Profitable house lidval. Profitable house of lidvals

Kamennoostrovsky pr., 1-3
Malaya Posadskaya st., 5
Kronverksky pr., 15

1899-1904 - arch. Fedor Ivanovich Lidval

The tenement house of the architect F.I. Lidval is a new type of tenement house with an open landscaped court-court yard. Three buildings - a whole complex of multi-storey buildings, characterized by picturesque asymmetry, a variety of window shapes, combinations of natural stone with plaster of different textures. The facades of all three buildings are decorated with sculptural reliefs depicting birds, animals and stylized plants. The northern three-story wing was the Lidval family mansion with apartments. Majolica stoves, faience washbasins, marble fireplaces were installed in this building. The ceilings and walls in the rooms were wooden, trimmed with oak and birch. At different times, the architect M.E. Messmacher, the artist K.S. Petrov-Vodkin, the actor Yu.M. Yuryev lived in this house.

Lidval Fedor Ivanovich (1870-1945) - Russian-Swedish architect, academician of architecture. The main works of the architect were tenement houses, which he designed in the Art Nouveau style, which was new for that time. According to the projects of F. Lidval, buildings were built not only in St. Petersburg, but also in Moscow, Kyiv, Astrakhan, Kharkov. In 1910-1912 he was engaged in the construction of the Astoria Hotel building. In 1918 the architect left for Stockholm. In Sweden, the architect built several residential and public buildings.

D om Lidval - a monument of northern modernity in St. Petersburg.
This is one of his early houses, created by him for the family by order of his mother, which later made him famous. The house is located on Kamenoostrovsky d. No. 1-3, very close to the Gorkovskaya metro station and can be considered an example of a residential apartment building in the Northern Modern style.

Previously, there were lamp and bronze factories on this site. In 1875, the factory expanded and became a bronze products factory, owned by I.A. Kumberg.

In 1898, Ida Amalia (Ida Baltazarovna) Lidval, the mother of the architect F.I. Lidval, bought the united plot on credit.

Most likely, it was not without insider information, because Ida Amliya was the wife of a court tailor... When buying, the plots were nothing special. But after the opening of the Trinity Bridge, Kamennoostrovsky Prospekt itself turned into the "Russian Rublyovka" of that time (proximity to the center and ease of movement). The land plot immediately rose sharply in price, and this profitable house became one of the most expensive in St. Petersburg.

The profitable house of Ida Amalia Lidval is the first independent work of her son, an outstanding architect F. I. Lidvalya(link to Wiki) and was commissioned by his mother. Old photos (C) pastvu.com

The northern three-story wing was the Lidval family mansion. Nine-room apartment No. 18 on the 3rd floor was occupied by Ida Lidval herself until her death in 1915. Her sons Eduard Lidval and Fyodor Lidval lived in neighboring apartments No. 21 and No. 23 on the same floor, and the architectural design bureau of F. I. Lidval was located on the first floor of the house until 1918.

The link of its main facade has a symmetrical three-axis structure, although the house itself is not symmetrical. Bay windows do not repeat each other: the left one is rounded, the right one is trihedral. The wall is covered with textured stucco.

The cladding of the lower floors and architectural details are made of “pot stone” (talcochlorite) of a light greenish-gray color, supplied from the Nunnanlahti or Kallivo-Murennanvaara deposits (North Karelia).

And lynxes and mushrooms are wonderful)))

On the second floor, on both sides of the building, there are balconies with gratings in the form of a web with spiders, sunflowers are depicted on the sides of the gratings.

The building was awarded at the first city competition for the "best facades" in 1907, was a milestone in the development of St. Petersburg architecture and glorified the architect.

Wrought iron railings on the first floor balcony are made in the form of the letter "L" - Lidvall. The paintings on the stairs are mosaic.

Despite the fact that the general plan of the house has an irregular shape, F.I. Lidval managed to do without rooms with sharp and obtuse corners. Uncomfortable rooms were used as auxiliary. All the apartments were equally well-appointed and differed only in size, on the floors and in the windows facing the cardinal points. The floors in the apartments were mosaic and parquet, some with patterns and friezes.

In the rooms of the right and left wings, the walls and ceilings were wooden - made of oak and birch. The bathrooms of the last building had French kitchen hearths and faience wash basins.

The windows in the house are both solid and lattice, glass with a diamond edge was inserted into them (perhaps this is a legend).
When the sun's rays touched the facade, they were colored with all the colors of the rainbow, reflected inside on the walls and making the rooms even more airy.

Marble and tiled fireplaces were installed in the front doors, and Dutch and Russian majolica stoves were installed in the apartments. In each building there were rooms for porters, janitors and machinists, reception rooms, laundries, ironing rooms, electric lighting and water heating machines, as well as elevators.

Old inscription from Soviet times "Kirovsky Prospekt".

In Soviet times, a labor school and a music department were located here. The apartments were rented by actors, in particular, People's Artist of the USSR Yu. M. Yuryev. In 1909, the artist Kuzma Sergeevich Petrov-Vodkin lived in this house.

Info and some photos (C) Wikipedia and the Internet.

On the right hand under No. 1 and 3 of Lidval's house. This is actually one house, built in the shape of the letter P. Its central part is separated from the street by a square. This is a new building type.
The front yard is fenced off from the street with a lattice with granite columns, on them there are lanterns. The right and left buildings, adjacent to the sidewalk, are not quite symmetrical. At the right - a glazed veranda. Two courtyards are located to the left and to the right of the main courtyard with a square. They can be reached under the arches. Both are very small, but well equipped with the essentials.
The coloring of this three-row house is striking. Its base is ash gray stone. The upper floors are plastered and painted in dull brown tones. Dark and light alternate. Interesting decorations, they are unexpected and very diverse. We will find: an owl, a crow on a spruce, a spider on its web, a hare, and along with them stylized tulips and a young man against the backdrop of the rising sun, similar to Siegfried. The lines are waving, with soft outlines, wide and smooth. The architectural appearance of the building is somewhat vague. On the central part, the date of its construction: 1902.
In the appearance of this building, one can feel the desire to give everything an unsaid look. Forms, colors, lines are whimsical, pretentious, soft transitions. Decorative details play a big role in the ensemble.
Their plots are chosen with the expectation to give some mystery to the appearance of the building. Before us is a characteristic monument of the era of symbolism, fascination with northern motifs, an era prone to
romantic moods. At this time, a special architectural style "modern" was formed, which quickly flourished and faded even faster. It is very difficult to describe its architectural design.
All effects are purely decorative. The Art Nouveau style is characterized by turrets, lanterns protruding from the plane of the house, cut corners, doors heavily decorated with wild stone, the desire to give the building the features of a castle.
Asymmetry is very characteristic of this style. The coloring usually consists of several halftones, sometimes bright inlays (green, blue) are inserted, like embroidery on a dress. Decorative ornaments are given in bizarre, twisting, stretched lines; their plots are taken from images of "decadent" poetry.
There are a lot of houses of this style in Leningrad. On Red Dawn Street, which was intensively built up at the beginning of the 20th century, we will often meet with them.
The owner of this house bore a surname that gained notoriety in 1905. A certain Lidval, on behalf of Comrade Minister of the Interior Gurko, had to purchase bread due to a crop failure. The case was conducted so mercenarily that it caused a major scandal that greatly agitated public opinion. Gurko was put on trial by the Senate.
At present, a number of institutions for children have taken shelter in the Lidval house; among them is the 188th orphanage.

(Antsiferov N. House of Lidval // Excursions to the present / Edited by N. A. Kuznetsov and K. V. Polzikova-Rubets.

L. Publishing house of the book sector LGONO, 1925., added miraru1)

By the end of the 1930s, both the number of customers and the contents of their wallets had decreased, and Paul returned to Sweden. His brother Edward had been dead for several years, and the firm was now run by his sons Alf and Oscar. Paul Lidval opened his own atelier on Regeringsgatan Street, and therefore there were two Lidval tailoring firms in Stockholm at one time. However, after a while, Alf and Oskar had to close their business, and only Paul remained.

One of the regular clients of his firm was the artist Karl Gerhard. Another famous client was the writer and journalist Jan Uluf Ohlson. When he once expressed doubts about some detail of the ordered costume, Lidval replied: “Prince Yusupov wanted it to be that way.” This comment immediately cut short any further argument from the client.

Atelier Paul Lidvall ceased to exist almost exactly 100 years after Father Jun Petter settled in our city. The Lidvali brothers moved among people belonging to the upper strata of society, and they quickly managed to establish their activities in Sweden, although they never reached the same financial and social level there as in St. Petersburg. One does not need to have a particularly rich imagination to imagine the problems that Russian Swedes, who had less education and social connections, faced in their newfound homeland (30, p. 293).

2.2. Swede with a "Petersburg" soul

Fyodor Lidval was born on May 1 (May 20, old style), 1870, and after his birth he was entered in the book of the Swedish parish of St. Catherine (14, p. 17) (see Appendix). Fedor Lidval graduated from elementary school at the church of St. Catherine and entered the second St. Petersburg real school, where he studied for six years, from 1882 to 1888. In 1882, the father took his son to Sweden, this trip he remembered for a lifetime. Fedor Lidval was rarely seen in the Lidval and Sons trading house, since by that time he already knew for sure that he wanted to become an architect. But he could not enter the architectural department of the Academy of Arts, since his grades were not high enough. Therefore, for the next two years he studied at the technical drawing school of Baron Stieglitz. Having received serious training there, Lidval became a student of the Academy of Arts in 1890. The first two years spent in the general classes of the "old" Academy, which all students had to pass, regardless of their further specialty, were devoted to general education sciences, drawing and copying classical engravings. Moving then to a special class of the architectural department, Fedor Lidval is engaged in technical sciences, "drawing architectural parts and ornaments of all styles", drawing up architectural projects under the guidance of professors on duty. Drawing classes continue, and in the summer months, he, like other students of the architectural department, undergoes practice on buildings. During the holidays, Fedor Lidval, like his brothers, served twice in the Royal Life Guards Regiment in Stockholm, as they considered it mandatory (14, p. 17-18).

Having received solid artistic and technical training, having carefully studied historical architectural styles, Fyodor Lidval continued his education since 1894 in the workshop of Leonty Nikolaevich Benois, who was the author of the projects for the buildings of the Singing Chapel, the Ott Clinic in St. Petersburg and the western building of the Russian Museum, which this day is named after him. Subsequently, such large and creatively different masters of architecture as G.A. Kosyakov, M.S. Lyalevich, A.I. Tamanyan, N.V. Vasiliev, M.M. Peretyatkovich, V.A. Schuko, N.E. Lansere, I.A. Fomin, A.E. Belogrud and others. Fyodor Lidval's coursework, made in Benois' workshop, does not yet give an idea of ​​the originality of the future architect. We can judge about Lidval's early works by the photographs of projects of a country villa (1894), two public buildings (1895), placed in the album-book "F. Lidval". All of them are executed in the spirit of the then impersonal pan-European renaissance (14, p. 26).

Two-year studies in the individual workshop of the Academy's art school ended with the development of a graduation program for the title of artist-architect. In 1896 Fedor Lidval completed his education by designing an exhibition hall. After graduating from the Academy, F. Lidval traveled to Europe and the USA. The creative activity of F. Lidval in Russia lasted about twenty years. It is possible, with some conventionality, to distinguish two periods: from 1897 to 1907 and from 1907 to 1918. The most famous buildings are: the Lidval House, the Astoria Hotel, the Azov-Don Bank, the Zimmerman apartment building, the Nobel mansion, the 2nd Temporary Credit Society, the Swedish Church, the Nobel Brothers Partnership. F. Lidval built several dozens of buildings in St. Petersburg, which left a noticeable mark on the architectural appearance, while demonstrating his characteristic artistic tact, combining the techniques of the classical school with new motifs and forms. At that time, his main theme was an apartment building, the main type of building in capitalist Petersburg. F. Lidval, like his colleagues, sought to create a memorable image, at the same time placing as many apartments as possible in houses for various segments of the population (14, p. 24).

Contests occupied a lot of place in his activity. In the development of projects, Lidval successfully collaborated with A.N. Benois, O.R. Munts, R.I. Kitner, G.A. rational in terms of the structure of an apartment house with three courtyards. This quite mature work of young architects was awarded the first prize. Subsequently, F. Lidval performed quite a few competitive projects (14, p. 74).

In 1912, F. Lidval took part in a custom-made competition held by the Ministry of Railways and the Academy of Arts for the design of the building of the Nikolaevsky railway station. In 1911, F.I. Lidval participated in the competition for the design of the building of the Noble Assembly, located at the corner of Malaya Sadovaya and Italianskaya streets, 27 (14, p. 82).

The activity of F. Lidval was multifaceted. He taught at the Polytechnic Institute, participated in the publication of the journal Malaya Posadskaya No. 5. In 1907, he was a member of the jury of the Mosque competition, then the passenger building of the Nikolaevka railway, the theater in Tambov, the school of folk art and many other buildings. By 1915, there are two competitive projects - buildings of the Volga-Kama Bank, one for Tiflis, the second for Kyiv, completed by Lidval together with the talented architect G.A. Kosyakov. In the same year, Lidval, together with Kitner, completed the project of the Lysva People's House in the Perm province (14, p. 43).

In 1910-1917, F.I. Lidval taught at the Faculty of Architecture of the Women's Polytechnic Institute, led architectural design, and, like L.N. Benois, encouraged draft designs. There was a very strong composition of teachers: V.A. Pokrovsky, V.A. Kosyakov, M.S. Lyalevich, V.V. Starostin, P.F. Aleshin, V.A. .V. Belyaev, M. M. Peretyatkovich and other major architects and artists of St. Petersburg. Together with Lidval, they did a lot to educate women architects, many of whom became prominent Soviet architects. In 1914-1916, F.I. Lidval participated in the release of an architectural and artistic weekly. He was a permanent member of the judicial competition commissions, was involved in the development of programs for the design of various projects (14, p. 76).

Having built at least ten large residential buildings in a relatively short period of time, Lidval moved into the ranks of the most prominent St. Petersburg architects. His work receives official recognition from the public. In 1907, a special commission for awarding prizes for the best facades awarded Lidval a silver medal for the facades of house No. 19 on Konyushennaya Street, and the owner of house No. 61 on Kamennoostrovsky Prospekt, also built by Lidval, received an honorary diploma. In 1909, F.I. Lidval was awarded the honorary title of Academician of Architecture (14, p. 76).

In 1908, Lidvall married Margaret Frederica Eilers (30). She was born in 1885 in St. Petersburg (19, p. 72). And she lived with her family on Kamennoostrovsky Prospekt. Her father Herman Friedrich Eilers (born in 1837 in East Frisia, now Holland) was a gardener in the princely St. Petersburg Yusupov family, and then started his own business and became a flower supplier to His Majesty's court. He died in August 1917 in Petrograd (19, p. 72).

To his children: Sven (12/31/1909), Anders (11/28/1911), and Ingrid (08/01/1913). Margaret gave Swedish names, since, having married, she took Swedish citizenship (19, p. 72). In the house of F.I. Lidval they spoke Swedish, only when alone with his wife did he speak Russian, considering our language romantic. Lidval was a member of the Russian Imperial Academy of Arts and received an invitation to become a court architect, but refused, as this involved taking Russian citizenship.

From 1904 to 1917, F.I. Lidval and his family lived in a house on Kamennoostrovsky Prospekt at house number 1/3, but after the February Revolution, envoy Brendstrem advised him to send his family to Sweden in the hope that the situation would stabilize. Therefore, Lidval's wife and children spent the summer in the Stockholm archipelago. In August 1917, Mrs. Lidval's father died, and she went to Petrograd, where her husband was at that time. The children still remained in Sweden, where she returned in September. This visit was her last stay in the city where she was born and raised. Upon returning to Sweden, Mrs. Lidval lived with her children in a hotel at the Yurkholsky restaurant. The Lidval family spent the winter of 1917-1918 in Jurholm. F.I. Lidval survived the October Revolution of 1917 in Petrograd, and was not once subjected to violence because of his authority. He did celebrate Christmas, apparently, in Stockholm with his family. One way or another, in January 1918 he was again in Petrograd. There he remained for almost a year. At the end of November, he left for Stockholm, probably not thinking that he would never return. In his office, work continued on projects for several buildings: the Russian Bank for Foreign Trade, the Nobel Brothers JSC and the maternity hospital in Petrograd, the banking house in Samara, and the resort hotel in Kislovodsk. None of the projects was completed, but the workshop functioned as an integral structure until 1923 (it was located in his house on the first floor - Kamennoostrovsky pr.1/3). In 1919, the Lidval family bought a 3-room apartment in Stockholm, as they already understood that their stay in Sweden, which was called temporary, became permanent and stretched out for the rest of their lives (30).

In 1919, the Swedish state established the "Russian Property Commission", whose task was to protect the interests of the Swedes in Russia, both individuals and enterprises. Among those who lost the most were the Lidval families, the architect and tailors. The total amount of Lidval's claims to the Soviet state reached 1,792,520 kroons, which corresponds to 70-80 million kroons today. This included the cost of houses: on Zelenina Street, 20/15 (acquired in 1910), on Bezborodkinsky Prospekt, 14 (acquired in 1915), on Bolshoy Prospekt, 99-101 Vasilyevsky Island (acquired in 1916). Documents confirming the right of ownership were in cell No. 700 of the Petrograd branch of the Azov-Don Bank. Margaret's wife put forward a claim of 375,000 crowns. But nothing was returned to them (30).

On February 25, 1920, the architect Johan Frederich Lidval and his family were registered in the parish of Hedwig Eleonora in the capital of Sweden (19, p. 74) (see Appendix).

Lidval was one of the most respected architects in Russia and the founder of a new style in St. Petersburg architecture in the first decades of the 20th century. But in Sweden he was almost unknown, and even if he was known, then in the bad market conditions that developed in the 1920s, they looked at him as a dangerous competitor. Emmanuel Nobel at first tried to help Lidval, partly with cash, partly by offering an order for the design of the Nobel Foundation building in Stockholm. This order F.I. Lidval did not get it, but after a few years spent in the humiliating rambling around the rapids, he got a job in Stockholm in the architectural office "Estlin and Stark".

F. Lidval's first independent building was 2 residential buildings in the English style at 3-5 Gusta Gatan Street, which he built in 1922. Other notable projects he has completed in Stockholm include the building of the Shell Oil Company on Birger Jarlsgatan Street and a house on the corner of Tursgatan and St. Eriks Gatan Streets. In cases where F.I. Lidval was not the author of the project, he was often entrusted with the design of facades and other parts of the building. An example of this is the Shell House, with its cast iron railings, like in a Chinese cinema. F.I. Lidval also designed several houses in the constructivist style, but he liked the simplified architectural style of the 30s much less than the neoclassicism of the 20s. In “functionalism,” as the Swedish version of constructivism was called, he no longer found any use for his formal mastery (30).

During his work in Stockholm, F. Lidval designed 23 houses, including 16 author's ones, but, despite this, his career in Sweden cannot be called successful in comparison with what he did in pre-revolutionary Russia. His daughter Ingrid writes with pain about her father's hardships in Sweden, and not only professionally. After almost twenty years of success and the high praise he deserved as an architect of Russia, he now had to be content with the work of an employee. Sometimes he received four independent buildings, but far from being able to provide himself with only private orders. From the memoirs of the daughter of F.I. Lidval: “Dad was not at all sentimental and did not live with memories of past successes, but his feelings nevertheless sometimes came out. He coped with a role that was personally humiliating for him, primarily because his professional honor and love for work never gave him any respite or rest. As his Russian colleagues recalled, I do not know. But here in Sweden, dad was intellectually bored and spiritually alone. Since Petersburg times, that architects and artists meet, they talk about architecture and art. The Pope never understood that Swedish architects do not feel the need for informal intellectual communication.” “My father,” writes Ingrid Lidval, “was never associated with Swedish architects to the same extent as he was associated with colleagues in St. Petersburg ... It was a great joy for him to collaborate with architects and artists in St. Petersburg ... In those days he was a happy man" (19).

Recognized and widely known in Russia and forgotten in Sweden, F.I. Lidval died as a result of a cerebral hemorrhage at his home in Stockholm on March 14, 1945. Margaret Frederike died on April 12, 1962. They are buried in the same grave at the Jurekholm cemetery (a suburb of northern Stockholm) (19, p. 78).

Fedor Ivanovich Lidval earned high prestige not only as an architect-artist, a fine connoisseur of architectural form, a man of great taste, but also as a builder personally leading the implementation of his projects in kind, demanding on the quality of construction and finishing works, delving into all the details of construction. Many of Lidval's students A.A. Ol, R.I. Kitner and others) became prominent Soviet architects and always remembered their teacher and older friend.

Chapter 3 Northern Art Nouveau Masterpiece

3.1. Architectural portrait of the house.

The house on Kamennoostrovsky Prospekt is one of the early works of F. Lidval. This is an outstanding example of a complex urban planning and artistic solution for a large area. The building consists of several multi-storey buildings, united by a semi-open court yard (cour dhonneur - translated from French - court of honor), which makes the apartments more illuminated (15, p. 188). According to E.A. Borisova and G.Yu. Sternin, this new method of composition with a large front yard opened onto the street, replacing the “yard-wells” typical of St. Petersburg tenement houses of the 19th century, was used here for the first time (4, p. 246 ).

In the construction of the building overlooking Malaya Posadskaya Street, the architect tried to overcome the usual flatness and symmetry. The middle gable of the curvilinear outline and the wide windows below them are displaced from the central axis. The lower floor is separated not by a horizontal rod, but by a wavy line. Bay windows do not repeat each other: the left one is rounded, the right one is trihedral. Lateral trapezoidal tongs with arched ends fit to complete the corner of I.E. Riting's house on Kronversky Prospekt (1899, V.V. Schaub). The wall is covered with textured stucco. This technique would then be a favorite in the work of Lidval.

The plan of the central building is also not symmetrical, but the main link of its main facade has a symmetrical three-axis structure. The vertical axes of the body are underlined by three bay windows and gables. The middle gable of a complex curved contour rises above the side bay windows. The trihedral glass bay window in the center is sandwiched between the blades of greater height, inscribed with vertical rods. Metal beams and other parts of its structure are artistically processed. The basement of the house along the entire perimeter is made of smoothly processed red granite slabs. The cladding of the lower floor and architectural details are made of talc-chlorite (talc-chlorite schist) or, as it is also called, "pot stone", first used in St. Petersburg by Lidval (14, p. 31).

The building is separated from Kamennoostrovsky Prospekt by a beautiful forged lattice, mounted on pillars of red Finnish granite, and renewed in the summer of 1995. In the lattice there are two gates with granite pylons - lanterns. The house was designed as a single organism, where the form corresponds to the content New trends appear not only in the layout of the building, but also in the methods of decorative decoration characteristic of the architect. In the design of the facades of the buildings, the architect widely used modern decorative motifs; The decoration above the central portal attracts attention. In the center of the relief decoration is a cartouche with the date of completion of the main part of the complex "1902". To the right of the date is a pine branch with cones. Nearby is a forest bird, similar to a magpie, striving to peck at a hare sitting next to it. Behind him is another hare running out of the thicket. To the left of the date - the head of a lynx with an open mouth. Nearby, on a branch, sits an owl with open wings. A high-relief eagle owl with outstretched wings, for which the top of the middle tong is specially widened, is located under the very roof (23, p. 25). There are balconies on the second floor on both sides of the building. On the lattices of which large forged spiders "sit". To the right and left of them, as if supporting a web, metal sunflowers “bloom”. The fences created by the architect’s fantasy are remarkable in two respects: the filigree blacksmith work makes them a work of art, and the plot he has chosen carries a multi-valued image: the spider is a symbol of needlework, crafts, weaving, and even more broadly, fate. lattices with spiders of the Lidval house serve as a kind of illustration to the words of the French art historian Ch. It is curious that the other balconies of the building (and there are about ten of them in total) have a completely different style. Some of them are made in the floral version of the rhythmic modern, others in the neoclassical style (2, p. 187).

The construction of the house by I.B. Lidval became an event in the architectural life of St. Petersburg. And it is natural that in the buildings of other architects of that time one can find echoes of the architectural techniques first used in the house on Kamennoostrovsky Prospekt. So the composition of the Lidvalevsky balcony with spiders can be seen in the lattices of the house of P.T.Badaev (Vosstaniya St., 19), designed by architects V.I. and G.A. Kosyakov. Only instead of sunflowers, the spider is surrounded by mighty stems of blooming thistles (2, p. 188).

Above the front door of the left building are images of fantastic large-headed fish resembling dolphins, with bulging eyes and open mouths. A nimble lizard is carved on the protruding part of the wing, above - the head of a lynx. Amanitas and morels grow under the fern leaf. Near tulips, wild berries. All this is organically fused into the diversified surfaces of the walls. These animals and birds are a tribute to the fashionable at that time northern architecture. What about fantastic fish and lion masks? Such a mixture of northern and southern, night and day, real and fictional birds and animals in the design of the building is one of the features of Art Nouveau (23, p. 23).

Particularly expressive in terms of plasticity is the corner part of the southern building. Volumes and planes are softly cut into each other. The corner itself is as if incised, and a faceted prism is built into the recess, which is supported by a powerful beam and thick columns of blocks of torn stone. Wreaths and a garland were added to the elements of Art Nouveau.

The image of the Lidval house is polyphonic. Numerous and varied bay windows and balconies, straight and polygonal window openings, some of them with endings in the form of arches with platbands of different patterns. The cladding of the facade of the building, resting on a red granite plinth, used a light greenish-gray potted stone supplied by a Finnish company from the Nunnanlahti deposit (Finnish Karelia) or Kaplivo-Murananvara.
Approaching the house, you immediately pay attention to the forged railings of the first floor balcony. They are made in the form of the Latin letter "L" - the first in the names of the owners - Lidvall.

The building was awarded at the first city competition for the "best facades" (1907). As an example of a residential building in the Art Nouveau style, this house was included in the curriculum of the history of architecture (10, p. 186).

3.2. The device and life of the old St. Petersburg house

Replacing, they rustled around the generation,
They rose at home, like your crops ...
V. Bryusov (11, p. 74)

House of I.B. Lidval refers to the type of tenement houses, which were designed exclusively for tenants with large funds, requiring apartments with all amenities. Here the apartments were all equally well-appointed, differing only in size and location of windows - to the west, to the east, to the south - and by floor. The task of the architect is to combine the traditions of the city - "a strict, slender appearance" - with the requirements of a new, business life, which they quite succeeded in doing.
In the course of the research, I learned with interest about the life of an apartment building at the turn of the 19th and 20th centuries.

Let's stop our attention to start with the workers at home - the janitors. The older ones selected from relatives or fellow countrymen their henchmen - junior janitors, healthy, middle-aged peasants, whom the village threw into the city to work. Most of them were illiterate or semi-literate people, they were required to have great strength, diligence, cleanliness and honesty. They lived like janitors, usually without families, in a kind of artel. The elders received 40 rubles, the younger 18-20 rubles. The elders were the authorities - they did not work, but ordered and observed the work of others. Janitors from morning to evening cleaned the streets, yards, stairs, carried firewood to apartments. These workers were especially hard hit in the winter during snowfalls: it was necessary to clean all the panels with scrapers, sprinkle them with sand, shovel the snow into heaps and take them to the snow melter on horseback. In addition to their salary, they received tips for services to residents: they knocked out carpets, tied and carried out things when residents left for summer cottages, and carried baskets of linen to the attic. They knew who was having a birthday and went around the residents living on the stairs assigned to each. For such congratulations, they were not only given a tip, but also treated to vodka and snacks. Many of them tried to dress in a city style, to get chrome boots, a jacket, a vest, a scarf (11, p. 16).

The apartment entrances were serviced by porters. They were recruited from those janitors who were more accommodating, grew old and could no longer do hard work. Good looks and courtesy were also required. They cleaned the front staircase, polished the mosaic platforms with vegetable oil to shine, cleaned the brass handles of the doors; in general, the work was not hard, but hectic - at night, at the call of a belated tenant, it was necessary to unlock the door, especially on holidays when guests came. The owner gave them all uniforms - a livery, a cap with a gold braid. The porters enjoyed the well-deserved trust of the owners of the apartments, often leaving the keys to the apartments when leaving for the dachas, instructing them to water the flowers. As a rule, in addition to a salary from the owner, they also received from the landlords.

The duty janitors at the gate, with a badge and a whistle, in winter in a sheepskin coat, felt boots and a warm hat, also carried out the observation of order. They watched who entered the yard, asked a stranger where he was going, did not let organ grinders, peddlers, watched that they did not take out things without tenants. At night, the gates were locked, there was a wooden bench in the doorway, on which they sat or lay until they were disturbed by the call of a belated tenant who thrust a coin into their hand (11, p. 61).

Since stables were built in the courtyard, it can be noted that there were also coachmen who lived in separate rooms. At that time, not everyone had cars, and we do not know whether the Lidvals had them.

Chapter 4 People who glorified the house of I.B. Lidval

4.1. At the beginning of the twentieth century

The house of I. B. Lidval is not only an architectural monument, but also a house in which famous personalities lived and worked for a century. At the beginning of the 20th century, entrepreneurs, actors, scientists, singers, artists and architects rented apartments here.

With the help of the reference book "All Petersburg", encyclopedias (3, p. 21) and materials from the Central State Archive of St. Petersburg, I managed to find some of them.

B.A. Kaminka lived in this house from 1903 to 1917 (12, p. 93). He was a representative of the Russian financial oligarchy, a major figure in the Cadet Party, managing director, chairman of the board of the Azov-Don Commercial Bank. This building is located on Bolshaya Morskaya Street, in house 3/5, which was erected according to the project of F. Lidval. B.A. Kaminka played a significant role in public life, was engaged in charitable activities. In 1920 he left for Paris (12, p. 94). B.A. Kaminka lived in this house with his wife Anastasia, sons Alexander, Mikhail, George, Ippolit, daughters Daria and Vitalia.

His eldest son Alexander Borisovich Kaminka, born in 1887, a St. Petersburg banker, graduated from St. Petersburg University, worked as an actor, then opened an acting school. After 1917 he emigrated from the country. Lived in Paris, engaged in banking activities. He was a film producer, in 1920 he founded and headed the Albatross studio, which initially produced films by Russian émigré directors. In 1920-1959 he organized the shooting of a number of films, including Y. Protazanov, I. Mozzhukhin, V. Turzhansky, A. Volkov.

The second son of B.A. Kaminka - George, born in 1893, studied at the Tenishevsky College, then entered the Economics Department of the Polytechnic Institute. In the autumn of 1912, he took a leave of absence from the institute and entered the Volodymyr Lancers Regiment as a volunteer. A year later he returned to the institute, graduated with the title of candidate of economic sciences (1917). He was sent to Norway and Sweden on the Red Cross. Until 1919 he lived in Scandinavia, then moved to Paris (12, p. 94).

In 1904, the architect A.R. Gaveman1 lived in the Lidval house, by this time he was already the author of the mansion of K.A. Gorchakov on B. Monetnaya Street (house No. 19, next to Kamennoostrovsky) (1, p. 82).

In 1905-1907. the architect Andrey Petrovich Vaytens2 lived in this house. In 1904 he graduated from the Academy of Arts. He taught at the Leningrad Art and Technical Institute. In 1908-1910. he built his own dacha in Lakhta (Lesnaya st., 21). In 1910-1914, he finished the lobby and living room of the Yusupov Palace. In 1914, he built the production facilities of the Gas Society for street lighting. Profitable house of F.F. Niedernmeyer on Kamennoostrovsky Prospekt No. 39. In Soviet times, he built residential buildings and track structures of the October Railway, government dachas and other buildings on the Black Sea coast of the Caucasus (1, p. 66).

In 1907-1979, Sylvia Solomonovna Kofman, a theater artist, lived in apartment No. 33. She was born in Odessa on May 31, 1907 in the family of a doctor. After graduating from school and a theater college, in 1925 she entered the Odessa Polytechnic School of Fine Arts. After finishing the 1st year in 1926, Sylvia Kofman entered the Higher Art Institute in Leningrad at the department of theatrical scenery of the Faculty of Painting and graduated after 4 years. At first she took part in the design of the May and October holidays, worked in publishing houses. Later she worked in the theaters of the country on the design of performances. In 1934-1936, she was already the chief artist of the West Siberian Regional Theater for Young Spectators. Throughout the years of her creative activity, she participated in exhibitions and wrote dramatizations.

From 1908 to 1914, Professor A.I. Gorbov, a chemist, student of A.M. Butlerov, rented an apartment in house 1/3. Together with VF Mitkevich, in 1907-1910, at the Polytechnic Institute, for the first time in Russia, he designed an installation for obtaining nitric acid from air by the arc method. Gorbov is one of the organizers of the Institute of Applied Chemistry (23, p. 24).

From the reference book "All Petersburg" I managed to find out that in 1909 the famous painter K.S. Petrov-Vodkin lived on Kamennoostrovsky 1/3. It should be noted that this address was not indicated in the book dedicated to the artist "Petrov-Vodkin in St. Petersburg - Petrograd - Leningrad" (24). He studied from 1897 to 1905. in the Moscow School of Painting with a wonderful master and teacher V.A. Serov, in 1901 in the studio of A. Azhbe in Munich, in 1905-1908 in private academies in Paris. Petrov-Vodkin also acted as a writer. He wrote stories, novels, essays, theoretical articles (29, p. 340) (see Appendix).
From 1909 to 1995, the architect Yakov Mikhailovich Lukin, a master of avant-garde, neoclassical and functional architecture, lived in apartment No. 294. In 1955-1960, together with P.A.Ashastin, N.V.Baranov and engineer I.A.Rybin, a new building of the Finland Station was built (15, p.231).

The house is associated with the name of the People's Artist of the USSR, actor of the Alexandrinsky Theater (now it is called the Drama Theater named after A.S. Pushkin) Yu.M. Yuryev (5). He settled here in 1915 and lived until 1930 (23, p.24).

The fame of the actor brought the role of the classical repertoire: Romeo, Faust, Uriel Acosta, Don Juan. He created magnificent images of Arbenin, Krechinsky, Chatsky. It is known that Yuryev held rehearsals of the tragedies "Oedipus Rex" and "Macbeth" in his apartment. Actress O.P. Beyul left memories of these classes: “We rehearsed at his house. It was with great pleasure that we entered his beautiful apartment, always, of course, before the appointed time, so as not to be late. It even happened that they appeared when Yuryev was not yet at home. His nanny and housekeeper opened the door for us, a little old woman, Praskovya Ivanovna, and immediately called us to her kitchen. Yuri Mikhalych punished: My girls will come, give them tea, they probably want to eat.

I well remember the large room in which we studied, obviously his study. It was furnished with antique mahogany furniture. (Now this furniture is placed in the living room of the House of Stage Veterans). Above the sofa hung a large copy of I.E. Repin's painting "The Resurrection of the Daughter of Jairus." On the desk is a photograph of MN Ermolova. We rehearsed a lot and for a long time. He studied with us separately, he read for all the other characters. Characteristic images he explained and showed admirably. My role is tiny, but how interesting it was for me to live! With what joy I walked across the Trinity Bridge, to house number 1 along Kamennoostrovsky Prospekt, went up to the fourth floor and each time pressed the bell button with constant excitement ... "6.

In 1943, Yu.M. Yuryev became a laureate of the Stalin Prize. For his teaching activities, he was awarded the degree of Doctor of Arts in 1947 (see Appendix).

Before the revolution, K.K. Rakusa-Sushchevsky, director of the board of a number of large enterprises, including the Russian-Baltic shipbuilding and mechanical joint-stock companies, lived in the Lidval house.

GA Bunge - Chairman of the Board of the Russian-Belgian Metallurgical Society.

E.K. Grube - Chairman of the Board of the Siberian Trade Bank and E.E. Ferro - Director of the Board of the Bryansk Metallurgical Plant (12, pp. 151-154).

The financier and industrialist Heinrich Genrikhovich Raupert lived in the same house - a member of the board of the Azov-Don Bank, director of the St. Petersburg Insurance Society (12, p. 152).

Imperial Petersburg was a city of great opportunities. With hard work, enterprise and luck, even people from distant lands who had neither connections nor Russian roots could succeed here. So, starting from scratch, the Swede Johan Petter Lidval, who became the court tailor, made a career. This surname was truly glorified by his son, the architect Fyodor (Frederik) Lidval, whose buildings are recognized as the standard of St. Petersburg Art Nouveau.

In the late 1850s, Johan Petter moved from the Swedish outback to the Russian capital. He got a job in a tailor's workshop. The owner of the workshop soon died, and his widow decided to link her fate with an energetic and charming Swede. The marriage was short-lived - Johan Petter's wife died of smallpox. The workshop was inherited by Lidval.

Johan Petter, who turned into Ivan Petrovich, confidently ran his own business. In the circle of the Scandinavian community, he met Ida Amalia Fleschau, and in 1867 they got married. In a prosperous and wealthy family, eight children were born. Lidval's workshop specialized in sewing men's clothing, liveries and uniforms for court servants. The company was listed as a supplier to the imperial court. Its heyday was facilitated by many hasty orders associated with the unexpected accession to the throne of Alexander III after the assassination of his father Alexander II.

The gate and facade of the apartment building Lidvaley on Kamennoostrovsky Prospekt, No. 1–3

Ivan Petrovich Lidval died in January 1886. The case of her husband was continued by Ida Amalia (Ida Baltazarovna Lidval). Gradually, the growing sons were connected to the activities of the company. The workshop worked in an old house that belonged to the Lidvals, on Bolshaya Morskaya Street, No. 27. A new influx of orders was caused by the accession and coronation of Nicholas II. By the beginning of the 20th century, 150 people worked in the workshop.

The conditions favored the intention of I. B. Lidval to create a modern dwelling - a family nest, connecting it with an apartment building. She acquired a vast plot at the very beginning of Kamennoostrovsky Prospekt, No. 1-3. The choice of the author of the project did not matter: the family had its own architect - Fyodor Lidval, a recent graduate of the Academy of Arts. The mother gave her son a happy opportunity to build his first large building in such a conspicuous place and express his creative individuality in a real building. The through section was built up from 1899 to 1904 in four phases, starting from the minor Malaya Posadskaya street, No. 5, where it goes on a narrow side, and ending with the wings of the cour d'honneur, open to the avenue. If we consider this ensemble of residential buildings in the sequence of their construction, we can see how the mastery of the architect grew and his special version of Art Nouveau took shape.

Staircase in the north wing of the Lidval house. Photos by Konstantin Kotov

The modest facade on Malaya Posadskaya is not striking and does not differ from ordinary buildings. But in its asymmetry, wavy lines, the play of different plaster textures, early modern features are already showing through.

Following, in 1901-1902, a transverse building was built, closing the depth of the cour d'honneur. Here Lidval accentuated the middle axis, on which a portal, a glass bay window and a tall gable are strung. An owl, hares and a lynx are depicted in the arch of the portal, an owl opened its wings on the top of the tong, and huge spiders hung on the balconies, as if weaving a web of lattices. The cladding of the lower floor is made of potted stone (soapstone) and red granite.

Then the north wing was erected and, last but not least, the south. These corps, flanking the Cour d'honneur, are dissimilar in composition. The southern wing is higher, the plasticity of volumes is more clearly revealed in it, the forms and grouping of windows are distinguished by a rare variety. All parts of the building are united by combinations of stone and plaster, richness of flora and fauna motifs, calligraphic drawing of details and a general impression of sophistication and elegance.

Lidval expanded the traditional palette of finishing materials; he was the first in St. Petersburg to introduce potted stone. The Lidvaley House is unique in its abundance of natural scenes. Interest in nature was manifested both in the use of natural materials and in the consistent individualization of forms.

The building, with its specific northern flavor, became the earliest example of northern modernism in St. Petersburg. This version of the new style was formed under the influence of the national romanticism of Sweden and Finland. So the Swedish roots of Lidval made themselves felt. The selection of materials, stylization of flora and fauna, characteristic elements (primarily the outlines of openings) were inspired by the architectural experience of neighboring countries. But within the framework of the general trend, Lidval developed his own unique style.

The main achievement of the architect was the innovative solution of the master plan with the main courtyard - the court d'honneur. In those years, other St. Petersburg architects had already turned to such a technique, but Lidval was the first to translate it into the language of Art Nouveau. Rejecting symmetry, he created a complex pictorial composition, which received a dynamic development deep into the quarter.

With the construction of the family house, a brilliant creative take-off of the architect began. He became a trendsetter in Petersburg architecture. The same role in the tailoring of men's dresses continued to be played by the family firm, which was called the trading house "I. P. Lidval and sons. The younger brothers of Fedor - Wilhelm, Edward and Paul worked in it.

Lidvali settled in the transverse building of their possession. The architect's workshop was located on the side of Malaya Posadskaya Street. All his best works were conceived and designed here: the houses of the Swedish Church and Zimmermann, E. Nobel and Tolstoy, the Azov-Don Bank and the building of the Second Credit Society, the Astoria Hotel and the interiors of the Europe Hotel. Of the staff of the master, A. A. Ol is the most famous.

In 1908, Fyodor Lidval married Margaret Frederica Eilers, daughter of the court gardener G. F. Eilers, a native of Holland. They had three children; the youngest of them, Ingrid, subsequently wrote interesting memoirs. In 1917, the architect's family left for Sweden, Lidval himself joined them a year later. In his historical homeland, he turned out to be an emigrant and, although he actively practiced, he was no longer able to reach a leading position in architecture. His brothers also moved to Stockholm, where they resumed their business, and Paul Lidval published books in Paris on the history and aesthetics of the costume.

Before the revolution, several luxurious apartments in the Lidval building were occupied by representatives of the business elite. Among them is the chairman of the board of the Azov-Don Bank B. A. Kamenka, from whom Fyodor Lidval received an order for the construction of a banking building on Bolshaya Morskaya Street, No. 3-5. The tenants of the house were the military leader A. N. Kuropatkin, the chemist A. I. Gorbov, and the short-lived artist K. S. Petrov-Vodkin. In 1915-1930s, People's Artist of the USSR Yu. M. Yuryev, an actor of the Alexandrinsky Theater, lived here. The biography of the house was decorated with the names of physicochemist A. N. Terenin, soloist of the Mariinsky Theater B. M. Freidkov, composer and musicologist V. M. Bogdanov-Berezovsky.

The history of the Lidvaley house closely intertwined the architectural innovations of modernity, the art of cutting and sewing, the creative and everyday life of an outstanding family of St. Petersburg Swedes.