was originally believed to have been taken from Ukrainian Baroque architecture, but further research proved that that wasn't true, as the first church built in this style was in Russia. The style spread continually, even to architecture that wasn't religious architecture . Many monasteries remodeled their walls and buildings in this style, as it

355-537: A massive lower level with tall, segmental-arched windows, modeled on those used for the Renaissance-style Lescot Wing . It had a flat roof concealed by a balustrade , with a triangular pediment in the center over the main entry. In 1668 a decision was made to double the width of the south wing, resulting in the construction a new façade on the south, facing the Seine . Perrault also designed

426-647: A model. In 1665, the chief minister of Louis XIV, Jean Colbert , invited the most famous architect and sculptor of the Italian Baroque , Gian Lorenzo Bernini to Paris, to propose a design for the new east wing of the Louvre , located on the eastern side of the Cour Carrée (Square Courtyard). This design would have aligned the architecture of Paris to the Italian Baroque style. However, in

497-537: A new façade on the interior of the court facing west, and a matching new façade on the north. The most important showcase of the French Classicism was the Palace of Versailles . It was begun in 1624 by Louis XIII as a hunting lodge. In 1634, Louis XIII had it enlarged into a château by his chief architect and engineer, Philibert Le Roy . In 1661, Louis XIV decided to enlarge it further, without destroying

568-564: A new pattern for royal residences, with pavilions on the corners, lateral wings, and a grand central entrance surmounted by a cupola. The walls feature colossal orders of columns with triangular pediments , indicating the classical inspiration behind the French movement. A traditional French feature was the high sloping mansard roof and the complex roofline . Like the Villa Medici in Rome,

639-519: A peristyle of detached columns, and the dome is decorated with an abundance of vaults, ribs, statues, contreforts, and ornaments, making it the most Italianate of French domes. The second part of the 17th century saw the beginning of two more important domes. The Chapel of the Collège des Quatre-Nations , (now the Institut de France by Louis Le Vau and François d'Orbay (1662–1668) was built with

710-497: A simplicity and purity of form that inspired similar palace buildings across Europe, from Prussia to Russia. Mansart also completed the Versailles Orangerie (1684–1686) in a similar style, surrounding a formal garden and pool. The gardens created by André Le Nôtre were designed to complement the architecture of the palace and to express, by it geometric alleys, pools, rows of the trees, flower beds and fountains,

781-554: A very specific idea of what he wanted this new city to look like in terms of architectural style, and he took initiative in recruiting people who could help accomplish his vision and researching architectural styles . While in rule, Peter attempted to bring about change to the nation of Russia as quickly as possible and tried to incorporate western style and tradition into the everyday lives of his citizens. As part of this, Peter put regulations into effect, which mandated what cities should look like. Peter's original goal for St. Petersburg

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852-758: Is called Muscovite Baroque as it was originally only found within Moscow and the surrounding areas. It is more commonly referred to as Naryshkin Baroque, as the first church designed in this style was built on one of the Naryshkin family 's estates. The first church built in the Naryshkin Baroque style was the Church of the Intercession of the Holy Virgin in the village of Fili , that was built on

923-697: Is muted and relegated to the field of decorative ornamentation. Louis Le Vau was another central figure in the early French Classicism style. He designed the Château of Vaux-le-Vicomte (1656–1661) for Nicolas Fouquet , the Superintendent of Finances of the young Louis XIV. The design of the château itself was similar to that of the Luxembourg Palace and the Palazzo Barberini in Rome. What made it distinctive from earlier styles

994-725: The Château de Maisons in Maisons-Laffitte , (1630–51), Mansart showed the continuity between the French Renaissance style and the new style. The structure is strictly symmetrical, with an order applied to each story, mostly in pilaster form. The frontispiece, crowned with a separate aggrandized roof, is infused with remarkable plasticity and the whole ensemble reads like a three-dimensional whole. Mansart's structures are stripped of overblown decorative effects, so typical of contemporary Rome. Italian Baroque influence

1065-533: The Prix de Rome and the competition for the enlarging of Saint-Sulpice and Saint-Eustache in Paris, brought forward many original ideas. The first French church façade in the new style was for the church of St-Gervais-et-St-Protais (1616) by Salomon de Brosse . Inspired by the Church of the Gesù in Rome, it featured a façade with the three orders of columns, Doric, Ionic and Corinthian, arranged in stages one above

1136-598: The Rastrelliesque , or the Elizabethan Baroque style. The most important architects that worked in the Naryshkin Baroque style were Yakov Bukhvostov and Pyotr Potapov. Yakov Grigorievich Buhvostov was born in the mid 17th-century, as a serf to Mikhail Tatishchev. The Tatishchev family were influential Boyars in Nikolskoe . Little is known about the early life of Bukhvostov, only that he

1207-527: The Traité de l'architecture (1688) as "less beautiful than palaces and more beautiful than simple residences." The early hôtels particuliers in Paris were influenced partly by Italian architecture and the model of the Luxembourg Palace , on a smaller scale. The early Baroque hôtel particulier was usually placed between a walled courtyard in the front and a garden in the back, with the entrance to

1278-412: The vestibule between 1635 and 1640. The newer houses also began to have two courtyards, one for ceremony (the cour d'honneur ) and the other for more practical purposes, such as the stables. The façade of the residential building facing the garden came to occupy the entire width of the piece of land. New specialized kinds of rooms, such as dining rooms and salons, began to appear. Notable examples of

1349-525: The Île de la Cité next to the Pont Neuf between 1607 and 1610. It faced an equestrian statue of Henry IV of France . The next major urban square constructed in Paris was the Place des Victoires (1684–1697), a real estate development of seven large buildings in three segments around an oval square, with a monument to Louis XIV at its center. This was built by an enterprising entrepreneur and nobleman of

1420-1173: The Assumption Church, which reads "The summer of 7204 (1699) October 25 is the work of human hands, the work of Pyotr Potapov" ( Russian : лета 7204 [1699] октября 25 дня дело рук человеческих, делом именем Петрушка Потапов ). From this inscription it is unclear whether he was the architect or the stone carver, but it is believed that he was the architect. ( Russian : Церковь Покрова Пресвятой Богородицы в Филях ) ( Russian : Церковь Спаса Нерукотворного Образа в Уборах ) ( Russian : Свято-Троицкий собор в Саратове ) ( Russian : Церковь Знамения Пресвятой Богородицы на Шереметевом дворе ) ( Russian : Церковь Святых Апостолов Петра и Павла в Петровско-Разумовском ) ( Russian : Церковь Иконы Божией Матери Владимирская у Владимирских ворот ) ( Russian : Церковь Троицы Живоначальной в Троицком-Лыково ) ( Russian : Богоявленский Собор (Крещения Господня) ) ( Russian : Церковь Успения Пресвятой Богородицы на Покровке ) ( Russian : Сухарева башня ) French Baroque architecture French Baroque architecture , usually called French classicism ,

1491-594: The Dutch Baroque style, he also sought out architectural inspiration from other countries. Despite his recorded dislike for the French and Italian Baroque architecture , Peter sent two architectural students to Rome in 1723 to replace another two students working there. Scholars suggest that an equal amount of architectural students were sent to Holland and Italy during his reign and more Italian builders worked on projects for Peter in Russia than Dutch builders did. In

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1562-732: The French Baroque hôtels particuliers include the Hôtel Carnavalet , the Hôtel de Sully , the Hôtel de Beauvais (1655–1660), and the Hôtel de Soubise (1624–1639) (now occupied by the French National Archives ). A notable example outside of Paris is the Palais Rohan, Strasbourg . The residential square, a group of houses with of identical size and identical architecture around a square, usually with

1633-474: The French Classicism was the integration of the architecture of the house with the formal gardens around it, in what became known as the French formal garden . Salomon de Brosse (1571–1626) was one of the first French architects to adopt the style, in the construction of the Palais du Luxembourg he built for the mother of Louis XIII, Marie de' Medici between 1615 and 1624. The Luxembourg Palace established

1704-457: The Italian Baroque. Saint-Roch (1653–90), designed by Jacques Lemercier , had a Gothic plan but colorful Italian-style decoration. To follow the advice of the Council of Trent to integrate themselves into the city's architecture, new churches were aligned with the street. rather than always facing east–west. The major innovation of French Baroque religious architecture was the introduction of

1775-536: The Kings of France. It proceeded deliberately in a different direction from Italy and the rest of Europe, combining classical elements, especially colossal orders of columns, and avoiding the exuberant decoration that appeared on façades and interiors in Spain, Germany and Central Europe. It was used less frequently on churches and more often in the design of royal palaces and country residences. Another distinctive element of

1846-593: The Palace through the end of his reign. In 1687, Jules Hardouin-Mansart and then Robert de Cotte erected the Grand Trianon , on the model of an Italian building, the Marble Trianon. It had a single floor, decorated with plaster and marble, with a flat roof and balustrade. The plan was very simple, with a peristyle flanked by two wings and two avant-corps , or sections in advance of the wings. It had

1917-591: The Russian styles seen up until this point. The Russian history scholar James Cracraft suggests that the clearest example of Dutch architecture designed under Peter's rule was his Summer Palace in St. Petersburg, while there was also Monplaisir Palace , also known as the "Little Dutch House". In a 1724 letter to the architectural student Ivan Korobov, Peter discusses his preference for the ornamentation of Dutch Baroque. In this same letter, Peter conveys his disinterest for

1988-485: The architectural styles of the French and Italian due to its lack of adornment and use of stone rather than brick. Among Peter's papers, a note was found describing how he sent two Russian architecture students to Holland so that they could learn the Dutch Baroque style and come back to build churches and houses for St. Petersburg. In addition to having Russian students train abroad, Peter also hired Dutch architects to come and work on projects in Russia. While Peter preferred

2059-567: The architecture of the house in every direction. The grand salon of the building opened out onto the garden, a feature which thereafter became a regular feature of Baroque palaces. After seeing the lavishness of the building, the King dismissed and imprisoned Fouquet, took possession of the house for the crown, and soon put Le Vau to work to create his own palace in Versailles. The same three artists scaled this concept to monumental proportions in

2130-500: The building as was common in the 17th century. The bell towers were often built in the shape of an octagon, with the main volume of the building being a quadrangle. This octagon on quadrangle shape was a classic Baroque composition for churches. The window trimmings were decorated, as on all Baroque style temples. Cupolas replaced the tented roof , which was previously widespread in Russian church architecture . These placed upon

2201-470: The ceiling. The Hall of Mirrors , constructed in 1678–1680 by Jules Hardouin-Mansart , the nephew of Francois Mansart, overlooked the new garden. It was also decorated by Le Brun, who completed it in 1684, after which it became the symbol of the entire French Baroque style. The new Palace was open to almost any visitor, and became an immense theatre, where the King carried out his ceremonies, with meticulous protocol, in public view. Louis continued to add to

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2272-493: The church. The upper level was supported by consoles in a reversed S form. The surface of the facade was decorated with statues in niches, and with renouncements . The interior plan was rectangual, with a large vaulted nave, flanked with chapels. The interiors of new parish churches, such as Saint-Sulpice , Saint-Louis-en-l'Île and Saint-Roch largely followed the traditional gothic floor-plan of Notre-Dame, though they did add façades and certain other decorative features from

2343-416: The citizen's home directly corresponded to their standing in this social ranking. The lower classes were divided by their trades and the upper classes were divided by the amount of serfs that they controlled. Several engravings of the model homes exist and while they are often accredited to Trezzini himself, his assistant Jean-Baptiste Alexandre Le Blond is responsible for creating them. These plans dictated

2414-608: The city did not follow the European ideal at the time because of its lack of compactness and grid organization rather than the traditional ringed layout. In 1714, Peter declared that all houses in St. Petersburg should be constructed after Trezzini's model home. Different versions of the home were created for different classes of citizens based on their rank. Peter classified all citizens into 14 different classes, all of which had different residential areas in Trezzini plan. The size of

2485-664: The city include: Peter the Great's Summer Palace , the Alexander Nevsky Lavra , the Twelve Colleges , and the Saints Peter and Paul Cathedral . Trezzini and his team designed the layout of the developing St. Petersburg including the streets of the anticipated city center of Vasilyevsky Island . The layout of the city was arranged in a grid format with perpendicular streets and canals. Trezzini's design of

2556-479: The city. His father Alexis died when he was four years old, so Peter had a fairly unsupervised youth to pursue his own passions. Peter developed his taste for architecture by looking at the buildings which surrounded him in his childhood, many of which were patronized by his family. These churches and houses which surrounded Moscow reflected European influence in their structure and decoration. The Moscow or Naryshkin Baroque style, named after Peter's maternal side of

2627-472: The colossal order of façades, and the use of colonnades and cupolas, to symbolize the power and grandeur of the King. Notable examples of the style include the Grand Trianon of the Palace of Versailles , and the dome of Les Invalides in Paris. In the final years of Louis XIV and the reign of Louis XV, the colossal orders gradually disappeared, the style became lighter and saw the introduction of wrought iron decoration in rocaille designs. The period also saw

2698-685: The construction of his buildings after his death were Carlo Giuseppe and Pietro Antonio Trezzini . Naryshkin Baroque Naryshkin Baroque , also referred to as Moscow Baroque or Muscovite Baroque , is a particular style of Baroque architecture and decoration that was fashionable in Moscow from the late 17th century into the early 18th century. In the late 17th century, the Western European Baroque style of architecture combined with traditional Russian architecture to form this unique style. It

2769-522: The court, Jean-Baptiste Prédot, combined with the architect Jules Hardouin-Mansart . The new square was a showcases of the new monumental Louis XIV style . The old brick and stone of the Henry IV squares was replaced by the Grand Style of monumental columns, which usually were part of the façade itself, rather than standing separately. All the buildings around the square were connected and built to

2840-462: The courtyard through a pavilion on the street. The Hôtel de Sully (1624–1630) in Paris, designed by Jean Androuet du Cerceau , is a good example of the early style, as is the Hôtel Carnavalet . While the Hôtel de Sully was originally planned to be built of brick and stone, it was finally built entirely of stone. The hôtels grew in size and complexity through the 17th century, with the appearance of

2911-402: The cupola or dome over the central nave, a style imported from the Italian Baroque. The dome of the Church of the Gesù in Rome, by Giacomo della Porta (1568–1584) served as the prototype. The first Parisian church to have a dome was the chapel of the whose façade is now found in the courtyard of the École nationale supérieure des Beaux-Arts on rue Bonaparte in Paris. The next, larger dome

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2982-412: The dome exceptional height. The dome itself is richly decorated with sculpture on the entablements as well as ornaments of gilded bronze between the vertical ribs of the dome. The residential building style known as the hôtel particulier reached its maturity during the Baroque era, particularly in Paris, where members of the nobility built their town houses. They were defined by Nicolas Catherinot in

3053-630: The early years of St. Petersburg, the French served as prominent designers and decorators. Domenico Trezzini was born in Italian-speaking region of Switzerland in 1670. The architects that surrounded him in his youth were responsible for the development of the Baroque style in southern Germany. Trezzini's architectural style has visible influences from this German Baroque style along with the northern style of Baroque architecture that he picked up during his time living in Copenhagen. Trezzini

3124-510: The end Louis turned instead to French designers. He wanted a design that would be distinctly French, rather than a copy of the Italian style. In April 1667, he gave the commission to a committee, the Petit Conseil, consisting of Louis Le Vau , Charles Le Brun , and Claude Perrault , and the three men designed the new façade together. It featured the giant order , that is, a long row of double columns two stories high, resting on top of

3195-472: The estate of the Naryshkin family , who were Moscow boyars . The member of this family that is most related with this style of architecture is Lev Kirillovich Naryshkin, the uncle of Peter the Great . Lev Naryshkin erected this first church with the help of an architect, who is presumed to be Yakov Bukhvostov . This church became the staple of the Naryshkin Baroque style and inspired the building of other churches in this style within Moscow. Naryshkin Baroque

3266-859: The family , was prominent in these buildings. Characteristic of the Naryshkin Baroque are large scale buildings and lack of wood amongst building materials. As Peter entered young adulthood and spent time travelling, his architectural taste began to favor the elements of Dutch architecture. Peter met with the Dutch architect Simon Schijnvoet (sometimes Schynvoet or Schynvaet) in 1697. Schijnvoet specialized in Dutch Baroque but also taught Peter about naval architecture . The cabin in St. Petersburg that Peter designed utilized elements from this naval style which Schjinvoet taught him, including flat, painted log walls, wooden tile-like shingles, and windows made from small planes of glass. These elements of design were unlike

3337-591: The first of its type in France, with four small cupolas in the angles of the Greek cross above the Corinthian order columns on the façade. A much larger and higher dome on the Italian Baroque model was begun by François Mansart , then Jacques Lemercier and completed by Pierre Le Muet for the chapel of the royal hospital and abbey of Val-de-Grace (1645–1665). The façade has two levels of columns and pediments and

3408-657: The interior rooms. His major contribution was the Petit Trianon by Ange-Jacques Gabriel . Its austere architecture was a sign of the transition to Neoclassicism . The architecture of churches during the early French Classicism period evolved more slowly; the late Mannerist Gothic style, exemplified by the Church of Saint-Étienne-du-Mont by Claude Guérin (1606–21), was still the dominant style. However, between 1690 and 1755 twenty-four new church façades were built in Paris. Competitions for new church designs, particularly

3479-407: The introduction of monumental urban squares in Paris and other cities, notably Place Vendôme and the Place de la Concorde . The style profoundly influenced 18th-century secular architecture throughout Europe ; the Palace of Versailles and the French formal garden were copied by other courts all over Europe. French Classicism was, from the beginning, an expression of the power and majesty of

3550-462: The mastery of the King over nature. The final piece of the Palace was the Chapel , begun in 1689 to the designs of Hardouin-Mansart and completed by Robert de Cotte in 1708–1710. The room was given more space and light by the use of classical columns instead of massive pillars, and by placing the supporting columns on an upper level. Louis XV continued to add to the Palace, mostly with changes to

3621-429: The north, south and to the rear. The façade, like the new Louvre wing, featured colossal order columns, while the roof was flat with a terrance, decorated with balustrades, pilasters, balconies, statues, and trophies. Beginning in 1674–75, Le Brun created the interior with a small army of painters, sculptors, and decorators. They used marble, polychrome stone, bronze mirrors, and gilded stucco, while Le Brun himself painted

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3692-427: The original. He commissioned Louis Le Vau and Charles Le Brun as his architect and designer, and assigned André Le Nôtre to create a grand formal garden that could be viewed from the Château, on the model of Vaux-le-Vicomte. When Le Vau died in 1670, the project was given to his assistant François d'Orbay , who completed the initial phase in 1674. The new palace surrounded the old brick château, with new wings

3763-410: The ornamentation style of the homes and the materials that they would be built with belonging to each class of citizens. In the city center proper, these guidelines were adhered to strictly. The further from the city center, the more flexibility with the design of homes there was. Despite the effort put into maintaining a regulated city design, after Peter's death, the system that Trezzini designed fell to

3834-508: The other. Another variant of the new style appeared in the main Jesuit church in Paris, the Church of Saint-Paul-Saint-Louis , also inspired by the Church of the Gesù. Designed by the Jesuit architects Etienne Martellange and François Derand , had two levels, with the lower level at the height of the chapels, and an upper level, with a second order of columns, and a fronton over the portal of

3905-470: The palace was surrounded by a large garden and fountains. The interior design was also innovative; the pavilions around the main block contained the apartments, allowing a greater flexibility and functionality of the interior space. One of the most accomplished formulators of the new style was François Mansart , a tireless perfectionist. He was not the first to use the sloping mansard roof, but he used it so effectively that it took his name. In his design for

3976-407: The royal hunting lodge and later main Palace of Versailles (1661–1690). On a far grander scale, the palace is a hypertrophied and somewhat repetitive version of Vaux-le-Vicomte. It was both the most grandiose and the most imitated residential building of the 17th century. Mannheim Palace , Nordkirchen Castle and Drottningholm Palace were among many foreign residences for which Versailles provided

4047-522: The same height, in the same style. The ground floor featured a covered arcade for pedestrians. Between 1699 and 1702, another square was constructed also by Hardouin-Mansart. the Place Vendôme , In another innovation, this project was partially financed by the sale of lots around the square. All of these projects featured monumental façades in the Louis XIV style, giving a particular harmony to

4118-540: The squares. Louis XV followed the example of Louis XIV. In the later years of his reign, Louis constructed a major new square in the center of the city, Place Louis XV (now Place de la Concorde , with a harmonious row of new buildings designed by Ange-Jacques Gabriel . Following the example of the earlier squares, it featured an equestrian statue of Louis XV, which was pulled down during the French Revolution . Louis XV built other monumental squares following

4189-775: The style in St Petersburg are the Peter and Paul Cathedral (Trezzini), the Twelve Colleges (Trezzini), the Kunstkamera ( Georg Johann Mattarnovi ), Kikin Hall (Schlüter) and Menshikov Palace (Giovanni Fontana). The Petrine Baroque structures outside St. Petersburg are scarce; they include the Menshikov Tower in Moscow and Kadriorg Palace in Tallinn Peter the Great, also known as Peter I, served as

4260-400: The time. They were also thoroughly decorated with details in white limestone . The structure of the building was also different from anything else being built in Russia at the time. This architectural style was classified as "under the bell" or "under the ring" (Ru. под звоном). Churches that are "under the bell" mean that the bell tower is placed on top of the main volume, instead of next to

4331-477: The tsar of Russia from 1682–1725. He was the first Russian monarch to travel outside of Russia and this travel exposed him to the architecture of many other countries. His own library contained architectural books from the Netherlands, France, Germany and Italy. The buildings of these countries influenced Peter's taste in architecture as he set forward to build the new Russian capital of St. Petersburg. Peter had

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4402-444: The wayside. Scholars consider Peter I's comprehensive urban design to be one of his greatest legacies. In the design of his buildings, the Dutch Baroque style is visible in the types of ornamentation he preferred. For columns, Trezzini preferred squared pilasters as a decorative element and restricted their use to where they were structurally necessary or served a major purpose in the overall design. Trezzini also took inspiration from

4473-583: The work of Christopher Wren , whose work on the St Paul's Cathedral appears in Trezzini's sketches. Trezzini established the St. Petersburg Chancellery of Construction and became its first director. This school was the first institution to offer formal training for architects in Russia. Among those who trained at the Chancellery was Mikhail Zemtsov who continued Trezzini's legacy. Other architects whom Trezzini worked alongside during his life and continued

4544-445: Was a style of architecture during the reigns of Louis XIII (1610–1643), Louis XIV (1643–1715) and Louis XV (1715–1774). It was preceded by French Renaissance architecture and Mannerism and was followed in the second half of the 18th century by French Neoclassical architecture . The style was originally inspired by the Italian Baroque architecture style, but, particularly under Louis XIV, it gave greater emphasis to regularity,

4615-468: Was also influenced by the Lombard Baroque style of architecture which was popular in Northern Italy where he grew up during the 17th century. From 1703 until his death in 1734, Trezzini lived in St. Petersburg. Trezzini began many of the building projects that formed the basis of the city. Due to the many projects that Trezzini worked on, he was given the title of "Lieutenant-Colonel of Fortification and Architect" in 1710. Some of Trezzini's major additions to

4686-403: Was constructed at the Église Saint-Joseph-des-Carmes (1613–20) in the same neighborhood. A larger and still more impressive early dome was built by François Mansart for the Church the Visitation Saint-Marie (1632–34). Another innovative dome was built by Jacques Lemercier for the College of Sorbonne , beginning in 1635. This design featured a hemispherical dome on a tall octagonal drum,

4757-490: Was contrasted with the Petrine Baroque , which was favored by Peter the Great and used widely in St. Petersburg . The contrast of these two styles are exemplified by the color, form, scale, and the materials used. The St. Peter and Paul Cathedral in St. Petersburg, and the Menshikov Tower in Moscow, are notable examples of the Petrine Baroque style. The churches designed in the Naryshkin Baroque style were often built in red brick, which differed them from other buildings of

4828-409: Was granted his freedom in the 1690s, when he was recognized as a great architect. The most notable example of his work as an architect is the Church of the Savior in Ubory. Pyotr Potapov is the hypothetical architect of the Church of the Assumption of the Holy Virgin on Pokrovka. Nothing is known about his life, or if he was even a real person. His name is known exclusively by the inscription on

4899-434: Was the latest fashion. The most notable examples of these monasteries were the Novodevichy Convent and the Donskoy Monastery in Moscow. There are some examples outside of Moscow as well; Krutitsy , Metochion and Solotcha Cloister are near Riazan . Non-religious architecture adopted this style as well, as could be seen in the Sukharev Tower in Moscow. In the 1730s, the Naryshkin Baroque style ended and it evolved into

4970-461: Was the unity of its architecture, interior, and landscape around it. Its façade featured stylized monumental columns, wings combined with mansard roofs and a prominent dome, in the Baroque style. The interior was lavishly decorated with murals by Charles Le Brun and it was placed in the center of enormous formal gardens designed by André Le Notre , laid out in geometric patterns paths, flower beds, fountains and reflecting pools, which seemed to extend

5041-438: Was to re-create the city of Amsterdam . As the city began construction, Peter started making changes to the designs of the buildings, often altering the planned appearance of buildings once their construction had already started. These last minute alterations led to buildings not belonging to one particular architectural school. Peter was raised in Moscow, lived at the Kremlin , and spent time at multiple royal estates outside of

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