Russian pattern designer

There is no unequivocal opinion about the origin of the style. The points of view on the temporary connection of church and civic forms are opposite. Some researchers find in the Russian patterned features of “peace” and point to borrowings from civil architecture (closed arches, cornices, platbands, milled belts). Others hold the opinion of primacy for a given style of its church form. Invented common and well-known to us now piracy.

There is a widespread opinion about the connection of the Russian pattern with the European late Renaissance and mannerism.

Two stages are distinguished in the development of style: early (the style of Aleksey Mikhailovich) and late (the style of Fedor Alekseevich) ^{[1] [2]} .

Starting from the middle of the XVII century, the Russian patterne was evolutionarily replaced by Russian Baroque , sometimes these concepts are mixed or mistakenly interchanged ^{[3] [4]}

In the 19th century, the Russian pattern artist was the source of quotations and the object of imitations for eclecticism and historicism architecture.

At the beginning of the XX century - one of the main sources of inspiration for modern architecture.

Composition

Throughout the entire period of its existence, the Russian patterne undergoes significant evolution. For the first half of the 17th century, a complex spatial composition is typical. Typical stone buildings of this period are pillarless churches with a closed arch, on a high basement, with a refectory, aisles and a bell tower. They usually have five chapters, chapters above the aisles, tents above the porches and the bell tower, tiers of kokoshniks on top of the arches. The composition loses monumental clarity.

Naos in the plan has a transverse orientation, thus increasing the degree of the individual in prayer and liturgy.

Clear and balanced, often symmetrical, compositions are more characteristic of the second half of the 17th century ^[5] . At the same time, the decor of the facades also becomes more balanced, its placement on the facades is subordinate to the order.

Roofs

Hipped roofs of temples, bell towers and porch coverings. Two or three tents at such temples as a rule did not have constructive significance, but were a decorative element. Similar architectural monuments are the Church of the Introduction of the Transfiguration of the Savior Vorotynsky Monastery , the Assumption Church of the Annunciation Monastery in Nizhny Novgorod and others ^[6] .

Five-headed drums were usually deaf, as well as tents, being a decorative element (unlike light drums).

Barrel-shaped roofs.

Porch

Tent coating. Creeping Porch. Weights.

Carved platbands of windows (including those in the form of kokoshniks), multi-tiered kokoshniks in the arches, cornices in the form of “cocks”, twisted columns, half-columns. Interior: rich floral ornament of walls and arches.

The area of ​​decor on the walls is very large. Columns, flys, cornices, platbands, tiles.

• Terem Palace in the Moscow Kremlin.
• Church of the Nativity of the Virgin in Putinki (1649-1652, Moscow). The quadrangle extended from north to south is crowned with three tents; the cube-shaped side chapel of the Burning Canopy is covered by a hill of kokoshniks with a tent on the drum, between them - a two-tier tent bell tower. The premises of the church and the Neopalimov side chapel are closed by closed arches. At the end of the 17th century, a single-pillar refectory and a tented porch was added. Inheriting some features of the architecture of the XVI century, the church is one of the most striking examples of design in Moscow ^[7]

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  Church of the Nativity of the Virgin in Putinki, photo of the late XIX century.
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  Church of the Nativity of the Virgin in Putinki, drawing by S. U. Solovyov , 1890s

• Trinity Church in Nikitniki (1628-1653, Moscow)
• Church of Elijah the Prophet on the Vorontsov Field (1654, Moscow)
• The Church of the Sign behind the Peter Gate (1680, Moscow). The two-light cube of the main building of the church is covered with two rows of kokoshniks, completed with five deaf chapters; connected to the refectory and tent bell tower from the west. On the north side to the refectory adjoins the Clement aisle, originally also five-headed. The decor of the facades includes cornices, keeled kokoshniks and half-columns. A striking example of the pattern of the third quarter of the XVII century ^[7] .
• Church of St. Nicholas the Wonderworker in Khamovniki
• Hodegetria Church in Vyazma ^[2]
• Spassky Cathedral (Nizhny Novgorod)

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  Trinity Church in Nikitniki
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  Church of Constantine and Elena, Vologda. Photo no later than 1907

• Church of Constantine and Helena (Vologda) (circa 1690). At the end of the 17th century, Russian baroque had not yet entered the architecture of Vologda, and the spirit of the pattern was still not extinct ^[8] . A two-light cube of the main cold temple stands on the basement, which serves as a room for a warm church. The general plan and silhouette of the building is almost symmetrical due to the rectangular altar part and the refectory equal in size. The hipped bell tower adjacent to the refectory consists of three octal tiers. The decor is typical for the patterner - kokoshniki, half-columns (simple and built), dormer windows of the bell tower tent, a painted perspective portal of the upper church, a tent in the past with porch columns, barrels, weights and a creeping arch.

• Russian baroque
• Pseudo-Russian style