Studied at Imperial Academy arts, as a pensioner of the Black Sea Army, and graduated from it in 1832, with the title of class artist and with a small gold medal awarded to him for the “theological seminary project.” The following year, for the execution of another program: “Project for the Estate of a Rich Landowner,” he was awarded a large gold medal and soon after that he was sent abroad.
In European 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, he returned to St. Petersburg in 1840. For the work he performed during this trip, he was awarded the title academician, from whom he was promoted to professor a year later, for the design of a building for the medical-surgical academy with clinics and other buildings.
After this, Kuzmin served as a senior architect at the Gough Quartermaster's office and, in this position, erected many buildings for the palace department, including several buildings for the Imperial stables, rebuilt and expanded the Gatchina Palace, participated in the reconstruction of the Singing Chapel (1857) and built the city cathedral in Gatchina.
The most important buildings of Kuzmin, in which his artistic taste and knowledge architectural styles, recognized are the church at the Russian embassy in Athens, the Orthodox cathedral on Daru Street in Paris, the Greek embassy church in St. Petersburg (with the participation of architect F.B. Nagel; not preserved) and a luxurious house built in the Renaissance style for Utin in the same place , on Konnogvardeisky Boulevard. His last building was a marble chapel near the Summer Garden.
The buildings
Saint Petersburg
- Shpalernaya street, no. 52 - house of the court clergy. 1842.
- Tchaikovskogo Street, No. 2, middle building - court and servants' house. 1843-1844.
- Shpalernaya street, no. 35 - court and servants' house. 1843-1847. Existing home included.
- Petrovskaya embankment, no. 6 - case of the House of Peter I. 1844. (Extended).
- Tchaikovsky Street, No. 30 - mansion of L.V. Kochubey. 1844-1846. Completed by G. A. Bosse.
- Stremyannaya street, no. 5 - apartment building. 1850.
- Griboyedov Canal Embankment, No. 11 - Malaya Konyushennaya Street, No. 6/Cheboksarsky Lane, No. 1 - Court Hospital building. Perestroika. 1852-1857. (Rebuilt).
- 1st Krasnoarmeyskaya street, no. 3 - 5 - apartment building of T. Tarasova. 1858-1859. Together with K. K. Anderson and A. I. Lange.
- Konnogvardeisky Boulevard, No. 17 - Galernaya Street, No. 20, right side - Leonov Lane, No. 4 - apartment building of I. O. Utin. 1858-1860.
- Greek Square - Ligovsky Prospekt, No. 6 - Greek Embassy Church of Demetrius of Thessalonica (with the participation of architect F.B. Nagel). 1861-1866 (demolished in 1962 to build concert hall"October").
- Palace Embankment near the Summer Garden (1866-1867) - the chapel of Alexander Nevsky in memory of the rescue of Alexander II during an assassination attempt. (Not preserved).
Gatchina
- Reconstruction and expansion of the Gatchina Palace
- Cathedral of St. Apostle Paul (Gatchina)
In St. Petersburg, Utin's house, built in the Renaissance style on Konnogvardeisky Boulevard in St. Petersburg.
Biography
The most important buildings of Kuzmin, in which his artistic taste and knowledge of architectural styles were clearly expressed, are the church at the Russian embassy in Athens, the Orthodox Cathedral on Daru Street in Paris, the Greek Embassy Church in St. Petersburg (with the participation of architect F. B. Nagel ; not preserved) and a luxurious house built in the Renaissance style for Utin in the same place, on Konnogvardeisky Boulevard. His last building was a marble chapel near the Summer Garden.
In 1867 he was an active state councilor (since December 16, 1861), a member of the Academic Committee of the Ministry of Railways and a senior architect of the department of His Majesty's Court Office.
Awards
- Order of St. Vladimir, 4th degree (1852)
- Order of St. Stanislaus, 2nd class (1858)
- Order of St. Anne, 2nd degree (1861; the imperial crown was awarded to this order in 1865)
The buildings
Saint Petersburg
- Shpalernaya Street, No. 52 - house of the court clergy. .
- Tchaikovskogo Street, No. 2, middle building - court and servants' house. - .
- Shpalernaya street, no. 35 - court and servants' house. - . Existing home included.
- Petrovskaya embankment, no. 6 - case of the House of Peter I. . (Extended).
- Tchaikovsky Street, No. 30 - the mansion of L.V. Kochubey. - . Completed by G. A. Bosse.
- Stremyannaya street, no. 5 - apartment building. .
- Griboyedov Canal Embankment, No. 11 / Malaya Konyushennaya Street, No. 6 / Cheboksary Lane, No. 1 - Court Hospital building. Perestroika. - . (Rebuilt).
- 1st Krasnoarmeyskaya street, no. 3 - 5 - apartment building of T. Tarasova. - . Together with K. K. Anderson and A. I. Lange.
- Konnogvardeisky Boulevard, No. 17 / Galernaya Street, No. 20, right side / Zamyatin Lane, No. 4 - apartment building of I. O. Utin. - .
- Greek Square / Ligovsky Prospekt, No. 6 - Greek Embassy Church of Demetrius of Thessalonica (with the participation of architect F.B. Nagel). - (demolished in 1962 for the construction of the Oktyabrsky concert hall).
- Palace Embankment near the Summer Garden (-) - Alexander Nevsky Chapel in memory of the rescue of Alexander II during an assassination attempt. (Not preserved).
Gatchina
- Reconstruction and expansion of the Gatchina Palace
Moscow
- Yaroslavsky station (1859-1862, rebuilt)
- Ryazan Station (1863, construction was carried out by A.P. Popov; not preserved)
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Notes
Literature
- Russian biographical dictionary: In 25 volumes / under the supervision of A. A. Polovtsov. - St. Petersburg. , 1896-1918. - T. 9.
- Architects of St. Petersburg. XIX - early XX century / comp. V. G. Isachenko; ed. Y. Artemyeva, S. Prokhvatilova. - St. Petersburg. : Lenizdat, 1998. - 1070 p. - ISBN 5-289-01586-8.
- List civil ranks IV class. Corrected on February 1, 1867. - St. Petersburg, 1867. - P. 431.
- Architects of Moscow from the time of eclecticism, modernism and neoclassicism (1830s - 1917): ill. biogr. dictionary / State scientific research Museum of Architecture named after A.V.Shchuseva and others - M.: KRABiK, 1998. - P. 151. - 320 p. - ISBN 5-900395-17-0.
Links
- (2012)
Excerpt characterizing Kuzmin, Roman Ivanovich
- Why ask me? General Armfeld proposed an excellent position with an open rear. Or attack von diesem italienischen Herrn, sehr schon! [this Italian gentleman, very good! (German)] Or retreat. Auch gut. [Also good (German)] Why ask me? - he said. – After all, you yourself know everything better than me. - But when Volkonsky, frowning, said that he was asking his opinion on behalf of the sovereign, Pfuel stood up and, suddenly animated, began to say:- They ruined everything, confused everything, everyone wanted to know better than me, and now they came to me: how to fix it? Nothing to fix. Everything must be carried out exactly according to the principles I have laid out,” he said, banging his bony fingers on the table. – What is the difficulty? Nonsense, Kinder spiel. [children's toys (German)] - He went up to the map and began to speak quickly, pointing his dry finger at the map and proving that no accident could change the expediency of the Dris camp, that everything was foreseen and that if the enemy really goes around, then the enemy must inevitably be destroyed.
Paulucci, who did not know German, began asking him in French. Wolzogen came to the aid of his principal, who spoke little French, and began to translate his words, barely keeping up with Pfuel, who quickly proved that everything, everything, not only what happened, but everything that could happen, was all foreseen in his plan, and that if there were now difficulties, then the whole fault was only in the fact that everything was not executed exactly. He laughed ironically incessantly, argued, and finally contemptuously gave up proving, like a mathematician gives up believing. different ways once proven correctness of the task. Wolzogen replaced him, continuing to express his thoughts in French and occasionally saying to Pfuel: “Nicht wahr, Exellenz?” [Isn't that true, Your Excellency? (German)] Pfuhl, like a hot man in battle hitting his own, shouted angrily at Wolzogen:
– Nun ja, was soll denn da noch expliziert werden? [Well, yes, what else is there to interpret? (German)] - Paulucci and Michaud attacked Wolzogen in French in two voices. Armfeld addressed Pfuel in German. Tol explained it in Russian to Prince Volkonsky. Prince Andrei silently listened and observed.
Of all these persons, the embittered, decisive and stupidly self-confident Pfuel most excited the participation of Prince Andrei. He alone, of all the people present here, obviously did not want anything for himself, did not harbor enmity towards anyone, but wanted only one thing - to put into action the plan drawn up according to the theory he had developed over years of work. He was funny, unpleasant in his irony, but at the same time he inspired involuntary respect with his boundless devotion to the idea. In addition, in all the speeches of all the speakers, with the exception of Pfuel, there was one common feature, which was not present at the military council in 1805, was now, although hidden, a panicky fear of the genius of Napoleon, a fear that was expressed in every objection. They assumed everything was possible for Napoleon, waited for him from all sides, and with his terrible name they destroyed each other’s assumptions. Only Pfuel, it seemed, considered him, Napoleon, to be the same barbarian as all the opponents of his theory. But, in addition to a feeling of respect, Pfuhl instilled in Prince Andrei a feeling of pity. From the tone with which the courtiers treated him, from what Paulucci allowed himself to say to the emperor, but most importantly from the somewhat desperate expression of Pfuel himself, it was clear that others knew and he himself felt that his fall was close. And, despite his self-confidence and German grumpy irony, he was pitiful with his smoothed hair at the temples and tassels sticking out at the back of his head. Apparently, although he hid it under the guise of irritation and contempt, he was in despair because now the only opportunity to test it through vast experience and prove to the whole world the correctness of his theory eluded him.
The debate continued for a long time, and the longer it continued, the more the disputes flared up, reaching the point of shouting and personalities, and the less it was possible to draw any general conclusion from everything that was said. Prince Andrei, listening to this multilingual conversation and these assumptions, plans and refutations and shouts, was only surprised at what they all said. Those thoughts that had long and often occurred to him during his military activities, that there is and cannot be any military science and therefore there cannot be any so-called military genius, now received for him the complete evidence of the truth. “What kind of theory and science could there be in a matter in which the conditions and circumstances are unknown and cannot be determined, in which the strength of the war actors can be even less determined? No one could and cannot know what the position of our and the enemy’s army will be in a day, and no one can know what the strength of this or that detachment will be. Sometimes, when there is no coward in front who will shout: “We are cut off!” - and he will run, and there is a cheerful, brave man in front who will shout: “Hurray! - a detachment of five thousand is worth thirty thousand, as at Shepgraben, and sometimes fifty thousand flee before eight, as at Austerlitz. What kind of science can there be in such a matter, in which, as in any practical matter, nothing can be determined and everything depends on countless conditions, the meaning of which is determined in one minute, about which no one knows when it will come. Armfeld says that our army is cut off, and Paulucci says that we have placed the French army between two fires; Michaud says that the disadvantage of the Dris camp is that the river is behind, and Pfuhl says that this is its strength. Toll proposes one plan, Armfeld proposes another; and everyone is good, and everyone is bad, and the benefits of any situation can only be obvious at the moment when the event occurs. And why does everyone say: a military genius? Is the person who manages to order the delivery of crackers in time and go to the right, to the left, a genius? It is only because military men are invested with splendor and power, and the masses of scoundrels flatter the authorities, giving it unusual qualities of genius, that they are called geniuses. Against, best generals the people I knew were stupid or absent-minded people. The best Bagration, - Napoleon himself admitted this. And Bonaparte himself! I remember his smug and limited face on the Austerlitz Field. Not only does a good commander not need genius or any special qualities, but, on the contrary, he needs the absence of the best, highest, human qualities– love, poetry, tenderness, philosophical inquisitive doubt. He must be limited, firmly convinced that what he is doing is very important (otherwise he will lack patience), and only then will he be a brave commander. God forbid, if he is a person, he will love someone, feel sorry for him, think about what is fair and what is not. It is clear that from time immemorial the theory of geniuses was falsified for them, because they are the authorities. The credit for the success of military affairs depends not on them, but on the person in the ranks who shouts: lost, or shouts: hurray! And only in these ranks can you serve with confidence that you are useful!“
During his studies, the talented and hardworking student of the Academy of Arts received high awards more than once. The exhibition presents his student project for the Temple of Vesta. But for his graduation project “Project for buildings for the residence of a wealthy landowner on his estate,” Kuzmin was awarded a first-class gold medal 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 to then get a specialist in the construction of locks, canals and other things. However, the Academy of Arts chose to send the graduate to Turkey, Greece, and Italy. Moreover, it is interesting that half of the expenses for Kuzmin’s internship abroad also came from the Cabinet of His Imperial Majesty, that is, 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 his subsequent move to Greece prompted him to deeply study Byzantine art. For that time, the discovery of the aesthetic and constructive value of Byzantine architecture was important, when the canons of classicism were already becoming obsolete.
In Greece in Athens Acropolis Kuzmin carried out measurements and developed a project for the restoration of the wonderful temple of Nika Apteros. The temple was then literally ruins. It must be said that the concept of “restoration” in the 19th century differed from the modern one, based on careful scientific research. At that time, each architect proposed his own solution depending on his talent and imagination.
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Emperor Nicholas I closely followed Kuzmin's successes and for the project of restoration of the Niki Apteros temple he gave his pensioner a valuable gift - a diamond ring.
It is interesting that 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. Kuzmin absorbed and worked and worked. One of the results of his work was a series of drawings for the restoration of the ancient Forum of Trajan. Behind this project the architect was awarded the title of “academician,” and more than one generation of students of the Academy of Arts later studied from his measurements of the monument. The exhibition presents materials from the Trajan Forum project and, looking at them, you can mentally visit Rome for those who have not yet had time.
Oddly enough, after returning to Russia, Kuzmin was not punished for his unauthorized delay 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 Gough-Intendent's 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 Ministerial 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-Intendent's office, he was also responsible for renovation work in St. Petersburg parks.
In Moscow, Yaroslavsky and Ryazan railway stations were built according to his designs.
In Gatchina, in the same 40s of the 19th century, R.I. Kuzmin completed a grandiose work: Nicholas I ordered the reconstruction Grand Palace. The architect needed to solve a very difficult task: within the old building, to rebuild the side buildings and create there new front and residential, elegant and comfortable premises for 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 Arsenalny square, R.I. Kuzmin created a variety of rooms that were elegant and comfortable, thereby demonstrating erudition and great skill. The interiors of the square were decorated using techniques different styles eclecticism or historicism: false Gothic, “second” Rococo, neoclassicism. At the exhibition, you can appreciate their beauty of design and variety of decoration from a series of watercolors painted by the artist Eduard Gau in the 70-80s of the 19th 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, it is in the form of original building material used clay hollow bricks - “pots”, as they were called. Decorations made of baked clay were also used in the decoration of the facades of the Arsenalny square courtyard. In the 90s of the 20th century, during the revival of the museum, miraculously surviving lion heads and fragments of pilasters made of such clay were removed from the walls by the curator of the palace A.S. Elkina. They are also exhibited at this exhibition.
In the Arsenal square the architect used different systems heating: fireplaces, Dutch stoves, according to the Sviyazev, Tsimara system.
Also, before the renovation of the Main Building, R.I. Kuzmin was instructed to take measurements of the premises designed by A. Rinaldi and V. Brenna in the previous century. And these invaluable documents formed the basis for the revival of the palace 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 constant “pressure” from the royal client. Nicholas I, who considered himself an expert in construction, personally approved all documents, as well as deadlines for completion of work, gave orders for the supply and manufacture of furnishings, assigned appropriate punishments and distributed awards. For example, in the midst of work in 1851, another conflict between the architect and the emperor occurred. The Emperor ordered the floors in “his own chambers” to be raised, “so that it would be convenient to look out the windows.” Kuzmin was severely reprimanded and demanded that everything be corrected at his expense. In response, the architect argued that in this way he wanted to “give more height to the rooms opposite the ground floor of the Kitchen Square.” Nicholas I was forced to agree with the architect’s arguments. Later, special pillows were made for viewing from the windows.
Work on the palace has been completed with a new design palace square And grand opening monument to Paul I. R.I. Kuzmin was involved in the construction of the main Orthodox church in the name of St. Apostle Paul in Gatchina, which adorns one of the oldest streets of our city. Pavlovsk Cathedral was built by Roman Ivanovich in the “Russian-Byzantine” style, which he studied abroad. Although the sovereign was presented with not only R.I. Kuzmin’s project, Nicholas I chose it, but again making his own changes.
In 1852, by the highest decree, the emperor ordered “for the reconstruction of two wings of the Gatchina Palace and for the construction of the Cathedral in Gatchina” to award R.I. Kuzmin “the Order of Vladimir 4th Art. and give out 10 thousand rubles in silver at a time...”
Pavlovsk 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 - these are the Greek Church in the name of St. Demetrius of Thessalonica in St. Petersburg, the Armenian Church in Southern Armenia, the Russian Church in Athens, the Orthodox Church in Paris and others.
Unfortunately, the Greek Church suffered tragic fate. Although the wonderful temple survived the Great Patriotic War, it was dismantled in 1962, when the Oktyabrsky concert hall was built in its place. In response to this Soviet barbarity, the poet Joseph 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 R.I. Kuzmin’s project for the Cathedral in the name of St. A. Nevsky on Daru Street in Paris. For its creation, the architect was chosen as 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. He built his own dachas in the area of the Warsaw Station. In a rebuilt form, the last of them has survived to this day on Chkalova Street.
In conclusion, it must be said that despite the fact that Roman Ivanovich Kuzmin’s career was successful and he was highly appreciated by his contemporaries, in the twentieth century his name was almost forgotten. I would like to recall the contribution of R.I. Kuzmin. into the history of our city and its architectural appearance.
Sviyazev I.I. Roman Ivanovich Kuzmin.(From the memoirs of Academician I. I. Sviyazev) // Russian antiquity, 1875. – T. 13. – No. 5. – P. 155–158.
Roman Ivanovich Kuzmin.
(From the memoirs of Academician I. I. Sviyazev).
At a meeting of the society of architects, which took place on March 18, 1875, Mr. Petrov made short review architectural activity of the late R.I. Kuzmin. This review says that among those sent to the east was Kuzmin, who began studying monuments of Byzantine art in Athens and the cities of Thessaly. As far as I can remember from conversations with Roman Ivanovich, it seems to me that he was also in Constantinople. I met him on this occasion: returning to St. Petersburg in 1832,
156
I made it my duty to see my former senior at the academy, K. A. Ton, who was then already holding the position of professor at the Academy of Arts. It seems that on the very first date, he took me to the classrooms to show me the classes of his students and introduced me to the office of two of his favorites: Richter and Kuzmin, who had already done projects for gold medals. Perhaps I said a few flattering words to the latter, and therefore, He probably remembered me. Several years had passed since we had not seen each other: he went abroad, and I went to Moscow for the construction of the Cathedral of Christ the Savior. Here I felt myself in a rather awkward position, which probably became known in St. Petersburg. Suddenly I receive an anonymous letter from there, filled with warm sympathy for me and extremely surprising me, since none of my friends could know the circumstances mentioned in the letter. Upon returning to St. Petersburg in 1846, I tried by all means to discover the anonymous author. They hinted to me that it should be Kuzmin. Remembering that I had seen him at the academy 14 years ago, I went to him and found out that the letter was really from him. Since then we have had a permanent friendship. I found in him an artist, very educated and developed by reading. At that time, the court and ministerial house was already completed. R.I. asked me about him. I replied that between the windows on different floors I find amazing proportionality and harmony
Yes, this is one side of the coin, but the other?
Another?... Once a writer comes to Voltaire and asks him to read his work and tell him his opinion. Having read it, Voltaire replied: your work is very good, but it would be twice as good if it were half as long.
Kuzmin smiled.
Since we saw him almost every week, I learned a lot about his life abroad and about the wonderful things he encountered here. He needed to return to Russia, but no money was sent to him. Having somehow reached Munich or Berlin, he met there his comrade N..., with whom they agreed to go together.
Well, brother N., you take me to your account, but I don’t have a penny, said Kuzmin. He laughed hysterically. Why are you laughing, I’m telling you the truth.
Yes, your truth makes me laugh, but I hoped for you, the comrade answered.
Having calculated that the amount of money they borrowed from someone is not enough
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As if it would only be for travel and food for one of them, they decided to have lunch every other day, that is, one of them has lunch this day, and tomorrow he is content with only bread and a glass of beer, as a very satisfying drink, and so, taking turns, they arrived to St. Petersburg. Here R.P., having appeared to his former professor, asked him about the reason for not sending him money.
What did you need money for, answered K. A. Ton, “when you lived in Rome as a big gentleman and hired an Arab as a footman?”
Yes, K.A., I really had a slave, but not a real one, a so-so -black dog!...
On the reconstruction of the Gatchina Palace, R.I. had a personal report from the late Emperor Nikolai Pavlovich and, as proof of how His Imperial Majesty was lenient towards artists, he told me many cases, from which I recall the following:
As R.I. had the habit, when saying something to his assistants and students, to often repeat: you understand, then, explaining some plan to the sovereign and, carried away, he said: you understand? The Emperor remained silent. Continuing his explanation, he repeated: Do you understand? The Emperor smiled and said:
- “Well, I understand a little.”
Kuzmin came to his senses.
About such devilish indulgence of Catherine II to simple people, not secular, not courtiers, Alexey Mikhailovich Milyutin told me: one of the Siberian deputies who came to St. Petersburg was introduced to the empress by A. A. Bezborodko. She was so able to evoke the frankness of the Siberian that he even forgot who he was talking to and, in the heat of the story about his land and all its orders, he sniffed tobacco from the snuff box that the empress opened for herself. After talking for a long time, he wanted to repeat his trick and already extended his hand , but Bezborodko pulled him by the coattails: his hand turned to stone, his words froze!... Catherine, having graciously said goodbye to him, reproached Bezborodko for depriving her of the rare pleasure of hearing the unvarnished truth.
R.I. loved at home long hair which covered his eyes when he tilted his head, and he often straightened them with his hand. He did the same when reporting his drawings to the sovereign.
You know what, Kuzmin, I would advise you to do this: showing with your fingers how to cut with scissors.
No, it’s yours, let me stay like this, Kuzmin reported.
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The Emperor smiled.
But he was not always so merciful to his architect. Once, while inspecting the Gatchina courtyard, the sovereign noticed cracks in the lintel above the doors and asked Kuzmin:
What's this?
Gray hair, sir, answered Kuzmin.
What do you think about gray hair?
Small cracks in the plaster from its shrinkage. About another jumper, the same question and the same answer.
Lutse (the Sovereign addresses the manager of Gatchino), put him under arrest.
With his head down, Kuzmin walked behind the retinue. It was fortunate for him that the sovereign first examined the palace, and then went to the palace church. Here his government was apparently pleased and, getting into the carriage, quietly said to Lutsa: “You hold him for two hours and then let him out.” However, the matter did not end there: the sovereign ordered a commission to be appointed, which reported that there was no danger it was foreseen that it was later justified. After a while, Kuzmin comes with a report.
What do you say to the gray hairs now? The sovereign greeted him with this question.
Kuzmin bowed silently.
R.I. Kuzmin served in the court department and, as a member of the general presence of the department of projects and estimates, participated in the re-drafting of the schedule for construction work of the regulations approved by the highest in 1869.
Architect Acad. I. I. Sviyazev.
Roman Ivanovich Kuzmin(1811-1867) - Russian architect, professor of architecture, active state councilor.
Biography
He studied at the Imperial Academy of Arts, as a pensioner of the Black Sea Army, and graduated in 1832, with the title of class artist and a small gold medal awarded to him for his “theological seminary project.” The following year, for the execution of another program: “Project for the Estate of a Rich Landowner,” he was awarded a large gold medal and soon after that he was sent abroad.
In European 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, he returned to St. Petersburg in 1840. For the work he performed during this journey, he was awarded the title of academician, from which a year later he was promoted to professor, for the design of a building for the medical-surgical academy with clinics and other buildings.
After this, Kuzmin served as a senior architect at the Gough Quartermaster's office and, in this position, erected many buildings for the palace department, including several buildings for the Imperial stables, rebuilt and expanded the Gatchina Palace, participated in the reconstruction of the Singing Chapel (1857) and built the city cathedral in Gatchina.
The most important buildings of Kuzmin, in which his artistic taste and knowledge of architectural styles were clearly expressed, are the church at the Russian embassy in Athens, the Orthodox Cathedral on Daru Street in Paris, the Greek Embassy Church in St. Petersburg (with the participation of architect F. B. Nagel ; not preserved) and a luxurious house built in the Renaissance style for Utin in the same place, on Konnogvardeisky Boulevard. His last building was a marble chapel near the Summer Garden.
In 1867 he was an active state councilor (since December 16, 1861), a member of the Academic Committee of the Ministry of Railways and a senior architect of the department of His Majesty's Court Office.
Awards
- Order of St. Vladimir, 4th degree (1852)
- Order of St. Stanislaus, 2nd class (1858)
- Order of St. Anne, 2nd degree (1861; the imperial crown was awarded to this order in 1865)
The buildings
Saint Petersburg
- Shpalernaya street, no. 52 - house of the court clergy. 1842.
- Tchaikovskogo Street, No. 2, middle building - court and servants' house. 1843-1844.
- Shpalernaya street, no. 35 - court and servants' house. 1843-1847. Existing home included.
- Petrovskaya embankment, no. 6 - case of the House of Peter I. 1844. (Extended).
- Tchaikovsky Street, No. 30 - mansion of L.V. Kochubey. 1844-1846. Completed by G. A. Bosse.
- Stremyannaya street, no. 5 - apartment building. 1850.
- Griboedov Canal Embankment, No. 11 / Malaya Konyushennaya Street, No. 6 / Cheboksary Lane, No. 1 - Court Hospital building. Perestroika. 1852-1857. (Rebuilt).
- 1st Krasnoarmeyskaya street, no. 3 - 5 - apartment building of T. Tarasova. 1858-1859. Together with K. K. Anderson and A. I. Lange.
- Konnogvardeisky Boulevard, No. 17 / Galernaya Street, No. 20, right side / Zamyatin Lane, No. 4 - apartment building of I. O. Utin. 1858-1860.
- Greek Square / Ligovsky Prospekt, No. 6 - Greek Embassy Church of Demetrius of Thessalonica (with the participation of architect F.B. Nagel). 1861-1866 (demolished in 1962 for the construction of the Oktyabrsky concert hall).
- Palace Embankment near the Summer Garden (1866-1867) - the chapel of Alexander Nevsky in memory of the rescue of Alexander II during an assassination attempt. (Not preserved).
Gatchina
- Reconstruction and expansion of the Gatchina Palace
- Cathedral of St. Apostle Paul (Gatchina)
Moscow
- Yaroslavsky station (1859-1862, rebuilt)
- Ryazan Station (1863, construction was carried out by A.P. Popov; not preserved)