Kuzmin Roman Ivanovich architect. Sviyazev I.I.
KUZMIN ROMAN IVANOVICH
Kuzmin, Roman Ivanovich - architect (1811 - 1867). Studied at the Academy of Arts. Received a gold medal for the execution of the program: "The project of the estate of a rich landowner." He studied monuments of Byzantine church architecture in Europe, Turkey and Greece; in Rome, he was engaged in the restoration of Trajan's Forum. He built several buildings for the Imperial stables, rebuilt and expanded the Gatchina Palace, built a city cathedral in Gatchina. His main creations: the church at the Russian embassy in Athens, the Orthodox church on Daru Street in Paris, the Greek embassy church in St. Petersburg, the Utin house, built in the Renaissance style, on Konnogvardeisky Boulevard in St. Petersburg and the marble chapel near the Summer Garden.
Brief biographical encyclopedia. 2012
See also interpretations, synonyms, meanings of the word and what is KUZMIN ROMAN IVANOVICH in Russian in dictionaries, encyclopedias and reference books:
- KUZMIN ROMAN IVANOVICH
(1811-67) - a talented architect, studied at the imp. accd. arts, as a pensioner of the Black Sea army, and completed a course in it at ... - KUZMIN ROMAN IVANOVICH in the Encyclopedia of Brockhaus and Efron:
(1811-67) ? talented architect, studied at the imp. accd. arts, as a pensioner of the Black Sea army, and completed a course in it at ... - NOVEL in the Dictionary of Gypsy Names:
(borrowed, male) - is comprehended by analogy with the word "romano" - "gypsy, gypsy", as well as "Roman, Roman", which is equivalent from the point ... - KUZMIN in the Encyclopedia of Russian surnames, secrets of origin and meanings:
- KUZMIN in the Encyclopedia of Surnames:
There are numerous variants of the name Kuzma in Russian (from the Greek ‘peace, decoration’). In the sources of the XII century. it is spelled Kuzma. After … - NOVEL in the Directory of Characters and Cult Objects of Greek Mythology:
I LAKAPIN The Byzantine emperor in 920-945. June 115, 948 Roman came from the city of Lakapi in the theme of Likand. … - NOVEL in the Brief Biographical Encyclopedia:
Roman - Reverend, disciple of St. Sergius of Radonezh. When the anxieties of worldly self-will and disagreement penetrated into the wilderness of St. Sergius, Sergius ... - NOVEL in the Dictionary of Literary Terms:
- (from French roman - originally: a work written in one of the Romance (i.e. modern, living) languages, as opposed to written ... - NOVEL in the Literary Encyclopedia:
great epic form, the most typical genre of bourgeois society. HISTORY OF THE TERM. - Name "R." arose in the Middle Ages and originally belonged to ... - KUZMIN
(Kuzmin-Karavaev) Nikolai Nikolaevich (1919-94), teacher, historian of vocational education, doctor of pedagogical sciences (1972), professor (1973). After demobilization, he worked as a teacher and director ... - IVANOVICH in the Pedagogical Encyclopedic Dictionary:
Kornely Agafonovich (1901-82), teacher, Ph.D. APS of the USSR (1968), Doctor of Pedagogical Sciences and Professor (1944), specialist in agricultural education. Was a teacher... - NOVEL
(French roman) a literary genre, an epic work of great form, in which the narrative is focused on the fate of an individual in relation to ... - IVANOVICH in the Big Encyclopedic Dictionary:
(Ivanovici) Joseph (Ion Ivan) (1845-1902), Romanian musician, conductor of military bands. Author of the popular waltz "Danube Waves" (1880). In the 90s. lived... - NOVEL in the Encyclopedic Dictionary of Brockhaus and Euphron:
- currently the most popular and richest form of literary works, reflecting modern life with everything ... - NOVEL
[French romans - originally a literary work written in the Romance language] 1) a large narrative work in prose, sometimes in ... - NOVEL in the Encyclopedic Dictionary:
I a, m. A large narrative work of art with a complex plot. Historical r. Novels of Leo Tolstoy. Romance (lit.) - related to ... - NOVEL in the Encyclopedic Dictionary:
2, -a, m. Love relationship between a man and a woman. She has with him r. R. twist with someone. (to be in … - NOVEL
ROMAN SLADKOPEVETS (late 5th century - ca. 560), Byzantine. church hymnographer (melod). A native of Syria. Monk. The author of multi-stanza lyrical-poetic poems called kontakia... - NOVEL in the Big Russian Encyclopedic Dictionary:
"ROMAN ABOUT ROSE" ("Roman de la Rose"), a monument to the French. literature of the 13th century, allegorical. a poem about the poet's love for the Rose, personifying ... - NOVEL in the Big Russian Encyclopedic Dictionary:
"ROMAN ABOUT THE FOX" ("Roman de Renart"), poems. Prod., a monument to the French. liter ser. 13th c. Tells about the struggle of the cunning Fox-Renard with ... - NOVEL in the Big Russian Encyclopedic Dictionary:
ROMAN MSTISLAVICH (? -1205), Prince of Novgorod (1168-69), Vladimir-Volyn (from 1170), Galician (1188, 1199), son of Mstislav Izyaslavich. Strengthened the princely power in Galich ... - NOVEL in the Big Russian Encyclopedic Dictionary:
ROMAN IV Diogenes (?-1072), Byzant. emperor c 1068. Defeated and captured in Aug. 1071 under Manzikert by Sultan Alp-Arslan, released to ... - NOVEL in the Big Russian Encyclopedic Dictionary:
ROMAN I Lekapenos (?-948), Byzantine. emperor in 920-944, from the Macedonian dynasty. Decrees R.I 934, 943 defended the cross. land ownership from seizures ... - NOVEL in the Big Russian Encyclopedic Dictionary:
ROMAN (Roman), city in the East of Romania. St. 70 i.zh. Pipe rolling plant, machine, chemical, light, food … - NOVEL in the Big Russian Encyclopedic Dictionary:
ROMAN (French roman), lit. genre, epic prod. large form, in which the narration is focused on the fate of otd. personality in relation to her ... - KUZMIN in the Big Russian Encyclopedic Dictionary:
KUZMIN Rod. Osievich (1891-1949), mathematician, Ph.D. Academy of Sciences of the USSR (1946). Tr. in number theory and mathematics. … - KUZMIN in the Big Russian Encyclopedic Dictionary:
KUZMIN Nick. You. (1890-1987), graphic artist, folk. thin RSFSR (1972), h.-k. Academy of Arts of the USSR (1967). Free in graphic style. illus., sometimes highlighted ... - KUZMIN in the Big Russian Encyclopedic Dictionary:
KUZMIN Mikh. Iv. (b. 1938), geochemist, Ph.D. RAN (1991). Main tr. on geochemistry and ore content of magmatic. breeds. State. pr. Ros. … - KUZMIN in the Big Russian Encyclopedic Dictionary:
KUZMIN Val. Peter. (1893-1973), breeder, acad. VASKHNIL (1964), acad. AN Kazakh. SSR (1962), Hero of the Socialist. Labor (1962). The author of high-yielding varieties ... - IVANOVICH in the Big Russian Encyclopedic Dictionary:
IVANOVIC (Ivanovici) Joseph (Ion, Ivan) (1845-1902), rum. musician, military conductor orchestras. Author of the popular waltz "Danube Waves" (1880). In the 90s. … - NOVEL in Collier's Dictionary:
detailed narrative, which tends to give the impression of a story about real people and events, in fact, they are not. What… - NOVEL in the Full accentuated paradigm according to Zaliznyak:
roma "n, roma" us, roma "on, roma" new, roma "well, roma" us, roma "n, roma" us, roma "nom, roma" us, roma "not, ... - NOVEL in the Dictionary of the Great Russian language of business communication:
novel, detective - project documentation just received for consideration, consultant's report and ... - NOVEL in the Popular Explanatory-Encyclopedic Dictionary of the Russian Language:
-a, m. 1) A large narrative work of art with a complex plot, with a large number of characters, usually in prose. Historical novel. … - NOVEL
Love relationship or the fruit of labor ... - NOVEL in the Dictionary for solving and compiling scanwords:
Resort… - KUZMIN in the Dictionary for solving and compiling scanwords:
Artist ... - NOVEL in the Thesaurus of Russian business vocabulary:
Syn: See... - NOVEL in the New Dictionary of Foreign Words:
(St. French romans narration in French (and not in Latin)) 1) a large epic form of artistic narration (usually prosaic), usually distinguished by a variety of acting ... - NOVEL in the Dictionary of Foreign Expressions:
[ 1. a large epic form of artistic narration (usually prosaic), usually characterized by a variety of characters in the branching of the plot; 2. love… - NOVEL in the Russian Thesaurus:
Syn: See... - NOVEL in the Dictionary of the Russian Language Ozhegov:
1 narrative work with a complex plot and many characters, a large form of ethical prose Historical r. R. epic. novel 2 love relationship... - ROMAN in the Dahl Dictionary.
- NOVEL
(Roman), a city in eastern Romania. 71 thousand inhabitants (1985). Pipe-rolling plant, mechanical engineering, chemical, light industry, food industry. - (French roman), ... - KUZMIN in the Modern Explanatory Dictionary, TSB:
Valentin Petrovich (1893-1973), Russian breeder, academician of the All-Russian Academy of Agricultural Sciences (1964) and the Academy of Sciences of the Kazakh SSR (1962), Hero of Socialist Labor (1962). The author of high-yielding ... - IVANOVICH in the Modern Explanatory Dictionary, TSB:
(Ivanovici) Joseph (Ion, Ivan) (1845-1902), Romanian musician, conductor of military bands. Author of the popular waltz Waves of the Danube (1880). In the 90s. … - NOVEL in the Explanatory Dictionary of the Russian Language Ushakov:
novel, m. (fr. roman). 1. A large narrative work, usually in prose, with a complex and developed plot. Read novels. … - NIKOLAI (KUZMIN)
Open Orthodox Encyclopedia "TREE". See Kuzmin Nikolai Vasilyevich. TREE - open orthodox encyclopedia: http://drevo.pravbeseda.ru About the project | Chronology | … - KUZMIN NIKOLAY VASILIEVICH in the Orthodox Encyclopedia Tree:
Open Orthodox Encyclopedia "TREE". Kuzmin Nikolai Vasilyevich (1899 - 1937), martyr, chorister. Commemorated on October 18, in ...
Roman Ivanovich Kuzmin was born in 1811
In 1826, after graduating from the artillery school in Nikolaev, he was admitted to the Imperial Academy of Arts, where he studied at the expense of the Black Sea Department. In 1832, Kuzmin received a gold medal of the 2nd degree for the project of the seminary and the title of an artist of the 14th class. He successfully completed the program for the Big Gold Medal and was sent abroad as a pensioner of the Imperial Academy of Arts in the spring of 1834.
Rome was the main point of the academy's graduates' journey, where they traveled through the countries of Central Europe. But at the request of Kuzmin and D. Efimov, they first went to Nikolaev to meet with their parents. Then they arrived by sea to Constantinople, then to Greece, and only after that - to Italy. Introduction to the Church of St. Sophia in Constantinople aroused Kuzmin's great interest in Byzantine art. For two years he studied antiquity and Byzantine architecture in Greece. His knowledge of this topic subsequently went far beyond the academic curriculum.
In September 1841, the architect received the title of professor for the project of the Medico-Surgical Academy, and in November he entered the service of an architect in the Hoff Quartermaster Office of the Ministry of the Imperial Court. Then he settled in house number 2 on the embankment of the Fontanka River (Boursky house). In it, he lived until his death, supervising all the repairs and restructuring that were then carried out.
By order of the Court Department, Kuzmin designed the House of the Court Clergy on Shpalernaya Street (house No. 52, 1842), the New Court and Servant House on Sergievskaya Street (now Tchaikovsky Street, house No. 2, 1843-1847). For the design of these buildings, the architect used the Neo-Renaissance style. If now they look like ordinary houses of historical buildings in the center of St. Petersburg, then they were highly appreciated by contemporaries. There was a rumor among Kuzmin's colleagues that one of the famous St. Petersburg architects, parodying the famous words of Potemkin, advised Kuzmin to die, since he would not build anything better.
Roman Ivanovich Kuzmin is the author of the design of the case for the house of Peter I, created by him in 1844. He designed it in the forms of the Petrine baroque. By 1852, the fence of the house of Peter I fell into disrepair, the project of the new one was also completed by Kuzmin. But it was rejected because of the high cost.
In 1844, R. I. Kuzmin began the construction of the Church of the Intercession of the Most Holy Theotokos over the grave of M. I. Kochubey in the Trinity-Sergius Hermitage. But due to the work on the reconstruction of the Gatchina Palace, he could not devote enough time to this project, the construction of the temple was completed by G. E. Bosse. In 1847, Kuzmin drew up a project for the Church of the Intercession of the Mother of God for the village of Yugostitsy, built in 1852-1859.
A huge amount of Kuzmin's work was carried out in Gatchina, where he was engaged in the restructuring of the imperial palace (from 1845 to 1858), the construction of the Pavlovsk Cathedral (from 1846 to 1852), the construction of three of his own dachas, and the creation of a guardhouse project in the Priory Park.
In the 1840s and 1850s, the architect supervised all work in the Summer and Tauride Gardens, on Elagin and Petrovsky Islands. On Elagin Island, according to his project, in 1851-1852, the maid of honor's house was built. In the 1850s, he worked in Kronstadt, where he expanded St. Andrew's Cathedral with two chapels and made projects for three iconostases for it. In the same place, Kuzmin rebuilt one of the Officers' Wings, which later became the building of the Naval Assembly.
The architect created another project of the temple in 1853-1854 for the village of Korobovo, Kostroma province, which belonged to the descendants of Susanin.
Since 1854, Kuzmin was a member of the General Presence of the Department for Considering Projects and Estimates, since 1866 - a member of the Scientific Committee of the Ministry of Railways.
Every year, Roman Ivanovich was engaged in the arrangement of the Jordan pavilion for the rite of the Blessing of Water in front of the Winter Palace on the Neva, rolling mountains in the Tauride Garden, fireworks in Peterhof.
Yaroslavsky (1859-1862) and Ryazansky (1863) stations were built in Moscow according to the project of the architect.
Kuzmin also worked for private customers. He began the construction of the mansion of L. V. Kochubey (Tchaikovsky St., 30) and, together with K. F. Anderson, designed the tenement house of T. Tarasova (1st Krasnoarmeyskaya St., 3). In 1858, according to the project of Kuzmin, the house of I. O. Utin was built on Konnogvardeisky Boulevard (house No. 17), whose facade the architect decided in neo-baroque forms, and for the first time in St. Petersburg, he arranged an attic on the roof. For this project, on May 23, 1863, Kuzmin was elected a corresponding member of the Academy of Arts of the Imperial French Institute.
One of the main works of Roman Ivanovich Kuzmin was the Church of Dmitry Solunsky (Greek), built from 1861 to 1866. It became the first St. Petersburg church built in the Byzantine style.
The last work of Kuzmin in St. Petersburg was the chapel of St. Alexander Nevsky on the site of the assassination attempt by D. Karakozov on Emperor Alexander II (1866-1867).
R. I. Kuzmin also worked outside of Russia. In 1859-1861, the Cathedral of St. Alexander Nevsky in Paris was built according to his project. For this project, the architect received the title of a real state councilor.
Architect Roman Ivanovich Kuzmin died in 1867. In Gatchina, his third dacha has been preserved, the construction of which was completed after the death of the architect, under the new owners. This is house number 5 on Chkalova street.
In the very center of Athens, not far from the former royal residence (now the parliament building), there is a magnificent temple in the Byzantine style, where services are often held in Church Slavonic. It has a long and interesting history.
Russo-Turkish War 1828–1829 - the reason for it was another uprising of the Greeks - ended with the Peace of Adrianople, according to which Turkey recognized the independence of Greece, which was soon proclaimed a monarchy. However, the Bavarian Catholic dynasty that occupied the throne, hostile to Orthodoxy (King Otto I closed two-thirds of the monasteries), brought discord into the life of the Greek Church and cared little about its well-being.
In 1833, the Russian government proposed to restore church relations with Hellas in order to "lay a firm foundation for a spiritual influence that exclusively belongs to Russia and which, apart from us, no other Power can and should not have." In this regard, the Synod in St. Petersburg decided that there should be “a Russian spiritual person in the capacity of a priest of our mission” in Athens, who was also responsible for distributing financial assistance to poor churches and clergy and resisting the undermining of Orthodoxy. 50 thousand rubles were allocated from the Russian treasury for the restoration of temples destroyed by the Turks.
The agreement on the restoration of churches provided for the opening of a church at the Russian mission, for which 5,800 rubles were allocated. Its staff included a priest, a deacon, two psalmists and eight chanters. The arrangement of the sacristy and the iconostasis was undertaken by the Ministry of Foreign Affairs. Initially, the embassy church was the Church of the Transfiguration of the 13th century, named after the ktitor, "Kotaki", in the Plaka quarter, which was restored in 1834-1837 with Russian funds. At present, in this temple, in the kiot, to the right of the altar, liturgical utensils are placed - chalices, diskos, ripids, which have been preserved from the "Russian" period, and on a marble plaque mounted on the outer wall, it is reported in Greek and English that the building "was resumed by the Russians in 1834".
The first priest of the embassy church was Archim. Irinarkh (Popov), a wonderful preacher who ended his life in the rank of Archbishop of Ryazan. He arrived in Greece in September 1833, but two years later he was forced to return to his homeland for health reasons. Upon returning to his homeland, Fr. Irinarch presented to the Synod an unusually valuable memorandum "General remarks on the state of the Church in the Greek kingdom", after reading which Nicholas I remarked: "A sad truth." After Irinarchus, the Athonite priest spent less than a year in Athens. Anikita (Prince Sergei Alexandrovich Shirinsky-Shikhmatov), known for his righteous life. He died in 1837 and was buried in the Greek Archangel Monastery (Moni-Petraki) near Athens. After the death of Anikita, a Greek priest was invited to serve in the Russian church. Anatoly. In those years, the headman (epitrope) of the Russian community was G. A. Katakafis, the first envoy of Russia to Greece.
In 1843 Archim. Polycarp, a former rector of the Smolensk Theological Seminary, who decided to arrange a separate temple for a small Russian colony and achieved in 1847 the transfer of the ancient Byzantine temple "Likodem" (or "Nikodim") to Russian diplomats. This building was believed to have been erected on the site of the Lyceum of Aristotle. From the word "lyceum" (Greek: "lyceum"), supposedly, the name "Likodim" arose. Tradition claimed that the temple was built by the Empress Eudoxia, the wife of Theodosius the Younger (401-450), originally from Athens, but the inscription found on the site indicated a later time. The building, built by a certain Stefan Lykos, was consecrated in the 11th century in the name of St. Trinity. In the 15th-16th centuries, it belonged to the Spaso-Nikodimovsky Monastery and was restored shortly before the conquest of Athens by the Turks. The Greeks often called this temple "Panagia (that is, the Most Holy) Lycodemus", and this name is widely used today. In the XIII century, after the conquest of part of Byzantium by the crusaders, the temple was converted to a Catholic one. It is known, however, that as an Orthodox he again acted at the monastery during the Turkish yoke. During the earthquake of 1701, part of the walls and the fraternal building collapsed. When the Greek War of Independence broke out, two cannonballs hit the building in 1827, and it was badly damaged (the dome and the northeastern part collapsed), after which it stood "in desolation and uncleanness." As an eyewitness wrote, “the quadrangle of walls, even and flat, like four boards of a coffin, with the neck of the dome barely protruding from it, was depressing to the soul. A whole third of the dome did not exist. Only the eastern wall of the altar was preserved in its entirety.” On this wall, large fragments of Byzantine frescoes have survived, reminiscent of the murals of Kyiv's Sofia.
The famous Hierom. Antonin (Kapustin), a professor at the Kiev Theological Academy, who later labored with great success in the Holy Land, having arrived as rector in Athens, obtained permission from the Greek authorities for the restoration and restructuring of the transferred Likodim Church, which began in 1847. Scientific restoration was carried out by the court architect R. I. Kuzmin; his assistant was I. V. Shtrom, who also came from St. Petersburg. The work was financed by the Ministry of Foreign Affairs of Russia. The Athenian engineer-lieutenant Tilemakh Alassopulo was engaged in them on the spot. In 1849, work was suspended due to the war in Hungary, but resumed the following year. Antoninus conducted archaeological excavations in the cellars of the temple.
During the restoration, the original plan of the building was preserved, later additions were eliminated and the blocked openings were opened. The ancient frescoes were carefully restored and supplemented with works by the Munich artist Heinrich Thiersch, a connoisseur of Byzantine art. He “covered with fresco icons in a golden field the entire central part of the church from the floor to the top of the dome, trying to keep the ancient Byzantine style everywhere, but at the same time giving it all the correctness, liveliness and naturalness of modern painting.” The new frescoes depicted Athenian saints "for the name and glory of Athens itself". Elegant ceramic inserts are embedded in all external walls.
According to an eyewitness, "the general color of the lower half of the church is brown, the upper one is red, the vaults are covered with blue paint with stars, in the lower part - silver, in the upper part - gold." These stars, like other stylized ornaments, were painted by the Italian painter Vincenzo Lanza. After the restoration, the ancient cross-domed temple became one of the best in the Greek capital and impressed the worshipers with its harmonious interior and rich picturesque decoration. The interior with a dome on eight columns and two rows of arches was often compared with the Tsargrad Sofia.
In the same style as the church, according to the drawing by archim. Antonina, a detached three-tier bell tower was erected from yellow stone, red brick and white marble, imitating one Byzantine bell tower in Sparta. The bells were cast in Trieste at the factory of Karl Miller, the largest - "Nikodim" - weighed 280 pounds. In 1999, the bell tower was carefully restored at the expense of the Greek government. At the beginning of the 20th century, the area around the temple was fenced off with a beautiful cast-iron grate made in St. Petersburg, but later it was removed.
The French master Florimond Boulanger made three low iconostases and the throne from light Parian and Pentelian marble, decorating it with “rich relief and partially through carving and gilding.” The royal gates were carved from mahogany according to Kuzmin's sketch. In 1846, Academician P. M. Shamshin painted 18 images in oil on zinc in the main iconostasis. Among the depicted saints are six Russians: three from northern Russia and three from southern Russia. Medallions are placed in the side iconostases, where the heavenly intercessors of the family of Emperor Nicholas I are represented. Rich utensils and vestments were brought from St. Petersburg. To the consecration of the temple, the Synod sent an altar Gospel in an expensive salary.
Due to his advanced age, the Metropolitan of Hellas and Attica, Neophyte, was unable to consecrate the Russian Church, and instead of him, after long delays, on December 6, 1855, Archbishop Feofan of Mantinea and Kinouria did it. The main altar of the three-aisled church was dedicated to St. Trinity, left - right. Nicodemus, right - St. Nicholas the Wonderworker. Those gathered for the consecration were given silver crosses brought from Russia. For his "labor and diligence", Archimandrite Antonin received the Order of Anna, 2nd degree, Russian diplomats - gratitude from the Synod, Greek clergy - golden pectoral crosses.
After the consecration, water appeared in the basement of the church, which, as excavations have established, came from a buried Roman cistern. The basement had to be drained so that dampness would not spoil the restored building. In 1885, leaks began in the temple, and the German architect W. Schiller decided to lower the ancient dome by half a meter. despite the protests of his colleague Ludwig Thiersch, the brother of the artist who painted the interior. Only in 1954 led. book. Elena Vladimirovna, the wife of the Greek Prince Nicholas, who patronized the Russian community, achieved the restoration of the original Byzantine dome.
As a rule, archimandrites were sent from Russia to the church assigned to the embassy for three or four years. In 1890–1894 Mikhail (Gribanovsky), the brother of Metropolitan Anastasy, who later became known in exile, served as rector of the church. Returning to Russia and becoming the Bishop of Tauride, he gained fame as a spiritual writer, thanks to his book "Above the Gospel". Michael was replaced by Archim. for three years. Sergius (Stragorodsky), who during the Second World War was elected Patriarch of Moscow and All Rus'. The next rector was Archim. Arseny (Timofeev), future bishop. Omsk and Pavlodar. In 1906–1909 he was Archim. Leonty (Wimpfen), the future New Martyr, Bishop. Enotaevsky. At that time, the number of Russian parishioners did not exceed 20 people. These were diplomats, employees of the local branch of the Russian Archaeological Institute and several ladies who lived in Athens. There were no services in July-August due to the heat.
When the revolution broke out in Russia, the church in Athens, which was directly subordinate to the Synod, was ministered to by Archim. Sergius (Dabich), who founded a Russian-Greek gymnasium, but in 1919 he left Greece for Italy, where he converted to Catholicism. Under him, the community, which had lost the help of the Russian treasury, had to rebuild its life on a refugee basis. The pastor was Fr. Sergei Snegirev, who headed the "Union of Russian Orthodox Christians in Greece" with the aim of "maintaining the Russian Orthodox Church of St. Trinity." The Union of Russian emigrants in Greece, headed by Countess IP Sheremeteva, was closely connected with the church. She also led the church sisterhood in the 1940s–1950s.
When Greece recognized the USSR in 1924, the community separated from the embassy and joined the Archdiocese of Athens with the status of a "paraklis", that is, a community with limited legal liability. This status was unsuccessfully attempted by the Russian emigrant hierarchs, who considered such a situation “separation”, which was aggravated by the transition to a new style. In those years, until his death, the community was helped by E. P. Demidov, Prince. San Donato (1868–1943), last imperial envoy to Greece In memory of her husband, his widow S. I. Demidova (nee gr. Vorontsova-Dashkova, 1870-1953), a philanthropist and authorized by the Russian Red Cross Society, built the Calvary in the church. Recognizing the merits of the prince and his wife, they were buried near the walls of the temple.
From 1924 the rector was Fr. Georgy Karibov is from the Caucasus, after whose death in 1939 he became Archim. Nicholas (Pekatoros) from Odessa Greeks. From 1952 to 1966, the parish was also served by a Russian Greek, Archim. Elijah (Apostolidis), ordained in 1922 in Soviet Russia, where he was arrested four times. In 1927 he received permission to immigrate to Greece. The priest ended his life as Bishop Anatoly of Canada and Montreal. Since 1966 Archim. Timofey (Sakkas), also a native of Russia. He is also the abbot of the monastery of the Holy Spirit (Paraklitou) in the town of Oropos-Attiki and is in charge of the affairs of the Russian cemetery in Piraeus. Father Timothy set up the production of soulful literature distributed free of charge in Greece and Russia. In recent years, he will be served by a second priest - Fr. George Skutelis, who knows Russian.
In addition to the old ones, there are later modern icons in the temple. For example, in the porch there are four carved icon cases with icons of the Great Martyr. George the Victorious, St. Seraphim of Sarov, right. John of Kronstadt, New Martyr John the Russian. The parishioners remember the relics associated with the Queen of the Hellenes Olga Konstantinovna, who often visited the Russian church, although she had her own house church in the palace. This is a crystal chandelier and the image of St. blg. book. Olga, as well as icons presented to the Queen by Russian sailors.
In 1955, during the work, in the eastern corner of the temple, a cemetery with an ossuary was discovered, where, according to old chronicles, Kiev citizens and monks were buried, captured by the Tatars and sold at the slave market in Constantinople. The discovered remains were carefully transferred to the crypt of the church.
Through the efforts of the community in the late 1950s, on the eastern outskirts of Athens, on the street. Ilektropoleu 45, a well-equipped four-story home for elderly emigrants from Russia was built. A good library has been assembled at the house, the funds of which included the book collection of the “Union of Russian Emigrants of Macedonia-Thrace”, closed in the late 1970s, and there is a small museum made up of the things of the deceased convicts. In the garden of this almshouse, in 1962, a small hipped church of St. Seraphim of Sarov. The three-tiered gilded iconostasis of the 19th century was brought from an abandoned Russian monastery on Mount Athos. In the temple there is a particle of the relics of the monk, donated by the Moscow Patriarchate.
The history of the church in Athens is inextricably linked with the Russian cemetery in the port of Piraeus, on the street. Plato, which appeared at the end of the 19th century at the naval hospital founded by Queen Olga (her ashes rest in the cemetery of the former royal residence of Tata near Athens). In the wing of the three-story hospital, since 1904, the house church of St. equal to ap. book. Olga, whose decoration was created with donations from the officers of the Russian squadron stationed in Piraeus. The icons were brought from Kronstadt.
In the early 1960s, the small local Russian community ceased to exist, and now Greek chaplains serve in the temple. The church building, which retained its decoration, passed to the Maritime Ministry of Greece, which had taken possession of the hospital even earlier. Since 1917, for a long time, the rector of this church, subordinate to ROCOR, was the energetic Archpriest. Pavel Krakhmalev, former Dean of the Russian Expeditionary Force in the Balkans.
At first, only Russian sailors and soldiers were buried in the cemetery (among them, Lieutenant-General Prince M.A. Kantakouzen), then emigrants, including clergy: Fr. Georgy Karibov, archpriest John of Tours, rector of the Thessaloniki church (d. 1956), archpriest. Konstantin Fedotov, the last rector of the Piraeus church (d. 1959); officers of the tsarist army - Lieutenant Colonel G. A. Rudolf, Major General D. P. Yenko, Lieutenant General V. A. Chagin and others. There are also Cossack graves, a large monument erected by the Athenian Cossack village reminds of them.
Kuzmin, Roman Ivanovich
Professor of Architecture; genus. in 1811, mind. in 1867. He received his primary and higher art education as a pensioner of the Black Sea troops at the Academy of Arts, where he graduated in 1832 with the title of class artist and the 2nd gold medal for the execution of the project of the seminary for 200 people. The following year, at the end of the course at the Academy of Arts, Kuzmin received the first gold medal for the implementation of the program "project for buildings for the residence of a wealthy landowner on his estate." This award gave Kuzmin the right to travel to foreign lands at the expense of the treasury, and in 1834 Kuzmin went abroad; having traveled through European Turkey, he spent quite a lot of time in Greece, examining and studying the monuments of ancient art; traveled from Greece to Italy, to Rome. Here he was engaged in the restoration of Trajan's Forum. The Council of the Academy of Arts, after reviewing his restoration project, found him an excellent work and unanimously decided to award Kuzmin the title of academician in architecture. In 1840 Kuzmin returned to Russia. With the termination of pension maintenance, Kuzmin was left completely without funds and was forced to ask the Council of the Academy to apply for him, on the basis of the regulations existing at the Academy of Arts, maintenance from the government, motivating his request by the fact that he had neither occupation nor service. The Council of the Academy, taking into account him, as an artist who distinguished himself abroad by his art, decided to appoint Kuzmin for three years and appointed him to execute the project of the "Medical-Surgical Academy with an anatomical theater, a clinic and a botanical garden." Kuzmin completed the program so successfully that in September 1841 the academic council decided: "known for his talents in architectural art, academician Roman Ivanov Kuzmin, according to the program he completed: to submit a project for the Medical and Surgical Academy - to be elevated to the rank of professor of architecture." The name of Kuzmin, as a talented and capable architect, became known. Soon he received a position as senior architect at the quartermaster's office, and, in this position, he erected many excellent buildings. First of all, he arranged several buildings for the Imperial stables. The church of the Russian embassy in Athens, the Greek embassy church in St. Petersburg, Utin's house on Konnogvardeisky Boulevard, the Russian church in Paris on Daru Street and, finally, his last building - a chapel near the fence of the Summer Garden, on the embankment - these are outstanding monuments of Kuzmin's architectural talent, talent large and unique. The main work of Kuzmin is his work in Gatchina: he rebuilt and significantly expanded the Gatchina Palace; according to his own project, the Gatchina city cathedral was erected. In 1845, the Council of the Academy decided that he should replace the chair at the Academy of Arts during K. Ton's absences. Kuzmin knew and understood styles very well; Possessing a delicate taste and a sense of elegance, Kuzmin created extremely interesting projects, distinguished by extraordinary rigor and elegance of lines and proportions, and expediency.
"Materials for the history of the Imperial Academy of Arts" P. N. Petrov, vols. 1, 2. - "Illustrated Newspaper", 1867, No. 46; "Voice" 1867, No. 320 (feuilleton); "Russian Antiquity" 1875, vol. 2, no. 5, pp. 151-158: "Enpicloped. Dictionary" of Brockhaus and Efron, vol. 32, pp. 941.
(Polovtsov)
Kuzmin, Roman Ivanovich
(1811-1867) - a talented architect, studied at the Imperial Academy of Arts, as a pensioner of the Black Sea troops, and graduated from it in 1832, with the title of class artist and with a small gold medal awarded to him for "the project of the theological seminary". The following year, for the execution of another program: "The Project of the Estate of a Rich Landowner", he was awarded a large gold medal and soon after was sent to foreign lands. In Europe. In Turkey and Greece, he studied monuments of predominantly Byzantine church architecture, in Rome he was engaged in the restoration of Trajan's forum and, after spending six years abroad in general, he returned to St. Petersburg. in 1840. The work performed by him during this trip immediately brought him the title of academician, from which he was promoted to professor a year later, for the design of a building for a medical-surgical akd. with clinics and other accessories. After that, he served as a senior architect at the Hof quartermaster's office and, in this position, produced many buildings for the palace department, among other things, erected several buildings for the Imperial stables, rebuilt and expanded the Gatchina Palace and built the city cathedral in Gatchina. The most important creations of K., in which his artistic taste and knowledge of architectural styles were vividly expressed, must be recognized as the church at the Russian embassy in Athens, the Orthodox church on the street. I give, in Paris, the Greek embassy church in St. Petersburg. and a luxurious house built in the Renaissance style for the city of Utin, in the same place, on Konnogvardeisky Boulevard. His last building was a marble chapel near the Summer Garden.
A. S-v.
(Brockhaus)
Kuzmin, Roman Ivanovich
prof. architecture, pupil and pensioner abroad I. A. Kh.; R. 1810; † November 1867.
(Polovtsov)
Kuzmin, Roman Ivanovich
He graduated from the Imperial Academy of Arts in 1833 with the rank of class. thin arch. In 1840, following the results of a pensioner's trip, he was awarded the title of Acad. arch., in 1841 - professor. Designed for many cities in Russia and abroad. For Moscow, he developed projects for the Yaroslavl (1859-62, rebuilt) and Ryazan (1863, not preserved) stations. In 1863, a corresponding member was elected. French Academy of Arts.
Source: RGIA, f. 789, op. 14, d. 109; GPB OR f. 708; Sobko.
Lit .: Russian Biographical Dictionary / ed. A. A. Polovtseva.: in 25 volumes - St. Petersburg, 1896-1916, v. "Knappe-Küchelbecker", p. 530-531; Khomutetsky N. F. Materials for the biographies of architects S. L. Shustov and R. I. Kuzmin // Architectural heritage. - L. - M., 1955. - Issue. 7. - S. 197-214; Architects-builders of St. Petersburg in the middle of the 19th - early 20th centuries. Handbook / Under the general editorship. B. M. Kirikova. - St. Petersburg, 1996, p. 184.
Big biographical encyclopedia. 2009 .
Roman Ivanovich was born in 1811 in the city of Nikolaev in a rather poor family. There he graduated from the artillery school, after which he was admitted to the Imperial Academy of Arts in St. Petersburg at the expense of funds partially allocated by the Black Sea Fleet.During his studies, the talented and hardworking student of the Academy of Arts was repeatedly awarded high awards. The exhibition presents his student project of the Temple of Vesta. But for the graduation "Project for buildings for the residence of a wealthy landowner on his estate" Kuzmin was awarded a gold medal of the first dignity by the Society for the Encouragement of Artists. For receiving the highest award, he was given the opportunity to study abroad - "in foreign lands", as they wrote in official documents at that time. Since the Black Sea Department continued to allocate funds for training, it insisted on a train to Holland, wanting later to get for itself a specialist in the construction of locks, canals and other things. However, the Academy of Arts chose to send the graduate to Turkey, Greece, Italy. Moreover, it is interesting that half of the expenses for Kuzmin's internship abroad also came from the Cabinet of His Imperial Majesty, i.e. the money was allocated by Emperor Nicholas I, who probably also counted on the future work of the young architect.
In Turkey, Constantinople and St. Sophia Cathedral made a huge impression on Roman Ivanovich, and the subsequent move to Greece prompted him to study Byzantine art in depth. For that time, the discovery of the aesthetic and constructive value of Byzantine architecture was important, when the canons of classicism had already begun to become obsolete.
In Greece, in the Athenian Acropolis, Kuzmin carried out measurements and developed a project for the restoration of the wonderful temple of Nike Apteros. The temple then was literally ruins. It must be said that the concept of "restoration" in the 19th century differed from the modern one, based on thorough scientific research. At that time, each architect offered his own solution, depending on talent and imagination.
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Emperor Nicholas I closely followed Kuzmin's progress and for the restoration project of the temple, Nika Apteros presented his pensioner with a valuable gift - a diamond ring.
Interestingly, instead of the required 3 years, Kuzmin spent 6 years abroad, of which 4 years in Italy. As now in Rome, this Eternal City, monuments of ancient, Romanesque, Gothic, Baroque, classical architecture were concentrated. Kuzmin absorbed and worked, worked. One of the results of his work was a series of drawings for the restoration of the ancient forum of Trajan. For this project, the architect was awarded the title of "academician", and more than one generation of pupils of the Academy of Arts later studied on his measurements of the monument. The exhibition presents the materials of the Trajan's Forum project and, considering them, one can mentally visit Rome for those who have not had time yet.
Oddly enough, after returning to Russia, Kuzmin was not punished for unauthorized detention in Italy, despite the fact that Nicholas I himself gave permission to extend it for only 1 year. Roman Ivanovich was sent to the Moscow Commission of Buildings, and then appointed architect of the Gof-intendan office and chief architect of the Ministry of the Imperial Court.
During this period, in St. Petersburg, according to his designs, the House of the Court Clergy on Shpalernaya, the New Court and Servants' House on Tchaikovsky Street, the luxurious Utin House on Konnogvardeysky Prospekt and others were built. Many of them have survived to this day.
In 1844, Kuzmin designed a new case over the House of Peter I. As an architect of the Goff-intendan office, he was also responsible for repair work in St. Petersburg parks.
In Moscow, Yaroslavsky and Ryazansky railway stations were built according to his designs.
In Gatchina, in the same 40s of the 19th century, R.I. Kuzmin performed a grandiose work: an order from Nicholas I for the reconstruction of the Grand Palace. The architect had to solve the most difficult task: to rebuild the side buildings within the framework of the old building and create new front and residential, elegant and comfortable premises for the royal family. Thanks to Kuzmin, another palace appeared in one of the side buildings. It is no coincidence that before the Great Patriotic War in the Gatchina Palace there were, as it were, two museums with separate entrances, fees, excursions, etc.: the 18th century museum in the Main Building and the 19th century museum in the Arsenal Square.
In the Arsenal car, R.I. Kuzmin created a variety of rooms that were elegant, comfortable, thereby demonstrating erudition and great skill. The interiors of the square were decorated using the techniques of different styles of eclecticism or historicism: pseudo-Gothic, "second" Rococo, neoclassicism. At the exhibition, you can appreciate their beauty of design and variety of decoration by a series of watercolors, executed by the artist Eduard Hau in the 70-80s of the XIX century.
The middle of the 19th century was marked by the beginning of the rapid development of science and technology, the search for new functional solutions in still old architectural forms, as well as new building materials, including fireproof ones. During the reconstruction of the Gatchina Palace. R.I. Kuzmin showed innovation. So, in addition to traditional limestone, granite, natural and artificial marble, he used clay hollow bricks - “pots”, as they were called, as an original building material. Baked clay decorations were also used in the decoration of the facades of the courtyard of the Arsenal Square. In the 90s of the 20th century, during the revival of the museum, miraculously surviving lion heads, fragments of pilasters made of such clay were removed from the walls by the palace custodian A.S. Elkina. They are also exhibited at this exhibition.
In the Arsenal square, the architect used different heating systems: fireplaces, Dutch stoves, according to the Sviyazev, Tsimar system.
Before the repair of the Main Building, R.I. Kuzmin was also instructed to make measurements of the premises designed by A. Rinaldi and V. Brenna in the previous century. And these priceless documents formed the basis for the revival of the palace already in our years, as well as numerous estimates, descriptions of work, reports and reports of the architect.
Again, I would like to note that the work in Gatchina for the architect was complicated by the constant "pressure" from the royal customer. Nicholas I, who considered himself a specialist in construction, personally approved all the documents, as well as the deadlines for completion of work, gave orders for the supply and manufacture of furnishings, appointed appropriate punishments and handed out awards. For example, in the midst of the work of 1851, another conflict between the architect and the emperor occurred. The sovereign ordered to raise the floors in "his own chambers", "so that it would be convenient to look out the windows." Kuzmin was severely reprimanded and demanded that everything be fixed at his expense. In response, the architect proved that in this way he wanted to "give more height to the rooms against the first floor of the Kitchen Square." Nicholas I was forced to agree with the arguments of the architect. Later, special pillows were made for looking out of the windows.
Work on the palace was completed with a new design of the palace square and the grand opening of the monument to Paul I. R.I. Kuzmin was engaged in the construction of the main Orthodox church in the name of St. Paul the Apostle in Gatchina, which adorns one of the oldest streets in our city. Pavlovsky Cathedral was built by Roman Ivanovich in the "Russian-Byzantine" style, which he studied abroad. Although not only the project of R.I. Kuzmin was presented to the sovereign, Nicholas I chose it, but again making his own changes.
In 1852, by royal decree, the emperor ordered “for the restructuring of two wings of the Gatchina Palace and for the construction of the Cathedral in Gatchina” to award R.I. Kuzmin “with the Order of Vladimir 4th Art. and give out 10 thousand rubles in silver at a time ... ".
Pavlovsky Cathedral in Gatchina was the first religious building in the architectural practice of R.I. Kuzmin. But the exhibition shows projects and images of other temples of the architect built later - this is the Greek Church in the name of St. Dmitry of Thessalonica in St. Petersburg, Armenian in Southern Armenia, Russian in Athens, Orthodox in Paris and others.
Unfortunately, the Greek Church suffered a tragic fate. Although the wonderful temple survived during the Great Patriotic War, it was dismantled in 1962, when the Oktyabrsky Concert Hall was built in its place. In response to this Soviet barbarism, the poet Iosif Brodsky wrote the following lines “Now there are so few Greeks in Leningrad…” in his poem “Stopping in the desert…”, which was donated to the exhibition by the Anna Akhmatova Museum.
The exhibition also presents the project of R.I. Kuzmin of the Cathedral in the name of St. A. Nevsky on the Rue Daru in Paris. For its creation, the architect was elected a member of the Paris Academy of Arts.
Roman Ivanovich sincerely fell in love with our city and lived in it for a long time. In the area of the Varshavsky railway station, they built their own dachas. In a rebuilt form, the last of them has survived to our time on Chkalov Street.
In conclusion, it must be said that despite the fact that the career of Roman Ivanovich Kuzmin developed successfully and he was highly appreciated by his contemporaries, in the 20th century his name was almost forgotten. I would like to recall the contribution of Kuzmin R.I. in the history of our city and its architectural appearance.
