Boris Romanov
chapter of the book "Mystical rhythms of the history of Russia".
CULTURAL CAPITAL OF THE WORLD and TOLERANCE
The well-known definition “St. Petersburg - the cultural capital of Russia” is in fact deeply meaningful historically and can be expanded in the historical sense to the formula “St. Petersburg is the cultural capital of the world”! Indeed, in our city in an amazing, sometimes mysterious and mystical way, but always in the highest degree harmoniously and beautifully presented and fused by a common architectural ensemble, the entire world history of culture, philosophy, religion: from ancient Egypt, Hellas, Rome, ancient Russian paganism (images of the Horseman and the Snake ), before Christianity.
It is generally accepted that our city has always - with the exception of the period 1917-1991, 74 years (“the term of Nostradamus”) - has been and remains the most tolerant city in Russia. But religious tolerance also has its inside out: St. Petersburg is also a city of ups and downs of heresies of Christianity - Gnosticism and Freemasons. Let us recall that it was precisely from the time of Peter the Great that Freemasonry flourished with the splendid color of the Order of the Scottish Thistle.
The history of the beginning and construction of St. Petersburg is full of mystical coincidences both in itself and in the history of world culture, and the capitals of world culture: from Thebes and Alexandria, through Constantinople and Kiev, with fatal zigzags to Moscow. If we talk about the mysticism of the history of St. Petersburg itself, then, just as the Apostle Peter, according to the prediction of the Savior, renounced Him three times, so St. Petersburg - Petrograd - Leningrad, and since 1991 again St. Petersburg, the city of three revolutions, three times changed my name!
NORTHERN PALMIR
Peter himself called the city he founded “Paradise” and “Northern Palmyra”. In a broad sense, in our modern understanding, it is, respectively, "heaven on earth" and "the most beautiful city in the world." The current “average Petersburger” is unlikely to say more about this. However, Peter the Great was more educated than many of us. Take a look in the encyclopedia, and you will find out that “Paradise” is an Avestan (ancient Iranian) place of bliss and tranquility of the spirit (“pairidaeza”), and in the most primordial sense - the royal hunting grounds in a square fence. Such a fence was also called "vara" - magical protection from the encroachments of evil forces. It is no coincidence, probably, that the first plans of the city were drawn according to the ruler: there are still almost no “crooked” streets in our city!
Through the Greek influence, the word "Paradise" penetrated into Europe, first as an image of the architectural embodiment of paradise on earth - the ancient Greeks in the IV-V centuries. BC. called "Paradise" the amazing palaces of the ancient Iranian kings. Palmyra is a real existing small kingdom and city on the border of the Roman Empire and Persia of the second century BC. It flourished thanks to the wise reign of Queen Zenovia, among other things, the patroness of the hermeutic, occult sciences. She surrounded herself with both Roman and Greek and Persian sages, invited the best architects to her kingdom. Palmyra was famous in the ancient world for its incomparable beauty and learning of its rulers.
Finally, in the first half of the 19th century, when Nicholas I began to erect St. Isaac's Cathedral in our city, erected the Alexander Column and brought granite sphinxes from ancient Egyptian Thebes, St. Petersburg began to be called “New Thebes”. Thus, named in the name of the holy Apostle Peter, our city from the very beginning absorbed the spirit of the ancient religion of monotheism (monotheism) Avesta, and the symbol of the mixing of all cultures and religions of Europe and Asia, and secret knowledge - Palmyra - and the most ancient the origin of "post-Flood" humanity, ancient Egypt.
PROPHECY AND BLESSING OF THE VORONEZH ELDER
Peter the Great began to build a new capital according to the prophecy and blessing of the bishop of Voronezh, the elder Mitrofaniy (1623-1703), who was later canonized. This blessing was received by Peter in his youth, during the construction of the Admiralty and the Navy in Voronezh, before the second Azov campaign in 1696: “You will live in other palaces in the north, and you will erect a new capital - a great city in honor of St. Peter. God blesses you for this. The Kazan icon will be the cover of the city and all the people. As long as the Kazan icon is in the capital and Orthodox Christians pray in front of it, the enemy's foot will not enter the city ”. These were the words of the blessing of Bishop Mitrofan.
the icon of the Kazan Mother of God - one of the most revered shrines of Orthodoxy.
The Kazan Icon of the Mother of God in 1710 was solemnly transferred from Moscow to St. Petersburg, and in 1904 it was stolen from the Kazan Cathedral. After 13 years, the enemy's power captured not only Petrograd, but soon the whole country. The further fate of that icon is mysterious. According to some reports, she ended up in the Portuguese Fatima and only recently (a couple of years ago) was returned by agreement of the Pope and the Russian Orthodox Church.
Returning to Bishop Mitrofan, in 1696, in Voronezh, the elder refused to enter the house built by Peter until he removed all the statues of the pagan gods he loved, despite all the threats of the young tsar. Before his death, he accepted a schema with the name Macarius. Peter participated in the removal of his body and after the burial he said: "I have no other such holy old man left"... The prophetic words of the saint were perceived by Peter as a life-long work destined for him from above, which he carried out with unshakable perseverance (VN Avseenko. History of the city of St. Petersburg. 1703-1903., Reprint 1993). In 1832, the relics of Elder Macarius were found incorrupt.
However, in a fatal way, all the royal rulers of the city violated the covenant of Saint Mitrofanii-Macarius not to surround themselves and their palaces with “pagan” statues and symbols. And is it possible to imagine St. Petersburg without dozens of sculptures and hundreds of bas-reliefs of Poseidons, Hermes-Mercury, Aphrodite, and finally - without granite sphinxes? In this sense, Northern Palmyra remains the most accurate name.
THE DECOMPLETION OF SIMON THE WIZARD
In the Christian tradition, all the most dangerous heresies of “paganism” against Christianity are associated with the name of Simon the Magus. His only image in our city is in the Peter and Paul Fortress. This bas-relief appeared in its original form in 1707 and was executed by the architect Dominico Trezzini.
On the attic and pediment of the Peter's Gate at the entrance to the fortress there is a relief image of the biblical story “The overthrow of Simon the Magus by the Apostle Peter”.
The 8th chapter of the Acts of the Holy Apostles tells about the Samaritan magician (sorcerer) Simon, who at first wanted to become a disciple and follower of the apostles of Christ, but at the same time asked them for all his money to buy the gift of grace and the ability to give the grace of the Holy Spirit himself. outwardly expressed in fiery luminous phenomena and speaking in many languages. After the Apostle Peter refused him this and offered to repent of the sin of thinking about receiving the gift of God for money, Simon left the apostles and then (already according to apocryphal legends), many years later, conquered Rome with his ability to perform miracles, including flying on air like a bird. In the end, the Apostle Peter also ended up in Rome and there, according to legend, by the power of prayer he deprived Simon of the support of the demons who held him in the air - Simon with a great noise, in front of the amazed crowd (and the emperor) was thrown from a height and fell to the ground. This is the biblical story.
Simon the sorcerer is considered the founder of the heresy of Gnosticism, which is still the main anti-Christian heresy; In the Middle Ages, the term “simony” arose, often used to denote the trade in church offices, but also includes the meaning of receiving grace for money. These are, in the shortest possible form, the information we need about Simon the sorcerer. Here is what the famous St. Petersburg historian V. Nikitin told about the history of this bas-relief.
Quote:
<<На барельефе Петровских ворот изображена крепость, стоящая на скале, слева и справа от нее - две толпы. Впереди левой группы несколько выделяется фигура коленопреклоненного человека с бородой, в простой одежде, творящего молитву. Симон волхв изображен как бородатый мужик в армяке, подпоясанном веревкой, летящий с высоты вниз головой в окружении демонов. В правой группе людей можно разглядеть фигуру безбородого древнеримского военачальника, взирающего на происходящее.
So, in a number of publications, speeches by different authors on radio and TV about this picture (bas-relief), such confusion is created that you cannot even understand who is standing where and what is doing? Either they see the features of Peter I in the face of the Roman commander, and they even call him the Apostle Peter, then they see Charles XII in the form of a falling sorcerer (in an army jacket, girded with a rope!), Then they will come up with something else like that. But all the comments boil down to one thing: the bas-relief is supposedly an allegory of Sweden's defeat in the Northern War, a triumph of Peter I.
There are a number of obvious inconsistencies. First of all, a Christian apostle cannot be dressed in the armor of a Roman soldier and, on the other hand, the face of this soldier on the bas-relief very little resembles the face of the Russian tsar. But even if someone thinks that he does, then the question arises: why then Trezzini did not give an external resemblance to King Charles to the figure of Simon the Magus? Why didn't he “shave” him and “dress” him in a kingly fashion? Why does the apostle (Peter), common to all Christians, overthrow the Christian king? Charles XII is not a pagan and not a demon, not an idol and not an atheist - all the more so, not a bearded man dressed as a commoner! Finally, if Trezzini would like to symbolize with his bas-relief Russia's access to the sea, then another plot could be used, for example, from chapter 12 of the same “Acts”, where an Angel with a sword frees the Apostle Peter from prison. Or a story from the Old Testament about Samson tearing apart the mouth of a lion (Leo is the coat of arms of the Kingdom of Sweden) - this symbol was used many years later in Peterhof.
So, what does this plot mean on the bas-relief of the Petrovsky Gate? Of course, the apostle Peter is depicted as a kneeling man in front of a group of people on the left. But the Roman beardless warrior in the crowd on the right is, most likely, a symbolic figure of an outside observer: not a Jew or a Christian, and that is why she is distinguished from the rest. He, this pragmatic European, has yet to make a choice.
Well, and the plot of the bas-relief as a whole, what does it mean? Probably, it has a broader meaning than the victory over Sweden, which was still only anticipated in 1707, namely, the confidence that the heavenly patron of the city, the Apostle Peter, will overthrow all the enemies of Russia, no matter what clothes they wear. There were many enemies then, both external and internal. Probably, the aspiration of victory over Charles XII also guided the plan, but it was not limited only to this. Now, in the 21st century, the figure of the overthrown Simon the Magus and the whole plot of the bas-relief evoke associations more likely with the history of Russia in 1917-1991, and to the present day >>.
THREE ANGELS OVER THE TOWN
We emphasize, however, that the very name of the city and the crusader angels on its spiers seem to leave no doubt about the true Christian spirit of St. Petersburg. The spirit is impeccable, but the Soul of the city is mysterious, sometimes it becomes dark and breathes heavily with the floods of the pagan god Neptune ...
The Golden Angel crowns the spire of the Peter and Paul Cathedral.
Silver (silvered) is installed on the dome of the Orthodox Church of St. Catherine on Vasilievsky Island. During the years of the Blockade, the cross was lost, and the townspeople called it "an angel - empty hands". In 2004, it was removed for restoration, and has not yet been restored.
Well, at the top of the Alexander Column (on Palace Square) there is a bronze Angel, trampling on a snake.
****
http://proza.ru/2010/05/30/70
In 2011 published in one of
Yesterday, while walking around the Peter and Paul Fortress, I saw a dragon. And not in the usual place - defeated on the coat of arms, but on the head of a statue of a goddess!
The dragon interested me very much, and I decided to find out what it all means.
Naturally, the matter was not limited to one dragon. I am sharing with you what I have found.
Since I didn't have a camera with me, all the pictures in the post will be taken from the Internet. Links are at the end of the post.
The first triumphal gates in St. Petersburg were the Petrovsky Gates of the Peter and Paul Fortress. They were erected in honor of the liberation of the banks of the Neva. At first, they served as the main entrance to the fortress, but then the Ioannovsky ravelin was built.
The wooden gates were built in 1707-1708 according to the project of D. Trezzini.
Peter's Gate of the Peter and Paul Fortress. Fragment of the "Panorama of St. Petersburg" Engraving by Alexei Fedorovich Zubov 1716
In 1718 they were replaced by stone ones, and in this form they have come down to us.
Drawing. XVIII century
photo taken between 1900-1914
The name came from the fact that the gate was decorated with a statue of Peter I in human growth. The height of the Petrovsky Gates is sixteen meters, while they lead deep into the fortress through a wall twenty meters thick.
The Arc de Triomphe is decorated with a massive attic with a semicircular bow pediment. On it - a wooden carved bas-relief "The overthrow of Simon the Magus by the Apostle Peter" (an allegory of Russia's victory over Sweden in the Northern War). The bas-relief was moved from the gate in 1708.
In the center of the bas-relief there is a fortress on a rock, over which demons are circling. The pagan priest Simon falls from the clouds, cast down because he defamed the holy Apostle Peter and tried to fly into heaven.
In front of the fortress there is a figure of a commander (possibly an image of Peter I or Alexander Nevsky). The god of hosts hovers above all the figures above the bas-relief.
At the wooden gate, over the arch stood the figure of the Apostle Peter, which has not survived today.
On the gate there is also a sculptural image of a black two-headed eagle with a shield on its chest (the Russian imperial coat of arms).
The image is cast from lead and weighs over a ton. The shield depicts Saint George the Victorious.
On different sides of the arch, in niches, there are statues of ancient goddesses: the war goddess Bellona in military armor and Minerva, the goddess of wisdom and crafts, who holds a mirror and a snake in her hands. Sculptor Nicolas Pinault (1684-1754). The whole composition of the Peter and Paul Gates symbolizes the inaccessibility of the Peter and Paul Fortress and is perceived as a symbol of faith in the power of Russia. The uniqueness of the Petrovsky Gates lies in the fact that it is the only surviving example of a triumphal building of the early 18th century.
So, the left statue of Minerva, the right one - Bellona.
Minerva.
MINERVA(Minerva) - in ancient Roman mythology - the goddess - the patroness of crafts and sciences, peaceful city life. Probably descended from the Etruscan goddess Menrva. Among the Romans, it was part of the triad of the main capitoline deities along with Jupiter and Juno. A temple on the Capitol Hill in Rome was dedicated to the goddess Minerva. Another temple on the Aventine became the center for the festivities of the craft colleges. In 207 BC. NS. at the temple of Minerva on the Aventine, a college of writers and actors arose, whose patroness was the goddess. Subsequently, she was also revered by musicians, doctors and teachers. Hence the expression: "a man of all Minerva" (lat. Omnis Minervae homo), that is, a jack of all trades, and also ironic: "fat Minerva" (lat. Crassa Minerva), that is, simply, rude. After the identification of the Roman Minerva with the Greek Athena, Aventine Minerva was revered as the embodiment of wisdom, the guardian of cities and a warrior. Minerva's iconography differs from the famous depictions of Athena. So, in the era of the Italian Renaissance, two images of Minerva were formed: Minerva Armata (Italian armata - "armed") and Minerva Pacifica (Latin pacifica - "pacified, peaceful"). In the allegories of the art of Classicism, Mannerism and Baroque, the figure of Wisdom or the personification of Science is presented in the image of the Roman Minerva. A book, an owl or a snake is depicted at her feet - an ancient symbol of wisdom, the meaning of which is enhanced by contamination with the logias of Jesus: "So be wise as serpents" (Matt. 10:16).
Attributes of the statue.
Snake.
In various mythological and folklore traditions, snakes are the guardians of the sources of life and immortality, as well as the highest spiritual values. This symbol personified the source of all potential, both in the material sphere and in the spiritual.
Mirror.
The image of the world and God, truth, knowledge. In its ability to reflect a person and the reality surrounding him, the mirror is steadily correlated with consciousness, thinking, acting as instruments of self-knowledge and reflection of the universe; the concept of "reflection" (Latin "reflection") brings thought and mirror closer together. Imagination, as a product of the images of the world, also finds its personification in the mirror. it was viewed as a symbol of contemplation, self-knowledge and truth, and in this meaning it was likened to the eye.
The mirror is an attribute of the allegorical figure of Truth (the maxim "the mirror does not lie" is meant).
Snake and mirror together symbolizes clairvoyance ("to see everything clearly, as in a mirror").
Bellona.
Bellona(lat. Bellona) - the ancient Roman goddess of war, was a member of the retinue of Mars, the goddess of the underworld. It is of ancient Sabinian origin.
Her name comes from bellum or duellum - "war". Also considered the mother (options: daughter, spouse, nurse) of Mars. She was depicted with a sword or whip, with a torch, in a long robe, often in the center of the battle, on a chariot. Attribute: double ax.
In 458 BC. NS. in Rome, on the Champ de Mars, a temple was dedicated to her, in front of which there was a "column of war" - the symbolic border of Rome, from where a spear was thrown towards the enemy as a sign of a declaration of war. This ceremony was performed by a fezial, a priest of the goddess. At the back of the temple, the senate received foreign ambassadors, as well as generals who returned victorious from campaigns and expected triumph.
In the 1st century. BC NS. under Sulla, a statue of the Cappadocian (Asia Minor) goddess Ma was brought to Rome from Cappadocia, the cult of Bellona merged with her cult and became extremely orgasmic and cruel. In this regard, Roman citizens were prohibited from participating in it. Bellona's servants were recruited from outsiders.
Especially the cult of Bellona-Ma, simultaneously with other Eastern cults, spread in the Roman Empire in the III century. n. NS. The priests of the goddess (Latin Bellonarii - Bellonaria) wore black robes and caps, had double axes as attributes, brought themselves to death in her honor, they inflicted beatings and wounds on each other, thus bringing human blood to the goddess, and they predicted the future. They were called fanatics (Latin fanatici - frantic).
In the Summer Garden in St. Petersburg there is a wonderful marble statue of Bellona by the Venetian sculptor A. Tagliapietra (first half of the 18th century). This statue was commissioned by S. L. Raguzinsky in Venice by order of Peter I especially for St. Petersburg.
A. Tagliapietra. Bellona. Mid-18th century Marble. St. Petersburg, Summer Garden
Attributes of the statue.
The Dragon
The word “dragon” comes from the Greek δράχωγ, derkien - “seeing”.
The word combination “dragon-serpent”, twice used by the poet Hesiod (VIII-VII centuries BC) in the Birth of the Gods (Theogony), speaks of the belonging of the “dragon” to snakes. in Greece, large snakes were called draconates, a word apparently meaning keen sight (from dercornai, "keen perception").
Winged snakes or dragons are solar and symbolize the union of spirit and matter, the union of the eagle and the snake and all opposites, in addition, accelerated understanding.
This photo clearly shows the head of a lion on the chest and the head of the Gorgon Medusa on the shoulder.
a lion
It has a dual meaning, carrying both solar and lunar symbolism, the personification of both good and evil. As a solar symbol, the lion personifies the heat, brilliance and power of the midday Sun, the principle of fire, splendor, strength and courage, fortitude, justice, law, military might, the King of Beasts. On the other hand, the lion symbolizes cruelty, ferocity, an animal lifestyle. He is a symbol of war and is an attribute of the gods of war. Embodying the lunar principle, the lioness accompanies the Great Mother, or is harnessed to her chariot. Symbolizing maternal instinct, the lioness is often depicted with the virgin goddesses of war.
Gorgon Medusa Head.
And in the severed state, the gaze of the gorgon's head retained the ability to turn people into stone.
The head of Medusa was placed on the aegis of Athena. In art, it was customary to depict this head on armor on the shoulder of the goddess or under the collarbones on her chest.
In order to understand what the goddess is holding in her hands, I enlarged a fragment of an old pre-revolutionary photograph and attached a photo taken in Soviet times next to it. It is very difficult to see, but it seems to me that Bellona is holding a wand.
Wand
In symbolic meaning, it has a lot in common with a staff.
An attribute of all wizards: carries magical power and the ability to resolve disputes.
Basic meanings:
Power, authority, high office, world axis.
An attribute that both statues have.
SHELL (praslav. Raky - "shell"; lat. Arca - see cancer) - in antiquity the seashell, primarily the bivalve shell of the "scallop", was an attribute of female deities and a symbol of the water element. The word "konkha" (Greek konche - "shell", Latin concha) meant the feminine principle of nature, and mollusk (Latin molluskus - "soft, soft") - a euphemism, which was used in poetry to refer to female genital organs.
In the art of the Italian Renaissance, especially of the Quattrocento period (15th century), the symmetrical scallop shell became the archetype of thinking, striving for clarity and balance of forms.
Now let's look at both shapes and their location.
The Christian symbolism of the gate was guided by the saying of Jesus himself: "I am the door: whoever enters by me, he will be saved ..." / John 10: 9 /
The gates, mostly church ones, painted, decorated with carvings or reliefs, often illustrate how salvation is achieved, through the image of both Christian virtues and those overcome through their vices.
Virtue- a philosophical term meaning a positive moral property of a person's character, determined by his will and actions; constant active direction of the will to fulfill the moral law.
The Greeks distinguished four virtues (Greek αρετή):. wisdom,. courage,. Justice, . moderation (Greek σωφροσύνη, sofrosyune). The source of virtue Socrates considered reason and the highest virtue, which includes all the others, saw in wisdom. According to Plato, virtues are based on the properties of the soul: wisdom - on reason, courage - on will, moderation - on overcoming sensuality. Justice is a combination of the three preceding virtues. Plato believes that each class has its own virtue: philosophers-rulers have wisdom; the warriors have courage; farmers and artisans have moderation.
Medieval scholastics added three more virtues to the four virtues: faith, hope and love. All of these seven basic virtues were depicted as human figures (mostly young women) in long robes, but each had its own attributes - animate and inanimate.
Wisdom
- two faces: old and young, and a dragon was sitting at her feet;
Courage
- holding a rod in his hand, and with the other hand broke the column in two, while a lion was sitting at her feet.
Moderation
- was depicted with two small jugs in her hands, from one very sparingly - drop by drop - water dripped, and the other was kept intact. At the feet of moderation sat a dog, looking at a plate licked to a mirror shine, in which it was even reflected.
Justice
- she held a sword in one hand, scales in the other, and at her feet stood a crane on one leg, holding a stone in her raised leg. He personified vigilance, alertness.
faith
- held in one hand directly in the palm, like a juggler, a crystal goblet, which could fall at any moment, and in the other - a cross. At her feet sat a dog in a calm, "dignified" posture, personifying loyalty.
Hope
- folded her arms in a gesture of supplication and directed her gaze to the sun, and at her feet sat the Phoenix bird on a fire that was starting to burn.
Love
- She poured seeds on the ground with one hand, and pressed the other to her heart. At her feet, a pelican fed the chicks with its own blood.
The canon of basic Christian virtues consisted of three "theological virtues":
faith, hope, love(Cor. 13:13)
and four "main virtues":
justice, prudence, courage and moderation.
Attributes in sculptures and images could vary.
So Courage (courage, strength, etc.) is mainly depicted in the form of a warlike, strong and strong woman, dressed in armor and, even being naked, she still has a helmet and a shield.
In her hand is a sword, a mace (Hercules' mace), a rod or a banner. The other hand embraces and often breaks the column (Samson's pillar, reminiscent of the destruction of the Philistine temple).
Often accompanied by a lion, which she can tear the mouth, or covered with a lion's skin.
Prudence. Not so much a precaution as wise behavior.
Prudence personifies a female figure with a snake and a mirror
Many ancient gods and characters from among the pagan gods were perceived as personifications of virtue and its varieties.
Athena symbolizes the triumph of reason, virtue and chastity.
In our case, we have two hypostases of Athena: the Roman goddesses Minerva and Bellona.
The identification of Bellona with Athena is indicated by the head of the Gorgon Medusa on the armor of the goddess.
The attribute of the main virtue (according to Plato) of the philosopher-ruler - wisdom - is present on both figures: for Minerva it is a snake, for Bellona - a dragon.
Both figures are crowned with shells, which allegorically indicates clear, balanced thinking.
Bottom line.
The triumph of reason, virtue and chastity, based on wisdom, clear vision, balanced thinking, based on prudence and courage, on the knowledge of good and evil, life and death.
Category: Curious Petersburg Tags:
Peter's gate- The “front entrance” to the fortress, the very first and initially the only gates of the Peter and Paul Fortress, are located in the Peter and Paul curtain (wall) between the Tsar and Menshikov bastions. Built in 1708-1717 by Domenico Trezzini in the form of a triumphal (victory) arch in honor of the liberation of the banks of the Neva from the enemy. On both sides of the arch, in niches, there are statues created by the French sculptor Nicolas Pino. Left - Athena in the form of Poliada, the patroness of cities. In her hand is a snake (a symbol of wisdom) and a mirror with which the goddess can even see what is happening behind her. On the right is Athena, too, but already in the form of Pallas, a just victorious warrior in military armor. On her helmet is a salamander, a symbol of invincibility. The gate is decorated with a lead double-headed eagle by the French sculptor François Vassy (1720) and a wooden bas-relief.
Bas-relief "The overthrow of Simon the Magus by the Apostle Peter" (issue 67 - Peter and Paul Fortress)
Category: Curious Petersburg Tags:
Bas-relief "The overthrow of Simon the Magus by the Apostle Peter" by the sculptor Kondrat Osner at the Petrovsky Gates. According to the New Testament myth, Simon, with the help of demons, ascended to the clouds and imagined himself to be the ruler of the world. The Apostle Peter dispersed the demons and overthrew the impostor. As you might guess, the arrogant Simon is identified with the Swedish king Charles XII, and the Apostle Peter - with Peter I. In the center of the composition is the first building of the Peter and Paul Cathedral, to the right of which the figure of the emperor himself is guessed. The general management of the construction of the fortress in 1703-1705 was carried out by the German military engineer Wilhelm Kirschenstein. In 1706, the reconstruction of the fortress in stone began according to the design of the French engineer Joseph Lambert and the Italian architect Domenico Trezzini. In 1727, the supervision of the construction of the fortress was entrusted to a military engineer of German origin, the future Russian Field Marshal Christopher Munnich.
Peter's Gate of Peter and Paul Fortress
The Peter and Paul Gates are the triumphal gates of the Peter and Paul Fortress in St. Petersburg, located in the Peter Curtain between the Tsar and Menshikov bastions. The only surviving example of a triumphal building of the Petrine Baroque.
The gate was created in 1707-1708 according to the project of the architect Domenico Trezzini and was originally made of wood. They were decorated with a statue of St. Peter in human height, so the gate began to be called Petrovsky. Ten years later, the same architect rebuilt the gates in stone, they exactly repeated the wooden ones. In this form, they have survived to this day.
The gate is decorated in the form of a triumphal arch. The tradition of erecting arches in honor of a military triumph dates back to ancient Rome.
At first glance, the Petrovsky Gates are a little heavy, but they are very elegant, this is one of the features of the Baroque style. For the architecture of this style, symbolism plays an important role. Every detail of the decor has its own meaning, so many architectural buildings can be read like a book.
Consider the panel "The Overthrow of Simon the Magus" (or another title that can be found in literature - "Overthrow of Simon the Magus by the Apostle Peter"). In the center of the relief, the sculptor Kondrat Osner depicted a fortress on a rock. Clouds swirl above it, and winged demons fly in them. From the clouds, a bearded man falls headfirst down onto the fortress. This is the pagan priest (sorcerer) Simon, who, according to the legend, prophesied and insulted the Apostle Peter and, supported by demons, tried to fly. However, the Apostle Peter scattered the demons with his prayer, and Simon was cast down to earth with shame and "great noise". Simon falls, and below people watch his shame. A man in the attire of an ancient Roman commander is standing in front of the fortress. Perhaps the sculptor portrayed Peter himself in this way, or perhaps the warrior-defender of the fortress.
The meaning of the bas-relief was available to the people of the 18th century: they understood the language of allegories. Modern art experts differ in the interpretation of the details of the composition, but they are all unanimous that the triumphal arch and its bas-reliefs glorify the victories of Russia. Since the wooden gates were built even before the Battle of Poltava, the Petrovsky Gates can be considered a monument to the military successes of the Russian army, primarily on the banks of the Neva and the Gulf of Finland. The result of these victories was the construction of the Peter and Paul Fortress.
Contemporaries could interpret the plot as follows: the fortress is a stone with which the Apostle Peter will strike all who will attempt to assassinate it. (The name Peter is translated from Greek as “stone.” And in the Holy Scriptures there are words that the Apostle Peter is the stone on which Christ will build his church and the gates of hell will not prevail against it). The composition was created as a praise for the steadfastness and inaccessibility of the fortress; as a symbol of faith in the complete victory of Russia over Sweden.
The image of the coat of arms of Russia adorning the gate emphasizes the importance of the fortress and the young capital city of St. Petersburg in the life of the state in the first quarter of the 18th century. The coat of arms was made in lead by the master François Vassou, and before that the gate was decorated with a stucco alabaster coat of arms painted "like an oak". In addition to the above, the sculptural decoration of the Peter's Gate included seven more statues that have not survived, among which the figure of the Apostle Peter with keys occupied the central place.
In 1941, the Petrovsky Gates were damaged by artillery fire. In 1951, the architects A. A. Kedrinsky, A. L. Rotach carried out the restoration.
This is not the first and not the only triumphal arch in St. Petersburg. Triumphal arches are arranged at the entrance to cities, at the end of streets, on bridges, on highways in honor of winners or in memory of important events, they can be temporary or permanent, have one or three spans, covered with semi-cylindrical arches, end with an entablature and an attic, are decorated with statues, reliefs and commemorative inscriptions.
Triumphal arches originated in ancient Rome, where they were intended for the ceremonial entry of the winner. In Russia, the triumphal arches were first organized by Peter the Great. The first gates were erected in 1696 in honor of the victory at Azov and in 1703 to honor Sheremetev, Repnin and Brussels during the conquest of Ingermanland, as well as to celebrate the founding of the new capital. Then three gates were built in Moscow: at the Zaikonospassky monastery, at the Ilyinsky gate and at the Myasnitsky gate. All of them were decorated with paintings, allegorical figures and statues, with proper inscriptions. For the second time, in honor of the Poltava victory, 7 triumphal gates were erected in Moscow. The triumph lasted a whole month, from December 18, 1709 to January 17, 1710. For the third time, the triumphal gates were erected in the new capital, in St. Petersburg, on September 9, 1714, on the occasion of the celebration of Peter's naval victories; the ships also took part in the triumph. The gates were decorated with various symbolic images, and the main picture depicted an elephant struck by an eagle, with the inscription: "The eagle does not catch flies", which was supposed to resemble the capture of the Swedish frigate Elephant by the sovereign himself. On the occasion of the conclusion of peace with Sweden at the end of 1721, a triumphal gate was also arranged in Moscow, and the whole flotilla, on a sleigh, moved from the St. Petersburg entrance through the whole of Moscow. During the reign of Anna Ioannovna, three triumphal gates were built, on the occasion of the arrival of the empress from Moscow to St. Petersburg at the beginning of 1732, after the coronation: opposite the church on the Trinity pier, the Admiralty (broken in 1742) and Anichkov gates. On the occasion of the entry into St. Petersburg of Empress Elizabeth Petrovna, after the coronation, the Admiralty and Anichkov Gates were renewed, and in 1751 they were dismantled again. Catherine II also ordered the construction of a triumphal gate of marble behind the Kalinkin Bridge, at the entrance from Peterhof to St. Petersburg. From the permanent triumphal Gates to the beginning of the 20th century, the Red Gate remained in Moscow, in St. Petersburg there are two permanent gates: at the Narva and Moscow outposts, and in Moscow - at the Petrovskaya outpost. The Narva gate was at first temporary and was erected on the occasion of the return of the guards to the capital from the 1815 campaign, according to Quarenghi's drawing. Due to the haste of work, the gates were built of wood, plastered and decorated with the attributes of victory. In 1830, at the request of Emperor Nikolai Pavlovich, the wooden Narva Gate was replaced with bronze one. The gate opened in 1833; one metal work cost about 800,000 rubles.
(The text uses materials from the book by Ermolaeva L.K., Lebedeva I.M.Walking in St. Petersburg and materials from wikipedia)
Do you want to take a walk around the legendary St. Petersburg without leaving your home? Then join us. Together today we will visit the most interesting corner of the Northern capital, inspect the Peter and Paul Fortress Petrovskie Gates on This is the most visited place in the city by tourists. The unique structure today has become a real reserve, which tells us about a bygone era. You must visit here at least once to appreciate its beauty and power. Today it is one of the few ancient monuments that have come down to us unchanged. The Petrovsky Gates of the Peter and Paul Fortress escort tourists to the unique museum of the history of St. Petersburg.
The journey begins
It is impossible to recognize Peter without being here. This is not just a page of history, but a symbol of the city.Today we will talk not only about the Peter and Paul Fortress, but also look inside it. We will immediately warn tourists that a walk around Hare Island is free. But do not forget to take cash with you, because there are still a lot of places here, the entrance to which requires the purchase of tickets.
So, in front you can see the Petrovsky Gate of the Peter and Paul Fortress. The path to them lies through This is a legendary object that deserves to be given some time. It was built on the site of the first St. Petersburg ferry. Just imagine, for several centuries he has been decorating this place. True, the bridge has undergone some changes. The very first structure was made of wood. So it was conceived with the expectation that in the event of a doctor's attack, it could easily be set on fire and cut off the path to the fortress.
However, a little later, the design was slightly changed. Beautiful arches were added on both sides. As a result of these upgrades, the bridge has become much longer and wider. After that, the bridge went through many more changes. But the most significant changes took place already in the 20th century. The bridge became pedestrian. Today it is also a walking pavement with beautiful lanterns and fences.
You are greeted by a monument to a hare
The Petrovsky Gate of the Peter and Paul Fortress rises in front of you. It is imperative to take a photo for memory in order to show this beauty to all friends and acquaintances. But let's wait a little longer and look to the left. There, on stilts, sits a small bunny. There is nothing special about the statue itself, but there is a beautiful legend that tourists love to tell. According to her, Peter 1 at this place picked up a tiny hare, which, fleeing the flood, himself jumped into his arms. It is now the eared talisman of the fortress. They say that if you throw a coin at him and make a wish, it will come true.
Unique monument of Russian architecture
Before us is the Petrovsky Gate of the Peter and Paul Fortress. Describing them can take a very long time, but today we will have to be very brief. They were built back in 1708. For several centuries, a work of art, unique in its kind, has amazed with its impressive appearance. This is the work of more than one master; thousands of people worked on the creation of the masterpiece, each of whom contributed. However, the founding father of a large-scale project called the Petrovsky Gate of the Peter and Paul Fortress is an architect. A wooden, carved panel gives them special beauty. It was created by the outstanding sculptor and carver Konrad Osner. The panel is a symbol of victory in the war of 1700-1721. It was this event that became the starting point for the emergence of the Russian Empire.
The main entrance to the fortress
You will not deny yourself the pleasure of taking such an excursion. Before you are the unique Peter and Paul Fortress of the city. This is a one-of-a-kind monument that has survived to this day since the time of Peter I. The famous architect, who gave the world this miracle, created a classic example of the front gate at that time. An arched entrance to the fortress was made in the lower tier, and the upper part played an exclusively decorative role.
Peter's creation
Perhaps the gate would have remained a beautiful arch, if not for the specific trend of that time. The symbolic reflection of Peter's deeds had to be imprinted and preserved for posterity. If you are interested in statues and bas-reliefs, then be sure to come and see the Peter and Paul Fortress Petrovskie Gates. The sculptures that adorn this monument are admirable. Take some free time to get a good look at everything.
The carved panel in the center of the high, semicircular pediment depicts the scene "The overthrow of Simon by the Apostle Peter." In this case, the defeated is, most likely, Charles XII, and the winner is the king himself. Prepare to be amazed further. There is a real confusion of eras here, because on both sides of the passage there are two statues of Athena. The ancient Greek goddess Pallas Athena in armor on the right side, Poliada (ruler of the city) with a mirror and a snake on the left side. All this composition means that the city is under reliable protection.
General impression
When you first see this grandiose structure, you feel an involuntary reverence for the skill of its creators. They are made in a pretentious, magnificent baroque style. The surface of the facade wall is treated with rustic wood. Due to this, it still retains its relief, despite the passing centuries. The wall of the first tier is cut with deep niches. Allegorical sculptures are installed in them. The theme is war and wisdom. Then everyone can complete the row on their own. All sculptures are made using the plaster technique. The second tier of the gate is decorated with volutes and a bow pediment. It is simply amazing that such beauty was created as the gate of a battle fortress. True, she never had to withstand a siege.
Symbol of Russia
Since 1720, it was decided to crown the arch of the gate with a coat of arms, in the form of a two-headed eagle. It was made of lead by the great sculptor François Vassoux. A year later, changes were made to the composition. The huge structure, weighing more than one and a half tons, was painted and gilded by masters Alexander Zakharov and Ivan Uvarov.
The creation of this sculpture also has its own history. According to legend, the place where the gate stands today was determined by the king himself. He cut down two young birches and erected them in the form of an arch, marking the place where the entrance to the fortress will be. At this time, the sound of wings was heard, and Peter and his entourage saw a soaring eagle. He sat down on the created arch, which was taken as a good omen. Holding the bird in his arms, the king walked through the birch arch and boarded the ship.
Eagle image
It is familiar to every Russian since childhood, but it is made especially colorfully on the gate. The figure of a bird, crowned with royal regalia, is painted so skillfully that it is very beautiful today. The decoration of the red shield placed on the eagle's chest is especially meticulous. It has a very symbolic painting, George the Victorious, who defeats the snake. In its choice, Russia was not original; it simply borrowed its coat of arms from Byzantium. This demonstrates the continuity of traditions.
Restoration
Unfortunately, time takes its toll. By the end of the 17th century, signs of destruction began to be visible. To stop them, repairs were carried out from time to time. The gate was covered with lime, and then with plaster. The thickness of the layer by our time reached 15 cm. And since the interest in the monuments of antiquity only grew, it was decided to return the beauty and grandeur that distinguish the Petrovsky Gates of the Peter and Paul Fortress. The restoration began in 1951, after the unique, historical object was damaged by military shelling. The architects A. A. Kedrinsky and A. L. Rotach got down to business. As a result, we saw an almost exact copy of that version of the gate, which was created several centuries ago. In the spring of 2008, minor repairs were carried out in the fortress, which were of a supporting nature.
Tours
If you are interested in the history of your native country, then you must definitely choose the time and take the whole family for an excursion. The Petrovsky Gates of the Peter and Paul Fortress will be no less interesting for children than for adults. However, in order for the trip to be also informative, it is advisable to use the services of an experienced guide. The stories about the era of the reign of Peter I are so exciting, especially here, in front of the unique fortress, created during his lifetime. However, the excursion does not end on the inspection of the Arc de Triomphe.
Ahead is a magnificent museum that will tell you the history of the great state through the pages. The Peter and Paul Fortress is an interesting monument in itself. The boys will look at its bastions with great interest, as well as the guns. A cannon firing at noon is located in the Naryshkin bastion. Several large guns are on display at the foot of the fortress. And girls who have little interest in war trophies can visit the Cathedral or one of the constantly changing exhibitions in the museum.