The time has come, and the high Gothic mysticism, going through the trials of the Renaissance gives way to new ideas, based on the traditions of the ancient democracies. The desire for imperial greatness and democratic ideals transformed into retrospection imitation ancient - so in Europe the classicism.

​

At the beginning of XVII century, many European countries are trading empire appears the middle class, are more democratic preobrazovaniya.Religiya subject to secular authorities. Again there were many gods and ancient hierarchy of divine and secular power came in handy. Sure, it could not but reflect on the trends in architecture.

In the XVII century in France and England, almost independently conceived a new style - classicism. As well as the contemporary baroque, he was a natural result of the development of Renaissance architecture and its transformation in different cultural, historical and geographical conditions.

​

Klassitsiizm (Fr. classicisme, from Lat. Classicus - model) - the art style and aesthetic direction in European art of the end of the XVII - XIX centuries.

At the heart of classical rationalism on ideas emanating from Descartes. The art work, from the point of view of classical, should be built on the basis of strict canons, thereby discovering the harmony and consistency of the universe. The interest of the classical is only the eternal, unchanging - in every event he seeks to recognize only the essential, typological features, casting occasional individual attributes. The aesthetics of classicism attaches great importance to social and educational function of art. Many of the rules and canons of classicism takes from classical art (Aristotle, Plato, Horace ...).

​

Baroque was closely associated with the Catholic Church. Classicism, or restrained baroque forms were more acceptable in Protestant countries, such as England, the Netherlands, Northern Germany, as well as in Catholic France, where the king meant a lot more than the Pope. In the realm of the ideal king should be the ideal architecture, emphasizing the true greatness of the monarch and his real power. "France - It is I" - proclaimed Louis XIV.

​

In architecture, a classicism understand architectural style, popular in Europe in the XVIII - beginning of XIX century, the main feature of which was a reference to the ancient forms of architecture as to the standard of harmony, simplicity, austerity, logical clarity, the monumental and the reasonableness of filling space. Classical architecture in general characterized the regular planning and precision volumetric shape. The basis of the architectural language of classicism became a warrant, in the proportions and shape to antiquity, axial-symmetric compositions restraint decoration, a regular system of town planning.

​

Usually divided into two periods in the development of classicism. Classicism emerged in the XVII century in France, reflecting the rise of absolutism. XVIII century is considered as a new stage in its development, because at that time it reflects other civic ideals, based on the ideas of philosophical rationalism of the Enlightenment. Combines both the same period a reasonable understanding of the laws of the world of the beautiful, refined nature, the desire to express the content of a large public, heroic and lofty moral ideals.

​

Classical architecture characterized by strict form, clarity of spatial solutions, geometrism interiors, soft colors and laconic exterior and interior structures. In contrast to the baroque buildings, the master never paid homage to classical spatial illusions, distorting the proportions of the building. And in landscape architecture develops so-called regular style, where all the lawns and flower beds have a regular shape, and green spaces are located in a straight line and carefully trimmed. (Gardening Ensemble Versailles)

​

Classicism is typical in the XVII century. for the countries in which there is an active process of addition of national states, and the growing power of capitalist development (Holland, England, France). Classicism in these countries carried the new features of the ideology of the rising bourgeoisie, which is fighting for a stable market and the expansion of the productive forces, is interested in the centralization and national union of states. As an opponent of class inequalities that adversely affect the interests of the bourgeoisie and its ideologues have theorized rationally organized state, based on the subordination of the interests of his classes. Recognition of reason as the basis for the organization of public life is supported by the arguments of scientific progress, which by all means contribute to the bourgeoisie. This rationalist approach to assessing the validity transferred to the area of ​​art, where the important issue is the ideal of citizenship and the triumph of reason over natural forces. Religious ideology is increasingly subject to the secular power, and in some countries it is reformed. Harmonic pattern of social organization advocates of classicism seen in the ancient world, and so to express their social, ethical and aesthetic ideals, they turned to the ancients classics (hence the term - classicism). Building on the tradition of Renaissance classicism and took much of the legacy of the Baroque.

XVII century architectural classicism developed two main directions:

The first is based on the development of traditional late-classical school (England, Holland);

second - reviving the classical tradition, the more developed the tradition of the Roman Baroque (France).

English classicism

Creative and theoretical legacy of Palladio, revived the ancient heritage in all its breadth and tectonic integrity, especially impressed classicist. It had a great impact on the architecture of the countries that have embarked on the path of other architectural rationalism. From the first half of the XVII century. the architecture of England and the Netherlands, were influenced relatively little baroque, determined under the influence of new features Palladian classicism. Particularly important role in the development of a new style of play English architect Inigo Jones (Inigo Jones) (1573-1652) - the first bright creative personality and the first truly new development in English architecture of XVII century. His are the most outstanding works of English classicism XVII century.

​

In 1613, Jones went to Italy. On the way, he went to France, where he was able to see many of the most significant buildings. The trip, which seems to have become a decisive impetus to the movement of the architect Jones in the direction of the Palladio. It was at this time that his notes in the margins of the treatise Palladio and the album.

​

Characteristically, the only among them a general judgment about the architecture devoted reasoned criticism of some trends in the late-Renaissance architecture in Italy: Jones accuses Michelangelo and his followers is that they have begun to excessive use sophisticated decor, and argues that the monumental architecture in. Unlike the short-lived stage and lightweight structures, must be serious, free from affectation, and based on rules.

​

In 1615, Jones returned to his homeland. He was appointed Inspector General of the Ministry of the royal works. The following year, he began to build one of his best works, Queens House (Queen's House - Queen's House, 1616-1636 years) in Greenwich.

​

In Queens-house architect consistently develops Palladian principles of clarity and articulation of classical clarity an order, visible structural forms, balance, proportional system. Common combinations and individual shape of the building is a classic geometric and rational. The composition prevails calm, metrically dissected wall built under a warrant is proportionate to the scale of the person. Throughout the balance and harmony prevail. The plan there is the same definition of dividing the interior space into simple balanced space.

This is the first extant construction Jones that had no precedent in their severity and the bare simplicity, also in sharp contrast with the previous buildings. However, the construction should not (as is often done) to assess its current state. Ordered it on a whim (Queen Anne, wife of James I Stuart) house was built right on the old Dover Road (now marked its position long colonnades, adjacent to the building on both sides) and originally consisted of two separated expensive buildings connected by a covered bridge over it. Complexity of composition gave the building once more picturesque, "English" character, emphasized by the vertical lines collected in traditional bundles chimneys. After the death of the master, in 1662, the gap in the hull was built up. That became the square in terms of compact and rather dry volume on architecture with columns decorated loggia from Greenwich hill, with a terrace and a staircase leading to a double-height lobby, - by the Thames.

​

All this hardly justifies the far-reaching comparisons Kuinskhausa with square, centered villa at Poggio a Caiano near Florence, built by Giuliano da Sangallo the Elder, although the similarity in the pattern of the final plan, no doubt. Jones himself only mentions Villa Molina, Scamozzi built near Padua, as the prototype of the facade from the river. Proportion - equal width risolits and balconies, a large second-floor height compared to the first, rustication without splitting into separate stones, balustrade above the cornice and a curved double staircase at the entrance - not in the nature of Palladio, and slightly reminiscent of Italian Mannerism, and at the same time rationally ordered classical compositions.

Famous Banqueting House in London (Banqueting House - Banquet Hall, 1619 - 1622 years) in appearance much closer to the Palladian prototypes. By noble solemnity and sequencing of the entire track an order structure, it had predecessors in England. However, in its social content is original type of construction, passing through British architecture since the XI century. An order for the two-level facade (bottom - Ionic, above - Composite) placed a single double-height hall, which follows the perimeter of the balcony, carrying out a logical link exterior and interior. For all the closeness of Palladian facade here there are significant differences: both rows are the same height, which never occurs in vichentinskogo wizard, and a large area of ​​glazing with a small burial boxes (local echo of half-timbered construction) deprives wall plasticity, typical Italian prototypes, giving it a clearly national English traits. Luxurious ceiling of the hall, with deep caissons (later painted by Rubens), significantly different from the flat ceiling at the time of British palaces, decorated with reliefs of decorative light panels.

​

With the name of Inigo Jones, a former member of the 1618 Royal Commission building, linked to the most important event of the XVII century town planning - laying of the first area of ​​London, established under the regular plan. Already her folksy name - Covent Garden Piazza - says about the origins of Italian design. Set on the axis of the western side of the square, the Church of St. Paul (1631), with its high gable and two-column Tuscan portico in antah - clear, naive in its literalness, an imitation of the Etruscan temple in the image Serlio. Open arcades in the ground floors of three-story buildings that flank the area to the north and the south, presumably - echoes of the area in Livorno. But at the same uniform, classic in nature rigging urban space could be inspired and Place des Vosges in Paris, built in just thirty years before.

St. Paul's Cathedral (St Pauls Cathedral) Square, Covent Garden (Covent Garden), the first temple, progressive in London after the Reformation, with its simplicity reflects not only the desire of the customer, the Duke of Bedford, to fulfill obligations to the cheap members of his parish, but also significant requirements of the Protestant religion. Jones promised to the customer to build "the most beautiful barn in England." However facade of the church, rebuilt after a fire in 1795, krupnomasshtaben, majestic, despite its small size and simplicity, of course, has its own special charm. Curiously, the high door under the portico is false, since this is the altar of the church

Ensemble Jones, unfortunately, completely lost, the space built up area, the buildings are destroyed, but later erected in 1878 in the north-west corner of the building gives an indication of the scale and nature of the initial design.

​

If the first works of Jones sin dryish rigor, his later, manor buildings are less constrained by ties of classical formalism. Their freedom and plasticity they anticipate some English Palladianism XVIII century. That is, for example, Wilton House (Wilton House, Wiltshire), burned down in 1647 and rebuilt by John Webb, assistant long Johns.

​

The ideas of Jones were continued in subsequent projects, which should be made of the project of reconstruction of London architect Christopher Wren (Christopher Wren) (1632-1723) which after Rome first large project of reconstruction of the medieval city (1666), ahead of almost two centuries of grand reconstruction of Paris. The plan was not implemented, but the architect has contributed to the overall process of building and individual units of the city, ending, in particular, conceived more Inigo Jones Ensemble at Greenwich Hospital (1698-1729 gg.). Another major construction Rena is ST. Paul in London - London's Cathedral Anglican Church. ST. Paul's main focus in the area of ​​urban development reconstructed City. Since its initiation in the dignity of the first Bishop of London St. Augustine (604) on the site, according to the testimony of sources, was built several Christian churches. The immediate predecessor of the present cathedral, the old ST. Paul, consecrated in 1240, had a length of 175 meters, 7 meters longer than Winchester Cathedral. In 1633-1642 Inigo Jones made extensive repairs to the old cathedral, and added to it the western facade of classic Palladian style. However, the old cathedral was completely destroyed in the Great Fire of London in 1666. The present building was built in 1675-1710 by Christopher Wren, the first service was held in the cathedral in December 1697.

​

From an architectural point of view, ST. Paul - one of the largest domed buildings of the Christian world, on a par with the Council of Florence, ST. Sophia in Constantinople and St.. Peter's in Rome. Cathedral has a shape of a Latin cross, length 157 m, width 31 m, length of the transept 75 meters, for a total area of ​​155,000 square meters. m sredokrestiem to 30 meters laid the foundation of the dome with a diameter of 34 m, which rises to 111 meters projecting dome, Wren to the unique solution. Immediately above sredokrestiem he built the first brick in the dome with a round 6-foot opening at the top (Oculus), fully commensurate proportions of the interior. Over the first architect of the dome built brick cone that serves as support for the massive stone lantern, weighing up to 700 tons, and over a cone - second lead sheets covered with a dome on a wooden frame, proportionally correlated with the volume of the building exterior. At the base of the cone lies an iron chain, taking up the side thrust. Slightly pointed dome resting on a massive circular colonnade, dominates the appearance of the cathedral.

​

Interior mostly finished with marble facing, and because there was little color looks austere. Along the walls are numerous tombs of famous generals and admirals. Glass mosaic domes and walls choir was completed in 1897.

​

Huge scope for construction activities opened after the London fire of 1666. Architect, presented his plan for the reconstruction of the city and received an order for recovery of 52 parish churches. Rehn suggested different spatial solutions, and some buildings are built with a truly baroque splendor (eg, the church of St. Stephen in Uolbruke). Their spiers and towers along the Cathedral of St.. Paul form a spectacular view of the city. Among them we mention the church of Christ on Newgate Street, St Bride's in Fleet Street, St James's Garlick Hill and St. Vedast on Foster Lane. If demanded by special circumstances, such as the construction of the Church of St. Mary Oldermeri or Christ Church College, Oxford (Tom Tower), Wren could use pozdnegoticheskmi elements, though, in his own words, it is not love "to deviate from the best style."

​

In addition to the construction of churches Wren served private commissions, one of which was the creation of a new library of Trinity College (1676-1684) in Cambridge. In 1669 he was appointed chief superintendent of the royal buildings.

Classicism, including Palladianism, Empire, neogrek. Ser. XVIII-XIX century.

Classicism (Fr. classicisme, from Lat. Classicus - model) - the art style and aesthetic direction in European art of XVII-XIX centuries.

At the heart of classical rationalism on ideas that were formed at the same time with those same ideas in the philosophy of Descartes. The art work, from the point of view of classical, should be built on the basis of strict canons, thereby discovering the harmony and consistency of the universe. The interest of the classical is only the eternal, unchanging - in every event he seeks to recognize only the essential, typological features, casting occasional individual attributes. The aesthetics of classicism attaches great importance to social and educational function of art. Many of the rules and canons of classicism takes from classical art (Aristotle, Horace).

Classicism establishes a strict hierarchy of genres, which are divided into high (ode, tragedy, epic) and low (comedy, satire, fable). Each genre has a well-defined characteristics, mixing which is not allowed.

How certain direction emerged in France in the XVII century. French classicism claimed identity of the person as the supreme value of life, freeing it from the religious and ecclesiastical influence.

Classicism