N. EFREMOVA, State Museum of Urban Sculpture, St. Petersburg

The Alexander Column (1829-1834) is the world's largest granite monolith, standing under its own weight.

The rise of the Alexander Column. Lithograph from 1836.

Science and life // Illustrations

The top of the Alexander Column is being examined by a steeplejack.

The back of an angel - the meticulousness of the coinage is amazing.

The Alexander Column is surrounded by metal scaffolding. Restoration is underway. Photo from 2002.

Scaffolding appeared on Palace Square in St. Petersburg. The restoration of the Alexander Column is underway. It was created in 1834 according to the design of the French sculptor Auguste Ricard Montferrand as a monument to Emperor Alexander I (on one of the faces of the pedestal there is an inscription: “To Alexander I - Grateful Russia”). Due to its artistic expressiveness, the column immediately began to be perceived as one of the most solemn triumphal structures in honor of the victories of the Russian army, in honor of the victories of the “eternal memory of 1812.”

The French architect Auguste Ricard Montferrand (1786-1858) managed to attract the attention of Alexander I by presenting him with his own “Album of various architectural projects dedicated to His Majesty the Emperor of All Russia Alexander I”. This happened immediately after Russian troops entered Paris in April 1814. Among the drawings were designs for an equestrian statue, a colossal obelisk, a Triumphal Arch to the Brave Russian Army and a Column in Honor of Universal Peace, which has a certain resemblance to the future design of the Alexander Column. In addition to the drawings themselves, a short list of necessary building materials and the cost of expenses was indicated. Thus, Montferrand managed to show himself not only as an excellent draftsman, connoisseur and admirer of classical art, but also as a technically competent specialist. The architect received a kind, albeit official, invitation to come to St. Petersburg and was not afraid to take advantage of it. In 1816 he came to the northern capital, where he worked for more than 40 years, until his death.

Montferrand received the position of court architect and began work on rebuilding St. Isaac's Cathedral. He was already quite famous by the time he decided to take part in the competition to design a monument to Alexander I. The competition was announced in 1829 by Emperor Nicholas I in memory of the “unforgettable brother.” Montferrand presented a project for a colossal obelisk, quite rightly believing that any sculptural monument would be lost in the vastness of Palace Square. The emperor ordered the obelisk to be replaced with a column. And the architect proposes, taking as a basis a wonderful antique example - Trajan's Column in Rome, to create a work that surpasses this masterpiece.

The project is approved, and the work, which has no analogues in its painstaking and exhausting severity, begins. For the column, Montferrand decided to use a monolith that he discovered in granite scraps near Vyborg, in Puterlax, where the stone for the columns of St. Isaac's Cathedral was mined. The granite block was separated from the rock by hand over the course of two years. To deliver the stone to St. Petersburg, a special boat “St. Nicholas” was built, and on it the rough-hewn column was delivered first to Kronstadt, and then to St. Petersburg, to the Palace Pier. The most difficult stage lay ahead - installing the column on a pedestal that had been built earlier. They made scaffolding, as well as many blocks, winches and ropes, with the help of which they were going to lift the monolith.

On August 30, 1832, on Palace Square, in front of a huge crowd of people, the column was installed on a pedestal. The entire operation lasted 100 minutes. The Emperor, congratulating the architect, said: “Montferrand, you have immortalized yourself.” But the granite still had to be finally processed, numerous decorative and symbolic details, bas-reliefs and sculptural completion had to be cast in bronze.

There have been various proposals regarding the latter. The project of the sculptor B.I. Orlovsky was approved: “The figure of an Angel with a cross, which tramples on enmity and malice (snake) at the foot, depicts a striking thought - thereby conquer.” (The model also took into account the urgent desire of the imperial house “to give the angel a portrait resemblance to the face of Alexander I.”) The sculptural top, bas-reliefs depicting military armor, weapons and allegorical figures, and other decorative details were cast from bronze at the C. Berd factory.

And again on August 30, but already in 1834, it took place Grand opening monument. Since the time of Peter I, August 30 (September 12, new style) has been celebrated as the day of the holy noble prince Alexander Nevsky, the heavenly protector of St. Petersburg. On this day Peter I concluded " eternal peace with Sweden", on this day the relics of Alexander Nevsky were transferred from Vladimir to St. Petersburg. That is why the angel crowning the Alexander Column has always been perceived, first of all, as a protector and as a guardian.

The angel protected and blessed. Together with him, the city experienced all historical conflicts: revolutions, wars, environmental adversities. In the post-revolutionary period, it was covered with a canvas cap, painted red, and camouflaged with balloons lowered from a hovering airship. A project was being prepared to install a huge statue of V.I. Lenin instead of an angel. But providence wanted the angel to survive. During the Great Patriotic War the monument was covered only 2/3 of the height and the angel was injured: there was a shrapnel mark on one of the wings.

The safety of the sculpture was largely ensured by the reliability of the author's design solution. The figure of an angel with a cross and a snake is cast together with a platform, shaped like the completion of the dome. The dome, in turn, is crowned by a cylinder mounted on a rectangular platform - the abacus. Inside the bronze cylinder is the main supporting mass, consisting of multilayer masonry: granite, brick and two layers of granite at the base. A metal rod runs through the entire massif, which was supposed to support the sculpture. The most important condition reliability of fastening of the sculpture - tightness of the casting and absence of moisture inside the support cylinder.

The monument was constantly monitored, additional inspections and calculations of the stability margin were carried out. Unfortunately, harmful vibration loads increase over the years. The last time a complete restoration of the monument using scaffolding was carried out was in 1963. Since the late 1980s, custodians State Museum In the city sculpture, there were reasons for concern: whitish streams flowed from under the bronze capital of the column and tongues of moisture did not dry out even on the hottest days of summer. There could be only one reason: water getting inside the sculptural top and then into its base. Water, seeping through the brickwork, washes away the binding solution, and, in addition, in a humid environment, the process of corrosion of the support rod is actively underway.

In 1991, for the first time in the history of the St. Petersburg restoration school, a visual examination of the sculpture crowning the Alexander Column was carried out. Verkholazov raised the elevator of a special fire hydrant "Magirus Deutsch" to the angel. Having secured themselves with ropes, the steeplejacks made photo and video recordings of the sculpture. A significant number of cracks, leaks, and deterioration of sealing materials were discovered. But it took another 10 years of anxiety and a tireless search for funding to, having installed reliable stationary scaffolding, begin a professional and comprehensive survey of the monument.

In the summer of 2001, curators and restorers, having climbed a little over 150 steps of a metal staircase, went on their first date with the angel. Seeing it up close, you are shocked: it is huge and at the same time elegant. Extremely expressive and concise. The masterly thoroughness of the chasing and the plastic elaboration of every detail is striking: curly hair, parted and falling onto the shoulders, frames the beautiful face, the eyes are half-closed with eyelids, the gaze is directed downwards. He is so focused that it is impossible not to feel that the angel is looking inside himself. It is useless and unnecessary to look for any portrait resemblance. The angel looks just like himself! The gesture of the right hand raised to the sky in a blessing gesture is extremely expressive. The running of bare feet, visible from under the flowing clothes, is light and swift. The huge wings are airy, every feather is minted. In the open mouth of the defeated snake, teeth and a poisonous sting are visible.

Upon inspection, we saw, in addition to cracks, divergences of connecting seams that were once held together with lead. Lead is completely destructured. There are still hatches on the angel's head and shoulder, intended for removing molding earth and reinforcement. In the hem of the clothing there is a flange (flat ring) with bolts, partially lost. The flange was removed and the sculpture was examined from the inside using a special device - a fiber-optic endoscope. It turned out that both the sculpture and the cross did not have a supporting rod. The rod, passing through the internal masonry of the cylinder, rests with its upper end against the “sole” of the angel, that is, at the spherical end of the cylinder. The sculpture's wings, cast in three parts, are bolted together and attached to the back. A through hole measuring 70 x 22 mm was found on the angel's head.

The conclusion was disappointing: moisture gets inside the sculpture, which seeps into the cylinder and into the abacus. The cylinder is deformed, the walls are “bulging out,” and the connecting bolts are missing. By removing 54 copper screws, restorers partially exposed the bronze lining of the abacus. The interior brickwork was destroyed. There is no binding mortar between the bricks, and the whole thing is extremely saturated with moisture. During the inspection, samples were taken and relevant studies of bronze contamination and patina quality were carried out. In general, the condition of the bronze surface is satisfactory; the damage to the “bronze disease” is fragmentary.

The design of the abacus plays an important role in the stable condition of the pommel. The fastening system included “ribs” made of brick. Opening the sheets of bronze lining of the abaca revealed a completely depressing, emergency state of the internal supports: a complete absence of binder, the brick was destroyed (collected by restorers using a brush). The new supports are made of granite, eliminating concerns that the 16-tonne abacus could fall or tilt.

The attention of curators and restorers is focused not only on eliminating cracks and protecting the bronze surface, but, first of all, on drying the internal masonry. It should be strengthened with the latest solutions, as well as additional bolts and screws installed.

More than 110 traces of shell fragments were found on the reliefs of the monument's pedestal. The “armor” of Alexander Nevsky was also pierced by shrapnel.

Due to the interaction of various metals - bronze and cast iron, there is an active process of corrosion and destruction of bronze. Restorers face painstaking work to “heal the wounds of war.”

Ultrasonic examinations of the column are now being carried out to detect visible and invisible cracks on the surface and in the thickness of the granite. At the same time, the serious problem of restoring granite at the base is being solved. Under the influence of the weight of the column, the granite here is covered with cracks. This is exactly what Montferrand feared when he proposed enclosing the bottom of the column in a bronze rim, but the proposal was not implemented then.

The methodology for carrying out such large-scale and unparalleled restoration and conservation operations was developed by the specialists of Intarsia LLC carrying out the work. The restoration is financed by the Moscow association Hazer International Rus.

By the spring of 2003, the Alexander Column will be strengthened. The four floor lamps located nearby will also acquire their original appearance. Restorers intend to recreate the fence designed by Montferrand in 1836. And then the monument, conceived and implemented as a single artistic and architectural ensemble, will regain the solemn splendor of a triumphal monument - a true St. Petersburg miracle. Alexandria pillar Official, historical name monument to Alexander I on Palace Square in St. Petersburg - Alexander Column. However, often, referring to the famous poem by A. S. Pushkin, the Alexander Column is called the “Alexandria Pillar”:

I erected a monument to myself
not made by hands,
It won't grow on him
folk trail,
He rose higher with his head
rebellious
Alexandria
pillar

On the topic, this poem by A. S. Pushkin echoes the ode of the ancient Roman poet Horace (65-8 BC) “To Melpomene.” Epigraph to Pushkin's poem: Exegi monumentum (Latin) - I erected a monument - taken from an ode by Horace.

Among the seven wonders of the world, the colossal lighthouse tower, erected in Alexandria at the end of the 3rd century, is famous. BC e. and had a height of 180 meters. (In architecture, a pillar is a tower, a tower-like structure.) Pushkin, an excellent expert in mythology, certainly knew about ancient monuments. It should be taken into account that the poem was written in 1836, when the Alexander Column had been towering over Palace Square for two years. And this monument could not leave the poet indifferent. Pushkin’s metaphor is multi-valued; it includes ancient monuments and at the same time is a response to the monument to Alexander I.

It’s high time to tell tales about how the peasants of Peter and the masters of Alexander, the hierophants of pre-civilizations, the Atlanto-Pleiadians of the Tartarians and other Anunakhs from the Nebira, carved, sharpened, dragged, and erected the Alexandrian Column against the laws of nature.

The history of the creation of the solid Alexandrian Column was falsified from the very beginning.The column is an ordinary composite one. 10 parts are quite visible if you look at distant photos with filters, and without any filters at close ones.

This is an ordinary composite column in granite cladding, made complete with other “antiquity” as part of a global project of endowing sapiens with history, at about the same time and in the same way (there are actual copies, for example, in Baalbek), simultaneously with the pyramids, but not taken away by historians into the darkness of centuries and the sands of time.

You can quote Montferrand as much as you like, but one stage of the “evidence of contemporaries,” the initial, cutting-out stage, is very shy for both “officials” and “alternativeists” of all stripes.

The “stone,” according to contemporaries, was cut down with “calculated explosions.”

I especially like this text. I thought that only the current guild of history creators suffers from cretinism. It turns out not. It's happened before.

“When all the leading masses in front of the column were removed, Kolodkin began clearing the base of the mountain under the mass of the column itself, and when this was completed with skillfully calculated explosions directed in all directions of the stone, so that the entire mass, which had more than 100 thousand pounds of weight, almost hung in the air - he placed supports under the mass and from the front side. These supports along the entire front or outer side entered the mass with their upper ends through slots hollowed out in this latter, and the lower part of these buttresses was placed on logs and buried in the ground. The length of these logs was from 4 to 5 fathoms. Thus, people had the opportunity to work under the mass without any danger, because the cuts or grooves from below at the base had to be expanded through explosions, for the most convenient and unhindered fall of the bulk. After the end, Kolodkin, in the presence of Mr. Yakovlev himself, began to give orders for the dumping of the column mass..."

In general, the Alexandria Column was not broken out of a granite monolith with wedges and not hollowed out with hammers, as one might have decided by looking at drawings of other objects, but was obtained by controlled (calculated) explosions (!!!), in a granite monolith (!!), hanging (!!!), and then they laid down logs, spruce branches and brushwood to drop it. Read more about this in the following links.

Enchanting! We are delighted.
Sema Pegov's great-grandfather knew a lot about his craft.
True, I knew nothing about explosions, and it’s unlikely that I’ve ever seen at least one explosion in my life, but is this an obstacle to an honest report?

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A formality for those in the tank: according to the laws of nature, monoliths split apart during an explosion.

The column was made, as I have said more than once, from standard components (limestone or similar material), like all “columns of antiquity,” covered with artificial granite poured into formwork. It appears to have been placed on a natural rock base; It is risky to place such a fragile colossus on an artificial foundation.
The formwork is composite, from a set of metal pipes or half-pipes, used in turn as parts of the core are attached. Each segment is narrowed upward, by centimeters.
The plaster of artificial granite is filigree, but not flawless.
The joints of the column parts are still caved in here and there, and they cannot be repaired until they are perfectly level.
The joint between parts 1 and 2 (counting from the bottom).

Formwork pipes or interlocking half-pipes were placed over the uncured mass of granite. There are traces of joints, although it is difficult to see with the eye (I did not see it when I looked at it live). But sometimes it’s more useful to watch good footage. The Alexandrian Column is just such a case.

Track. When drying, liquid granite at the junction of the core parts slightly flowed around the parts, forming characteristic folds.

The original photos with this fold are , .

I’ll repeat it once again to the concrete blockheads: not a single antique was poured right away. Only in layers. The reaction and hardening take more than one day. The wet granite mass sets while still wet, so it does not form seams. Although, with large volumes and repeated fillings, they cannot be avoided. As in the Aswan sub-obelisk with a cut - .

Two more folds at the joints
In the middle is the 8th part, below it is the 7th, above it is the 9th.
Defects in the shape of the core; the granite mass, when completely dry, flowed slightly.

But to the finish line - when the pipe is removed - there can only be manual work.
This is not a spatula, these petals were generally leveled with your fingers.

A dent from the finger in the groove between the 9th and 10th parts was imprinted.

At the bottom of the column, at the very base, there was a slight underfill with obvious drips.

A couple more dent marks.
One of these dents has an obvious foreign object in a spiral shape. It's a pity that I didn't fully get into the frame. This is a surprise for me. It turns out that the shell of artificial granite was laid not just with a mesh frame, but with a mesh of spirals... Well, that’s reasonable. This achieves the maximum possible adhesion and, accordingly, the strength of the product.

I agree with my opponents that the formwork pipe could not have been solid. It has a seam, or is folded from two halves. The imprint of the seam or joint on the column is also visible.

Most likely there was no sanding, and if there was, it was minimal. Surface granite columns are a very precise work with a very smooth formwork, a hollow tube of minimally porous, ground metal.

The formwork pipe is a grinding machine in itself. When carefully lifted with many soft blows from below, the semi-hardened granite is perfectly polished.

It can also be seen that the column, when sequentially poured with pipe formwork, noticeably moved to the side.

Without entasis - the upward narrowing of each component of the formwork, it is in principle impossible to remove the formwork pipe section without damaging the surface.

Montferrand writes that on September 19, 1831, “the rock, shaking at its base, slowly and silently fell onto the bed prepared for it.” In the fall, transporting the monolith was very dangerous. Therefore, right on the spot, we first began to dull the monolith, and then to trim it according to special templates. The work was carried out over six months by 250 masons.

The drawing of the column shows templates for trimming. The column is divided into 12 parts, each part had its own template. The drawing shows templates No. 7 and No. 12:


The lower diameter of the column is 3.66 m (12 ft) and the upper diameter is 3.19 m (10 ft 6 in). The upper diameter of the column fits eight times its height. The calculation of the entasis (curvature of the side surface) of the column was carried out by the mathematician, mechanic and engineer Gavrilo Frantsevich (Gabriel) Lame (1795-1870), who was teaching at that time in St. Petersburg together with Betancourt at the newly formed Institute of Railways

It is not entirely clear what your template means, it seems to be about entasis, therefore about a gradual narrowing of the column in diameter, but this is not visible from the drawing.

21 Pieds are measured below, probably we are talking about the old French unit of measurement of length and distance (Parisian version): 1 pied = 32.48 cm. That means 21 pieds = 6.82 m. There is also a length scale in fathoms, approximately 3 fathoms, which means those the same is approximately 6.5 m.
And what is this multilayer “shell”?
If you remove the “shell”, then the diameter of the Alexander Column at the base is approximately 3.7 m.

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Addition about Montferrand's obvious falsification of other stages of the production process, which do not stand up to criticism from the standpoint of simple logic; from the discussion there.

The drawings of “mining the monolith” are fake even at this stage.
According to Montferrand, explosions were not used to separate the column blank; for this purpose, they hollowed out a groove for the logs, then broke off the blank with a dozen logs as a lever.

How was a groove cut the width of the log, two heights deep, between the workpiece and the rock?
The authors say: "incredibly hard work." They allegedly attracted from 300 to 400 people.
These hundreds are of no use, because only one person can work in this groove, and his movements are very limited. With a hand tool for chiselling, one worker will have a job for years, if not decades...

Have any scientists, seeing fantastic drawings and reading fantastic descriptions, ever thought about the fantastic nature of these drawings and descriptions? This cannot happen. Still, I think that any historian studying the column is secretly obliged to believe the authors of the drawings and descriptions.

"Cutting templates" are most similar to the component halves of prefabricated pipe formwork for a column shell.

The rise is known to contemporaries mainly from Montferrand’s drawings. Three paintings by other artists are known.

Five days after the installation, Alexander Denisov presented the painting “The Rising of the Alexander Column”.

Grigory Gagarin inscribed the watercolor "Alexandria Column in the Forests. 1832-1833" as follows. "D" aperes nature p. le P-le Grigoire Gagarine. Priutino, ce 4 juine 1833" - "From life by Prince Grigory Gagarin. Added to Priyutino. This June 4, 1833"

Next, I transfer several comments from the discussion of the topic of the column, this is an account of the magazine “Science and Religion”; the editors of which undertook to establish a discussion between representatives of academic history and the rest.

*
I think that this is the creativity of the witnesses of the rise of the Alexandria Column, etc. Louis Pierre-Alphonse Adam Bichebois and Adolphe Jean Baptiste De Baillot, even the most irreconcilable academician will be forced to recognize as a fake, due to the complete obviousness of this fake.

Any professional artist knows that it is impossible, while observing the process of raising a column, to make a mistake in the sketch so much in its length - as many as two. There is only one conclusion here: the artists did not see the process with their own eyes.

Fulfilling the assigned task - to fabricate artistic evidence of the raising of the column, the artists performed a more realistic version, lifting it in parts. Fairly judging that it would be problematic to lift even half of it using this method... The second half could have been lifted using a similar lift from bulk soil, it is likely that the artists, together or separately, depicted the entire set of works, but the customer rejected the rest of the work.. .

It turns out that the first chroniclers had an order for a two-part composite column. Then they replayed it, and Montferrand came out with an edited version, where the column is intact.

This often happens on the shop floor.

In Denisov’s painting “The Rising of the Alexander Column” it looks very much like the column is also a bit short. With a whole column, there should be no gap in the forests where the artist painted it. So the final version is only from Montferrand.

The speed of Denisov’s painting also suggests that the order was given in advance and completed long ago.

By the way, the weather in Denisov and Bishebois-Bayo is radically different, and the sun shines from different directions... Although the weather in St. Petersburg changes often.

The weather, different times of day - things are tolerable. But two white tents in one painting and one in another indicate that at this time in this place there could not be the authors of these paintings.

And the most important difference. Denisov, like Montferand in many drawings and engravings, has a system of ramps and beams. Bishebois has a very obvious and much more realistic fill soil. This is still a draft version of the column installation, which was replaced by the current “classic” one.

These things can only be explained by editing the lift version. The early version of Bichebois-Baillot, in terms of the time of publication, was edited into the later version, in terms of the time of publication, of Montferrand-Denisov.

What the creators of the legend of the ascent tormented, of course, sticks out in the picture of Bishebois-Bayo.
The painting was also edited, as was the version of the ascent.

On top of the obvious soil with differences in elevation, lines of platform boards were laid where possible. I highlighted two areas in red.

It turned out to be a double absurdity. The platform supports not only the incredible weight of the column of 600 tons, but also the comparable weight of the soil.

Which, in principle, there is no need to pour onto the platform.

In the background, behind the cart, the thickness of the soil is approximately two-thirds the height of a person, and the soil is poured over a vast area on which stands a solid mass of people, lost in the background and visible from our perspective. This is a triple absurdity: the mass of people is another load on the platform.

I repeat: the artists depicted the entire rise in halves and bulk soil, but only this one picture was shown to the masses, and that was after editing.

But in reality, of course, they made up the core of the column from 10 parts, then lined it with artificial granite, a mixture that was prepared with it.

The only picture that reflects the real “rise” is this one. Grigory Gagarin. "Alexander's Column in the forests. 1832-1833."

The lower sectors are ready. The granite was pressed with the same “cutting templates” so that the folds would not be pushed out (it didn’t work out very well, the “templates” were not fixed firmly enough). Work is being carried out at the level of 7-8 sectors.

The building is an extremely functional barn, primitively built from blocks, a single-use production facility.

The parapet on the roof is not laid out solid, but with openings for lifting loads. The right wing is made lower, as a platform for the same purpose. Opposite it is a gate and a loaded cart, with material raised on it.

The logs for the scaffolding were dragged onto the wing farthest from us, and part of the wall fell apart. No one cared because all or most of the large lumber had already been lifted. Opposite the wing, smaller timber is stored.

Windows were made with arches everywhere before the era of reinforced concrete; the arch was not laid out for aesthetics, it supports the load of the roof, this is normal for an industrial premises.

It is unlikely that the far wall is missing, as in Montferrand’s drawing; rather, one of the internal rooms has become external. If it were possible to do without walls, then they would do... The pedestal does not require a production building. And the installed column does not require constant supply of materials; it is required only when continuing work on creating the body of the column, that is, when facing with artificial granite.

Most likely, sections of the inner core of the column were lifted from the collapsed side; or they were cast in a room that, after installing the column rod (and it was installed at this stage), became unnecessary. Of course, scaffolding of such dimensions was needed to lift the sections.

Before the era of electricity, windows were not so much for ventilation as for light.

Naturally, the production structure will interfere with Montferrand and his entire plot, which is 100% false.

*
And one more detail that says a lot. The dump on the left wall is too big. The height is more than two riders. This is far from construction waste. There is nothing to be destroyed to create such a dump; the wall can only be filled with garbage on top. Apparently, sand was brought but not used.

Why did they bring so much extra?

I think that it could well have been brought under the column of the very first project, without granite. The same thickness, composite, subspecies of July or Marcus Aurelius. But during the preparation, the workshop decided to make the tallest “granite monolithic” column in the world. The material for which sand was needed was used for a rod of smaller diameter, it was lined with artificial granite, and excess material for the first project remained. That is, inside the column there is a composite rod, reinforced segments made of some kind of sand-lime composition.

It is not the custom for contractors to deliver and for customers to pay for construction materials in huge excess...
Let me remind you that there is no estimate for the column, except for a scribble that is not remotely working; The documentation, of course, was there, but it was confiscated.

*
There is certainly a column in Gagarin’s painting, and it is in the process of being “clad” with artificial granite.
Moreover, there is already obviously a hemisphere on it - a pedestal for an angel, only the angel himself is not there yet.

To the right of the column, closer to the viewer, there are strange structures that look like sheets of giant corrugated foil.

I think that these are wooden or metal devices for grasping and pressing metal formwork along its entire length, preventing its deformation. The formwork is still composite, made of two leaves, and not a pipe, as I initially assumed. The flap halves of the prefabricated formwork are the same “templates for cutting” on the Montferrand diagrams.

What else is interesting: in the area where the work is being done, to the right of the column, closer to the viewer, two vessels or objects similar to vessels are visible, one of which is suspended, the other is suspended or standing.

Liquid components for the formation of granite mass. There's nothing else to be here.

Of course, to form the granite mass you need water, it uses quicklime. The second component, I'm sure, is liquid or dissolved organic matter. Which one exactly - science will not find out; science has been protecting the paradigm with “natural granite” for almost 200 years.

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And the answer to

The Pillar of Alexandria, a masterpiece, rises on Palace Square engineering genius, Auguste Montferrand. It stands unsupported by anything, only due to its mass, which is almost 600 tons.

In memory of Russia's victory over Napoleon in the Patriotic War of 1812, the majestic Alexander Column was erected, built in 1829-1834 according to the design and direction of the architect O. Montferrand. The architect A. U. Adamini also took part in the construction.

The Pillar of Alexandria is the unofficial name of the structure, which arose after the publication, several years after the completion of construction, of Pushkin’s poem “Monument”

I erected a monument to myself, not made by hands,
The people's path to him will not be overgrown,
He ascended higher with his rebellious head
Alexandrian pillar

Although formally, apparently, the famous wonder of the world, the Pharos lighthouse in Alexandria, is meant, many see in these lines the poet’s unambiguous allusion to the recently erected monument. Some researchers dispute the reliability of this interpretation, but the fact remains that the name is firmly entrenched in the culture of St. Petersburg.

A gigantic, even by modern standards, monolith was hewn out of dark red granite near Vyborg and, with the help of many ingenious technical devices, was transported by water to St. Petersburg. In a solemn ceremony, with the help of more than two thousand soldiers and sailors, among whom were those who distinguished themselves during the Patriotic War of 1812, the Alexander Column was installed on a pedestal, after which its final finishing began.

Immediately after the construction of the Alexandria Column, St. Petersburg residents refused to appear on Palace Square, assuming that such a colossus would sooner or later fall on someone. To dispel the doubts of the townspeople, the architect Montferrand made it a habit to walk under his brainchild every day.

The Alexandria pillar with the figure of an angel is on the list of the most recognizable symbols of St. Petersburg. The height of the structure is 47.5 meters and is the highest among similar monuments in the world, for example: the Roman Trajan Column, the Parisian Vendôme Column and the Alexandrian Column of Pompey. The monolith is held on the pedestal only by gravity, due to its own weight of 841 tons, no additional fastenings are used. Hammered under the base of the monument for stability great amount piles, each 6.4 meters long, with a granite platform laid on them, decorated with four floor lamps.

The column is crowned with a six-meter angel with a cross in his hand, trampling on a snake (the figure represents the world; the snake is a symbol of defeated enemies), the work of the Russian sculptor Boris Orlovsky, a former serf. The sculptor gave the angel’s face the portrait features of Emperor Alexander I.

On the pedestal of the Alexander Column there are bronze bas-reliefs on military themes. When creating them, authentic ancient Russian chain mail, shields and cones, which are stored in the Moscow Armory, were used as samples for depicting military armor. From the side of the Winter Palace, the rivers that the Russian army crossed while pursuing the defeated French are symbolically depicted: the Neman - in the form of an old man and the Vistula - in the form of a young woman. The inscription “Grateful Russia to Alexander I” is also located here. The western side, facing the Admiralty, represents an allegory of “Justice and Mercy”, the eastern one - “Wisdom and Plenty”, and the southern one - “Glory” and “Peace”

And today we have the pleasure of watching main square in St. Petersburg, a giant pink granite column on a square pedestal, personifying the glory of Russian weapons. Like the triumphal structures of antiquity, the Pillar of Alexandria amazes with its clear proportions and laconic form.

It seems that the history of the Pillar of Alexandria cannot have any dark spots, since the monument was created only about two hundred years ago. However, besides the official...

From Masterweb

The lines below from the great poet Alexander Sergeevich Pushkin are known to almost everyone.

“I erected a monument to myself, not made by hands,

The people's path to him will not be overgrown,

He ascended with his head rebellious

Pillar of Alexandria."

Of course, today it is difficult to say what the author’s intention was when he wrote this work. However, most historians are sure that the poet meant the same Alexandria Pillar, which stands on Palace Square and is one of the landmarks of St. Petersburg. This amazing creation evokes admiration among our contemporaries, so it is easy to imagine what a significant event the installation of this monument dedicated to the victory over Napoleon was. It seems that the history of the Pillar of Alexandria cannot have any dark spots, since the monument was created only about two hundred years ago. However, apart from the official version of its manufacture and installation, as well as small drawn albums that give a very vague idea of ​​\u200b\u200bthe technologies of the nineteenth century, nothing has survived. Surprisingly, during the construction of St. Petersburg, architects created incredibly accurate maps, and construction technologies were described in specialized documentation. But the history of the creation of the Pillar of Alexandria is devoid of such details, and upon a closer look, it is completely replete with inconsistencies and outright blunders. All this gives historians a lot of reasons to doubt the official version of the appearance of the monument. It is overgrown with myths and legends, which we will definitely mention today, not forgetting to talk about the official version.

Sights of St. Petersburg: Pillar of Alexandria

All guests of the Northern capital are eager to see this monument. However, to fully appreciate the skill of its creators, you need to tilt your head back to see the very top of the column. On it there is a figure of an angel with a cross and a snake at his feet, which is an allegory symbolizing the victory of Alexander I over the army of Napoleon.

The size of the Alexandria Pillar is truly impressive. Many of our contemporaries, who have technical knowledge, argue that it may take decades to create such a creation today. And in order to install the column on the pedestal, even two days will not be enough. And this is taking into account that workers have a huge number of machines and various installations that make their work easier. How all this was possible in the first half of the nineteenth century is a real mystery.

The weight of the Pillar of Alexandria is six hundred tons and another hundred tons weighs the base on which the column, made of rare pink granite, is installed. He had beautiful name"Rapakivi" and was mined only in the Vyborg region in the Pyuterlak quarry. It is noteworthy that the column was cut out from a single piece of granite. According to some reports, its weight in its original form exceeded one thousand tons.

The height of the Alexandria pillar is forty-seven and a half meters. To the pride of Russian craftsmen, it should be noted that the column significantly exceeds all similar structures in the world. The photo below shows Trajan's Columns in Rome, Pompeii in Alexandria and the Vendôme Column installed in Paris, in comparison with the monument on Palace Square. This drawing alone gives an idea of ​​this miracle of engineering, which delights all tourists without exception.

The angel installed on the top is six and four tenths meters high, and its base is almost three meters. The figure was installed on the column after it had taken its place in the square. The Alexandria Pillar, which seems absolutely incredible, is not secured to its pedestal in any way. The engineers made all the calculations so accurately that the column has stood firmly without any fastenings for almost two hundred years. Some tourists talk. that if you throw your head back near the monument and stand like that for ten minutes, you will notice how the top of the pillar sways.

Experts in the history of St. Petersburg claim that the Pillar of Alexandria on Palace Square might not have appeared. Since the design of the monument was not approved by the emperor for a long time. Ultimately, his sketch was approved, and then the material from which it was planned to create this masterpiece.

Background to the appearance of the column

The world-famous Carl Rossi was in charge of planning the space of Palace Square. He became the ideological inspirer for the creation of a monument that would become the main decoration of this place. Rossi himself made several sketches of the future design, but none of them formed the basis of the monument. The only thing that was taken from the architect’s ideas was the height of the monument. Carl Rossi wisely believed that the structure should be very tall. Otherwise, it simply will not be a single ensemble with the General Staff.

Nicholas I had great respect for Russia's advice, but decided to use the free space of the square in his own way. He announced a competition for the best design of the monument. The authors' imagination was not limited by anything; the only nuance was compliance with the thematic focus. Nicholas I set out to immortalize his ancestor, who managed to defeat the French.

The Emperor had to look through a huge number of projects, but the works of Auguste Montferrand seemed the most interesting to him. He proposed creating a granite obelisk on which bas-reliefs depicting scenes of military battles would be placed. However, it was this project that the emperor rejected. He became interested in the Vendôme Column, erected by the Parisians in honor of Napoleon. Therefore, it is quite symbolic that the defeat of the French army was also to be immortalized by a column, but a taller and more unusual one.

The architect listened to the wishes of Nicholas I and created a design for the structure, which at that time became the tallest in the world. After some adjustments, in the twenty-ninth year of the nineteenth century, the project of the Alexandrian Pillar was approved and signed. It was time to get to work.

The first stage of creating the monument

The history of the Alexandria Pillar in St. Petersburg began with the choice of material. Since it was supposed to cut the column out of a single piece of granite, Montferrand had to go study the quarries in order to choose a suitable place for extracting such a massive block. After some time of searching, the architect decided to send his workers to the Puterlak quarry in Finland. It was there that there was a rock of suitable size, from which it was planned to break off a huge block.

In the twenty-ninth year in the Northern capital they began to create the foundation of the Alexandrian Pillar on Palace Square. A year later, work began on the extraction of granite in quarries. They lasted two years, and about four hundred workers took part in this process. According to official sources, they worked day and night in shifts. And the stone mining technology was developed by a young self-taught Samson Sukhanov. It is still unknown how exactly the block was broken off from the rock, which was later used to make the column. Not a single official document has survived where the technology would be described in the slightest detail. In Montferrand's albums it is written only that the piece of granite exceeded one thousand tons. It was broken off using some long crowbars and levers. Then the monolith was turned over and a huge piece was cut off from it for the foundation.

It took another six months to process the block. All this was done manually with the simplest tools. We advise readers to remember this fact, since in the future we will return to it and look at it from a slightly different angle. The almost finished Pillar of Alexandria was ready for the trip to St. Petersburg. It was decided to do this with water and for difficult journey I had to build a special ship that combined in its design all the innovative technologies of that time. At the same time, a pier was being built in the Northern capital, ready to receive the unusual ship and its cargo. The architect’s plans were to immediately roll the column over a special wooden bridge to the square after unloading.

Delivery of a monolithic column

Very little is known about how the loading and unloading of the monument took place. This unique process is described very sparingly in official sources. If you trust Montferrand's albums and fragmentary information from the captain of the ship, then the column was loaded above the waterline and almost safely transported to St. Petersburg. The only unpleasant event was a storm, which rocked the ship and almost threw the monument into the water. However, with great effort, the captain managed to secure the precious cargo himself.

Another incident occurred at the time of unloading the column. Under it, the logs placed for movement along the pier bent and cracked. One end of the column almost fell into the water, but it was held in place by timely ropes passed from below. The monument was kept in this position for two days. During this time, a messenger was sent to the neighboring garrison asking for help. About four hundred soldiers, in the unimaginable heat, were able to overcome the forty-kilometer distance separating them from the pier in four hours and, with their joint efforts, saved the six-hundred-ton column.

A few words about the pedestal

While the granite block was being mined in Finland, work was going on in St. Petersburg to prepare the foundation for the pedestal and the column itself. For this purpose, geological exploration was carried out on Palace Square. She identified sandstone deposits, where it was planned to begin digging a pit. It’s interesting, but visually it seems to all tourists that the Pillar of Alexandria is located exactly in the middle of the square. However, in reality this is not the case. The column is installed a little closer to the Winter Palace than to the General Staff.

While working on the pit, workers came across already installed piles. As it turned out, they were dug into the ground on the orders of Rastrelli, who planned to erect a monument here. It's amazing that seventy years later the architect managed to choose the same place. The dug hole was filled with water, but more than a thousand piles had been driven into it first. To correctly align them relative to the horizon, the piles were cut exactly along the water surface. Workers then began laying the foundation, which consisted of several granite blocks. A pedestal weighing four hundred tons was placed on it.

Fearing that the block would not be able to immediately rise as needed, the architect came up with and used an unusual solution. He added vodka and soap to the traditional mixture. As a result, the block was moved several times. Montferrand wrote that this was done quite easily with the help of just a few technical devices.

Column installation

In the middle of the summer of the thirty-second year of the nineteenth century, builders approached the final stage of creating the monument. They were faced with perhaps the most difficult task in all the past years - to roll the monolith to its destination and place it vertically.

To bring this idea to life, it was necessary to construct a complex engineering structure. It included scaffolding, levers, beams and other devices. According to the official version, almost the entire city gathered to see the installation of the column, even the emperor himself and his entourage came to look at this miracle.

About three thousand people took part in raising the column, who were able to do all the work in one hour and forty-five minutes.

The end of the work was marked by a loud cry of admiration that burst from the lips of all those present. The emperor himself was very pleased with the work of the architect and declared that the monument had immortalized its creator.

The final stage of work

It took Montferrand another two years to decorate the monument. He “dressed” himself in bas-reliefs and received other elements that made up a single decorative ensemble. This stage of work did not cause any complaints from the emperor. However, completing the column sculptural composition became a real stumbling block between the architect and Nicholas I.

Montferrand planned to place a huge cross entwined with a snake on the top of the column. The sculpture had to be turned towards the Winter Palace, which all members of the imperial family especially insisted on. In parallel, projects and other compositions were created. Among them were angels in various poses, Alexander Nevsky, a cross on a sphere and similar sculptures. The last word in this matter it was up to the emperor; he was inclined to favor the figure of an angel with a cross. However, it also had to be redone several times.

According to Nicholas I, the face of the angel was supposed to have the features of Alexander I, but the snake not only symbolized Napoleon, but also visually resembled him. It's hard to say how readable this similarity is. Many experts claim that the angel's face was molded with one of the famous women of that time, while others still see him as a victorious emperor. In any case, the monument has reliably kept this secret for two hundred years.

Grand opening of the monument

Thirty in August fourth year The opening of a monument in honor of the victory of the Russian people over the French troops took place. The event was held on a truly imperial scale.

For spectators, stands were built in advance, which did not stand out from the general style of the palace ensemble. The service held at the foot of the monument was attended by all the important guests, the army and even foreign ambassadors. Then a military parade was held on the square, after which mass festivities began in the city.

Myths, legends and interesting facts

The history of the Pillar of Alexandria would be incomplete without mentioning various rumors and facts related to it.

Few people know that the foundation of the monument contains a whole box of gold coins. There is also a memorial plaque with an inscription made by Montferrand. These items are still stored at the base of the column and will remain there as long as the monument stands on the pedestal.

Initially, the architect planned to cut columned staircases inside. He suggested that the emperor use two people for this purpose. They had to complete the work in ten years. But due to fears for the integrity of the column, Nicholas I abandoned this idea.

Interestingly, the city residents were very distrustful of the Pillar of Alexandria. They were afraid of his fall and avoided Palace Square. To convince them, Montferrand began to walk here every day and over time, the monument turned into the most favorite place for guests of the capital and its residents.

At the end of the nineteenth century, a rumor spread throughout the city about a mysterious letter that literally burned on a column at night. At dawn she disappears and reappears at dusk. The townspeople were concerned and came up with the most incredible explanations for this phenomenon. But everything turned out to be extremely prosaic - the smooth surface of the column simply reflected the letter from the name of the manufacturer of the lanterns that surrounded the fence near the pedestal.

One of the most common legends about the Pillar of Alexandria is the story of the inscription on its top. It was painted the night after Yuri Gagarin's space flight and glorified him. Who managed to climb to such a height is still unknown.

Unofficial version of the appearance of the monument

The most fierce debates are ongoing on this topic. Particularly meticulous and attentive archaeologists, historians and architects carefully studied the official version of the construction of the monument and found a huge number of inconsistencies in it. We will not list them all. Any readers who are interested will be able to find such information. And we will tell only about the most obvious of them.

For example, experts cast great doubt on the very fact of raising the column in less than two hours. The fact is that not so long ago in Astana the lifting and installation of the big tent in the world. It weighed one and a half thousand tons and the process took about two days. The most modern machines and technologies were used. After this, it seems strange how Russian craftsmen were able to do something like this by hand.

The production of the column itself raises even more questions. Many people believe that even modern technologies could not help our contemporaries create such a miracle. Since the monument is carved from a single block, it is impossible to even imagine what kind of technology was used by the craftsmen. At the moment, nothing like this exists. Moreover, authoritative experts say that even in two hundred years we could not create something similar to the Pillar of Alexandria. Therefore, stories about manual extraction of a block, its movement and processing to an ideal state seem simply fabulously funny to people who are knowledgeable in working with stone.

In addition, questions are raised by the biographies of the chief architect and inventor of stone processing technology, the technical characteristics of the ship that delivered the monolith, completely different pictures of the column created by Montferrand, and many other nuances.

It is not for nothing that the great Pushkin immortalized this monument in his work. After all, all information about it requires careful study, but it is already clear that scientists, in the form of a structure known to everyone, are faced with the greatest of the mysteries of the nineteenth century.

Kievyan Street, 16 0016 Armenia, Yerevan +374 11 233 255

Continuation of the Seven Wonders of the World.
Just yesterday I sat down and finally wrote about the Russian Seven Wonders of the World, and then I immediately came across an article about the Alexander Column, so I continue first about the column.

Alesanri Column 2006. Palace Square. I filmed straight away in black and white.
The square is formed by historical monuments: the Winter Palace, the Guards Corps Headquarters Building, the General Staff Building with Arc de Triomphe, Alexander Column. Dimensions The area measures about 8 hectares, for comparison - Red Square in Moscow has an area of ​​only 2.3 hectares

1988 Leningrad. Postcard.

Enluminure de Ch. Beggrow, Saint Petersburg. Alexandrian Column.
You'll never know what year it is here. The arch of the General Staff building is not even in sight yet, but the column is already standing. But according to the officially accepted version, the Column was placed only after the Arch and the main headquarters, and this is clearly visible from Montferrand’s drawings. Although he drew them so many times, this was apparently all he was doing, proving that this was exactly what he did and in what exact way he raised this column. So that everyone can officially and clearly see that the French supposedly have at least some connection with St. Petersburg. In the background of all these engravings, it is the Arch of the General Staff Building that peeks out everywhere.
Here's another masterpiece!

Auguste Montferrand. View of the Alexander Column from Millionnaya Street. 1830
Yes, yes, it’s exactly 1830, and for some reason St. Isaac’s Cathedral is already standing in the background, although officially it’s only 1856, and the column is still standing, although they will start painting the rise of the column only in 1832 and finish in 1833, when two dozen men lifted it in 2 hours!
The column on Vosstaniya Square had to be cut, because they couldn’t lift it with any crane, they couldn’t move it with any equipment. I'll see how they take it apart.

62 sheet of exculpatory notes of the French graphic artist Montferand. We see that St. Isaac's Cathedral stood well before him, and he only painted it here, the most important word of French.

“The Raising of the Alexander Column in 1832”, of which two pieces had previously been loaded onto a barge at once... this is 1600 tons of polished granite, each. By Bichebois Louis Pierre Alphonse, Baillot Adolphe Jean Baptiste.

And this is Montferrand depicting how two diggers are chipping away and the column is immediately round! By myself, without a CNC machine. By the way, he draws so well, and is also called an Architect.
And the more he proves all sorts of crap, the less you believe in his fairy tales.

Making a refutation will now be much more difficult than lying to them. And everyone, without even thinking, believed it! And the further they lied, the more pictures they had to draw, proving the most incredible event: two diggers broke off a round column from a rock and dragged it on barges. At least they already agreed on the time, otherwise there is such a scatter.

Chernetsov G.G. - Part of the panorama of Palace Square, taken from the scaffolding of the Alexander Column. Can you imagine the height?


By the way, pay attention, it’s already worth mentioning, this can be thrown into the previous topic, they also lied there that there is no Exchange and only the Frenchman Thomas de Thomon came up with it.

The Alexandria Lighthouse really shone in St. Petersburg - the oldest city of stone in the Northern Palmyra, to all ships going to St. Petersburg from a height of 50 meters and was visible far in the fairway of the Neva and the Gulf of Finland, I think then with emerald water.
I don’t know what they were shining with, but the energy was definitely then accumulated through the column from sunny places and transferred to the Winter Palace, because there were no ceilings smoked from candles there. It was not for nothing that there was a ban on building buildings higher than the Winter Palace, and the Column is visible from everywhere because the Winter Palace sticks out, even if you sit on the bank of the Peter and Paul Fortress.

"I erected a monument to myself, not made by hands,
The people's path to him will not be overgrown,
He ascended higher with his rebellious head
Pillar of Alexandria." A. S. Pushkin

And by the Column of Alexandria, Pushkin meant ours, the largest monolithic column in the World on Palace Square, and not the column of the Pharos Lighthouse in the harbor of Egyptian Alexandria - one of the wonders of the world. tall building ancient world, we are talking about our column, everyone knows that here in St. Petersburg they used super new technologies that we have not yet reached.

The Pharos lighthouse, placed at the entrance to the port of Alexandria, has competed in glory with the pyramids of the Valley of the Kings since ancient times. Possessing a daring design for its time, it, according to some evidence, was taller than the Cheops pyramid, into which the third ray of the Admiralty trident from St. Petersburg's Navel strangely rests. But this is not what Pushkin admires.

Pompey's Column in Alexandria is also not small and is also dedicated to the handsome Alexander the Great.
View_of_Pompey"s_Pillar_with_Alexandria_ in_the_background_in_c.1850
But with the Jews everything is not like with people - that’s why they sound like this: “For a long time considered a monument to Alexander the Great, the column seems to have no relation to either Alexander or Pompey and today is recognized as a monument to the victories of Diocletian.” - Wikipedia.
Yes Yes....

And what's that??? Columns like in Baalbek built by the Russians.
After all, it is Russia that is the heir of the Holy Roman Empire, and before the Revolution it was called the Great Greco-Russian Eastern Empire, the heir of Byzantium and the Three-Falled Eagles around the Alexandrian Column.

1830 Watercolor by Sadovnikov. The column has been standing for another 3 years before its official creation and rise, and apparently has been standing for a long time, if they managed to coordinate everything in the ensemble flawlessly and fit the Arch to the column.
Moreover, the Alexandrinsky Column was erected in St. Petersburg, new capital Rome precisely in honor of Alexander the Great or Alexander Nevsky, even before the global flood in Atlantis. Hence the 2 meters of reclaimed soil and that is why the height of 2 meters for all buildings is so lacking. Flooded Atlantis is St. Petersburg and it is our Atlanteans who hold the sky on the Stone Hands.

Atlanteans can no longer withstand such a load and underground explosions near St. Petersburg - the ammunition is being completely destroyed, apparently for the War.

Ruins of Northern Palmyra - Northern Venice, St. Petersburg, the city of stone.

And the sand from the destroyed city still makes the Gulf of Finland shallow and impassable and creates problems for the passage of ships along the Neva, truly a “snowy river” - hence the name given by Alexander, nicknamed Nevsky by us - and the passage of ships in the canals became difficult after the cold snap and the change of poles and later in Northern Venice, built on the foundations of Northern Palmyra, canals were buried and the Spit of Vasilievsky Island and Rozhdestvenskie streets were formed, but that’s another story

Wikipedia: “The identification of the “Alexandrian Pillar” with the Alexander Column in St. Petersburg, which is a cultural fact and apparently dates back no later than the first publication of the “Monument” (1841), from the late 30s of the XX century has been scientifically criticized as untenable." Wiki - I’m no longer surprised - how will we now be able to rewrite our History completely? I can’t imagine - how to create a new Wikipedia?

After all, even Nabokov had no doubt that the “Pillar of Alexandria” comes from the name Alexander.” (see Nabokov V.V. Op. cit. P. 278.)
Pushkin, with his lines, without fear of censorship, clearly showed everyone the value of the column and emphasized the lies of the French about the novelty of the column, when they tried to call the already finished, old column standing in the square the creation of the Frenchman Montferrand, and attribute St. Isaac's Cathedral to him, hiding the true, Ancient History columns. Well, who would draw so many fake

Of course, Pushkin knew our Ancient History very well and was interested in its details. It was not for nothing that he wrote the Poem " Bronze Horseman and under this pretext of collecting materials, admission to the Archives of Peter’s time was obtained and written Captain's daughter in prose. Without the Internet then it was much more difficult for them to understand what was going on and what happened before and there weren’t so many pictures at hand. And “The Iron Mask” about the twin brother of Peter the Great has not yet been born... it’s not for nothing that near St. Petersburg we have a twin of Versailles - Petrodvorets. Although they claim that Versailles is earlier, our fountains don’t need to be turned off and they flow all night without any mechanism for raising the water, like in Versailles. Of course, ours were built earlier.

Saving the Country from the invasion of the French, after the victory over Napoleon, turned out to be much more difficult than the destroyed fleet in the Sevastopol Bay in the Crimean War after the assassination of Pushkin. Although who knows.....

A. S. Pushkin "TO THE SEA"

Farewell, free elements!
For the last time before me
You're rolling blue waves
And you shine with proud beauty.

Like a friend's mournful murmur,
Like his call at the farewell hour,
Your sad noise
your noise is inviting
I heard it for the last time.

Why last time? Regarding the next closure of the Black Sea to the Russians, this was after the Crimean War! The Black Sea was closed to us for 13 years so that we would not go to America. Or did he actually survive and receive treatment in Crimea?

It seems that he was saying goodbye to the country - maybe Pushkin really is Alexandre Dumas in the future and it was he who wrote The Three Musketeers, it’s not for nothing that it’s great to read avidly, like the fairy tales of Pushkin himself and Ershov handed in the manuscript of “The Little Humpbacked Horse” for him, otherwise it would did everyone find out that he was alive and didn’t write poetry anymore?


Well, where is the column, don’t you see? - The arch is already standing, but there is no column yet and people are walking... and everyone will believe in this nonsense that it actually happened!


Another paid photo bank, clearly an enemy one - there is no column either! Artists don't even need Photoshop.

And why the hell does the carriage turn left around the pillar and not go to the main entrance to the palace?

Palace Square 1800 Benjamin Patersen. And they didn’t have time to paint over the white corners 216 years ago??? Previously, watercolors were stretched onto a stretcher with flour glue ;-)

In short, the British also tried to destroy the column. How come they all want to destroy everything beautiful about us or are they jealous?

The Germans in the photo bank also carefully cover the old Russian Flag, which is now the official flag of Holland - Red-white-blue, and in Russia we have now adopted the trade Flag of Russia - It is now customary to trade with the Motherland if they are afraid of their own Great History return. They dance to their tune like clowns.
And New Holland or New Admiralty - the ancient port of Northern Palmyra was now given to the Dutch to bury and make grass there and planted trees..... instead of putting ship models there under a glass dome!

Not only the Decembrists died a brave death - everyone understood what was going on.... it was not in vain that Tsar Alexander himself disappeared out of sight and hid in the Tobolsk Monastery and stuck his nose out only in 1836, and in 1837 Pushkin was no longer alive.

“Fell slandered by rumors, with his proud head bowed” Lermontov M.

But Pushkin managed to leave us to our descendants and Lukomorye indeed exists in Siberia and Tsar Saltan - Constantinople, probably foreseeing that we will still unwind this tangle of History, cunningly woven by spiteful critics, according to his fairy tales.
Low bow to the Great Pushkin!
Therefore, Pushkin certainly did not write about this to Alexander.

And on the Alexander Column there really was a Torch! And this was definitely the Lighthouse of the Great Alexander, who, after the Empire was torn apart, was called Alexander Nevsky by the Russians, and Alexander the Great in the West.

Even Google defines the photo of this column exactly as the Alexandria Column on Palace Square in St. Petersburg, so so be it.


If Isaakievsky stood before Montferand, then the column easily stood there earlier.


With the first Russian telegraph in the world, which was laid precisely in St. Petersburg, and the first radio, which was invented by the Russian engineer Popov, the best maps and directions in the world no longer needed such high lighthouses, it became easier for ships to navigate and they could actually remake the monument according to others considerations, but the fact is that these columns stand in all the central squares of capitals around the World.

And the largest, most perfect column is located here in St. Petersburg, the Capital of the Empire, the Capital of Europe and the World in St. Petersburg, the Third Rome, which of course pleases our pride, but brings eternal misfortune to our Country, against which everyone is up in arms. and how from Russia the Mother of all Russian cities, the eternal donor, how from the mother they want to snatch their Pie and come in hordes. Even now they will not calm down and their troops are only 100 km from St. Petersburg.

It’s good that there are people who know the True price of this city, as the Siege survivors who remained in the City understood it and the whole Country knew, if Leningrad stands, then we will win this War. There is something to fight for.

It’s good that people understand our real Great true History of the Country Returning from the War and believe me, everything will be fine with us if as many people as possible learn about the true History of the City and the Power from ocean to ocean and the angels spare our city in WWIII.

The eternal shackles will fall and freedom will greet us joyfully at the entrance and the brothers will give us the sword...
It’s somehow different there, but that’s not the point. We must unite all Russians, save this beauty and prevent war.

Let me make a complete repost of Sandra Rimskaya further about the Alexander Column, and then decide for yourself what was in the angel’s hand - a Sword or a Torch? I save all the material Sandra dug up, as it is on the same page with my text.

Original taken from sandra_rimskaya in the Alexander Column and everything, everything, everything.

According to legend, 1854, photograph of Bianchi. But this is according to the legend of the Prussian Jewish Red Army soldiers Elston and the Holstein-Gottorp group.

Because in 1873, the monument to the First Prince Michael Angel Carus “Tsar Rus” still stood on the Alexander Column.

02

The cross is painted with retouching. That is, in reality, the statue of the Girl did not have the Cross in her hands.

Photo from 1895. The cross is again very difficult to see.
http://kolonna.e812.ru/foto/pamyatnik.html

Also a photograph, but the Cross is clearly visible.
03

Photo from 1900.

And the cross is actually finished!

1. Pay attention to the cross in the photo from 1900, it is clearly retouched.

2. On the top is not an angel, but a woman, and in her hands is not a cross, but the Earth’s axis, the cross was installed during the “restoration” process. The sphere on which a woman stands is the Earthly sphere, and snakes are the beginning of all paths. She is depicted on the coat of arms of the Republic of Ingushetia, but is called Gabriel.

It can be seen that the “Cross” has been added. The Alexander Column is ancient and has already cracked. Custine was in St. Petersburg captured by the Reds in 1879 and wrote that the column was already in cracks.

In 1873, the column was not yet visible; it was not yet “open”, it was inside some building.

Everything is according to legend: the Alexander Column stands “closed”, inside some ancient building and in the woods.

Then the Prussian Jewish Red Army soldiers will “open” it: they will destroy the ancient building, remove their scaffolding around the column and say that they built it themselves and installed a brand new one.

Gagarin's drawing was made in 1874. And in 1879, the “brand new” Alexander Column had already cracked within five years?

That is, in 1879 the Alexander Column was ancient. According to Custine and the Prussian Jewish Red Army censors, St. Michael's Castle was also ancient in 1879.

And the question immediately arises: why did the Prussian Jewish soldiers of Elston, the old Red (Prussian) Guard, put scaffolding around the Alexander Column?

The Germans did not restore it. Restored by the Royal Family, "Tsars". And they also put new monument. This is according to the stories of historians and old residents of the City.

It turns out that in 1874 the Red Prussian Jewish soldiers of Elston, “Nicholas”, removed the statue of the First Prince Michael Angel Carus of the First Emperor Diocletian from the Alexander Column?

I’d like to find out from whom: in what year in the second half of the 19th century did the Jews in Odessa end up with the statue of “Duke”, which was on the Alexander Column?

And this is the 2002 restoration. Alexander's Column in the woods, for comparison.

07

According to legend, the column was restored in 1861. We add the Romanov 40 years and get the date of restoration of the column: 1861 + 40 = 1901.

The decorative lanterns near the column were made 40 years after the opening - in 1876 by the architect K. K. Rachau.
Which also fits into our Chronology: in 1874 there was a “discovery” of the Alexander Column from scaffolding and an ancient building, and in 1876 decorative lanterns were installed.
In 1861, Alexander II established the “Committee for the Study of Damage to the Alexander Column,” which included scientists and architects. Scaffolding was erected for inspection, as a result of which the committee came to the conclusion that, indeed, there were cracks on the column, originally characteristic of the monolith, but fear was expressed that an increase in the number and size of them “could lead to the collapse of the column.”
There have been discussions about the materials that should be used to seal these caverns. The Russian “grandfather of chemistry” A. A. Voskresensky proposed a composition “which was supposed to impart a closing mass” and “thanks to which the crack in the Alexander Column was stopped and closed with complete success” (D. I. Mendeleev).
For regular inspection of the column, four chains were attached to the abacus of the capital - fasteners for lifting the cradle; in addition, the craftsmen had to periodically “climb” the monument to clean the stone from stains, which was not an easy task, given the large height of the column.
During the entire period from the moment of its discovery until the end of the 20th century, the column was subjected to restoration work five times, which was more of a cosmetic nature.
The restoration was carried out in 1963 (foreman N.N. Reshetov, the head of the work was restorer I.G. Black).
In 1977, restoration work was carried out on Palace Square: historical lanterns were restored around the column, the asphalt surface was replaced with granite and diabase paving stones.
At the end of the 20th century, after a certain time had passed since the previous restoration, the need for serious restoration work and, first of all, a detailed study of the monument began to be felt more and more acutely. The prologue to the start of work was the exploration of the column. They were forced to produce them on the recommendation of specialists from the Museum of Urban Sculpture. The experts were alarmed by large cracks at the top of the column, visible through binoculars. The inspection was carried out from helicopters and climbers, who in 1991, for the first time in the history of the St. Petersburg restoration school, landed a research “landing force” on the top of the column using a special fire hydrant “Magirus Deutz”.

Having secured themselves at the top, the climbers took photographs and videos of the sculpture. It was concluded that restoration work was urgently needed.

Restorations took place in 1901, 1963 and 2001-2003.
1901 - 1874 = 27 years difference. 1963 - 1901 = 62 years difference. 2001 - 1963 = 38 years.

It is clear that the Girl had something in her hand. They say that there was a Torch (Sword “Argument”), among the Jews it is called: “The Grail Cup from which God drank.” But these are again the legends of the Prussian Jewish Red Army soldiers Elston Nikolai, the occupiers. They say that this Torch (Sword “Argument”, Holy Grail) disappeared under Nicholas, that is, Elston, even before the Holstein-Gottorp group of Christian 9 (Alexandra 2) 1903-1917.

Statue of the Goddess of Liberty in the USA, Bringing Light to the American (Army?) Peoples. Gift from the Czartoryski-Conde: Corporation of General Staff Officers Bella Arm Air Carus to the people of America (Armycarus?) after the loss Civil War for the Independence of the United States from the Nikolaev Jewish soldiers of the old red (Prussian) guard of Elston Nicholas in 1853-1871.

And Prussia changed its name to Germany, and our Nikolaev Jewish soldiers of the old red (Prussian) guard of Elston-Sumarokov: Gray slave war crimes changed their name and became Germans and Jews, Nikolaev Jewish soldiers of the old red (German) army of Elston-Sumarokov 1853-1953

Archangel Michael is known primarily as a great commander, archangel. He is the conqueror of Satan himself, he is the great prince who stands for the sons of the Jewish people. According to legend, he saves Abraham from the fiery furnace, and Isaac from Abraham's knife. It is he who leads the people through the desert to the promised land, and he who gives Moses the tablets of the Law. He is called the keeper of the magical words with which heaven and earth were created. He was seen at the gates of heaven with a fiery sword, and it was he who carried the body of the deceased Mother of God to heaven.

Several holidays are dedicated to Archangel Michael. The main and oldest of them is celebrated on November 21. It was established in 363 by the Council of Laodicea, which recognized the doctrine of angels as creators and rulers of the world as heresy, but preserved their cult. Officially, the holiday is called the Council of the Archangel Michael and other disembodied Heavenly powers. That is, angels. Therefore, to begin with, it is worth saying a few words about who angels are.

John of Damascus defines: “An angel is an entity endowed with intelligence, always moving, possessing free will, incorporeal, serving God, and by grace having received immortality for its nature.” The angelic doctor Thomas Aquinas elaborates: “God rules the corporeal world through angels.” “They differ from Divine energies,” explains Alexey Losev, “in that they are created, that is, substantially other-existent, while Divine energies are substantially inseparable from God himself and therefore are God himself. Ethereal forces, as the idea of ​​all further otherness, comprehend and formulate all otherness, and therefore the doctrine of the Guardian Angel is a completely elementary dialectical necessity. Not only man, but everything that exists in the world, every smallest grain of sand has its own guardian angel.”

Angel is the living meaning of things. He himself is incorporeal, living outside of space and time. But it can appear in our corporeal world, as, for example, the same Michael appeared to the priest Archippus in Khonech and, with a blow of his rod, diverted the seething stream from his temple.

The angel comes into contact with a given place solely through its power. Therefore, the angel’s movements come down to the consistent application of his force to different points" And he clarifies: “The angel moves in discontinuous time. He can appear here and there, and there will be no time gap between these points. The beginning and end of an angel’s movement cannot be called two moments, between which there is a time interval; in the same way, it cannot be said that the beginning of the movement covers a period of time ending with the instant of the end of the movement. The beginning is one moment, and the end is another. There is no time between them at all. You can say that an angel moves in time, but not in the same way as a body moves.”

Michael the Archangel Patron of High Energy Physics

The author of the theory of morphogenic fields, Rupert Sheldrake, believes that Thomas's idea of ​​\u200b\u200bthe movement of angels refers to quantum physics: “The photon is in one place at the moment when, for example, light comes from the Sun, and in another place at the moment when sunlight comes into contact with anything on Earth. The time interval between these moments is about eight minutes. Thus, we can attribute speed to light. But according to the theory of relativity - and this was one of Einstein's starting points - from the point of view of the photon itself there is no time expenditure. There is an instantaneous connection between the light coming from the sun and the light coming into contact with an earthly object. The photon does not age” (more details here).

As we see, modern ideas about movement quantum particles has the same mental roots as the Thomist idea of ​​the movement of angels. In modern science fiction this seems to be called "null transport". Be that as it may, angels, who are often described by spirit seers as beings of light, may well be of a wave-particle nature. They are incorporeal, like waves propagating in some angelic field, and they are corporeal, since they appear to man in the material world. But this is just a special physicality. Perhaps it is best to call it virtual. And turn on the TV. The plots with which it is filled, of course, were created by angels placed in the service of propaganda. Media is one of the most visible areas of their activity today. The point is not that some Konstantin Ernst is an angel. But who will argue with the fact that there is a reliable guardian angel behind him?

Archangel Michael - Patron of the Russian Land

Archangel Michael is the archangel (in Greek - the supreme military leader), the commander of the angels faithful to God, the victorious enemy of Satan, the conqueror of evil. He is considered the patron saint of warriors fighting for a just cause.

The very name Michael means in Hebrew “who is like God.” And this alone already says how highly he is revered by the Holy Church. He cast down the devil and all fallen spirits from Heaven. Archangel Michael did not deprive us and our Fatherland of his intercession when he saved Novgorod the Great from Tatar Khan Batu in 1239, it is no coincidence that Michael was depicted on many military banners in Rus' as the archangel of God’s army. For more than a thousand years, Archangel Michael has been the patron saint of the Russian land.
Archangel Michael in Scripture is called “prince”, “leader of the army of the Lord”
in the spirit of Holy Scripture, some Church Fathers see Archangel Michael as a participant in others important events in the life of the people of God, where, however, he is not called by name.
HOLY ARCHISTRATIG OF GOD MICHAEL VOIEVODA
Michael is mentioned three times in the Revelation of Daniel. The “man” who appeared to Daniel (judging by the description, Jesus Christ Himself as God) talks about His struggle against the “Prince of Persia”: “Behold, Michael, one of the first princes, came to help me” (Dan. 10:13); “There is no one who will support Me in this except Michael your prince” (Dan. 10:21). This clearly refers to the unnamed patron angel of Persia and Michael as the patron angel of Israel.

However, the next mention of Michael in Daniel's prophecy makes us think of him as an earthly man. In connection with the description of the campaigns of the “despicable” king (in the Revelation of John he corresponds to the image of the “beast from the abyss”), Daniel says:

“And at that time Michael will arise, the great prince who stands for the children of your people.” Dan. 12:1.
ARCHANGEL MICHAEL ANGEL OF THE APOCALYPSE

10 Mikhail in armored armor with aerodynamic wings

Scepter and Power - Archangel Michael of Byzantium Caesar Carus First Emperor Diocletian from the Pillar of Alexandria in his Constantinople - Imperial New-Gorod, the Capital of the Russian Tsars.

All with weapons in their hands. And there is only one - the most important Angel in the Empire of the Army of Angels of Michael the Archangel, his Deputy. standing along the Alexander Column without a weapon in his hands. Nicholas stole the Sword of Argument (the Holy Grail). The Germans throughout Germany were looking for this Sword: the “Argument” (the Holy Grail) in order to return it to its place in the hands of the Angel on the Alexander Column.

When I was little, I had a conversation with an older man about the empty hand of “Mikhail”, because in Leningrad everyone was sure that Michael, the First Prince of Russia was standing there: Master of the City and Founder of the State, former God of Russia: “Savior” , Father of the Russian Army, First Commander-in-Chief of the Russian Army and its Creator.

And I felt so offended for the Prince, and I asked:

And he was also disarmed? How are we in SALT-2? So how will he protect his people if he doesn't have a weapon in his hands? What? Will his bandits just listen to him?

Yuri Mikhailovich grinned slyly into his mustache and said:

Who? Mikhail? Don’t worry: Mikhail is dangerous even without a weapon!

This is what I remember for the rest of my life: “Mikhail will protect. He can do anything. He’s dangerous even without a weapon!”

09 Alexander Column with a monument to Duke.

10 Duke. Odessa residents say that Duke was brought to them from St. Petersburg in the 19th century, and before that he stood on the Alexander Column.

Paris, May 1871. Prussian Jewish Red Army soldiers of Elston threw down the monument to the First Prince Michael Angel Carus “Tsar Rus” from the Vendôme Column. Statue of the First Emperor Diocletian Michael Angel Carus "Tsar Rus" in Paris, a copy of the St. Petersburg-Odessa "Duke".

It seems that in 1874 the monument to the First Prince Caesar Methus Carus, whom our Prussian Jewish Red Army soldiers of Elston renamed Michael the Archangel Diocletian, the First Emperor, still stood on the Alexander Column.

Because in 1871, the Prussian Jewish Red Army soldiers just captured Paris and destroyed the Vendôme column with the monument to Caesar Meph Carus, knightly name Chart Rus, the First Prince.

And I think that monuments were erected in the USA and Russia at the same time. Set by the Army. And the Cossacks of Elston became Jews for us, Red Army soldiers of Elston: Gray slave war crimes, persons who betrayed the Oath. Now they’ve been running around with the entire Red Army since 1853, and they still can’t come to an agreement with each other: what should they be called now? Either they are Prussian Jews, then they are Russian Jews, then they are German occupiers, then they are Soviet occupiers, then they are Slavs, then they are Christians, then Soviet peasants of the Hohenzollern, Holstein, Bronstein and Blank, lads: Germans and Jews with weapons in their hands from 1853 -1953 Traitors.

If you steal someone else's History, live in other people's houses and cities, in a foreign state, impersonate Russians (Army), ban the human language and force everyone to learn the language of your monkey, then probably your children and grandchildren will be loved in the Russia you have captured.

When did the Jews create Yiddish for themselves? In the 1910s? Well, here are all the fairy tales about Jews. We have other Jews: the Cossacks of Elston: Gray slave war crimes, persons who betrayed the Oath, the entire Red Army of Elston-Sumarokov and the Holstein-Gottorp group.

Who would believe that some poor, worn-out Jews were capable of seizing power over the Cossacks? There would be no price for Jews then. Just if the Cossacks themselves were those Jewish soldiers of Elston: Gray slave war crimes, persons who betrayed the Oath.
We recently learned that the Romanovs were Jews. Officially, the Romanovs were Germans, but they called themselves Slavs.
And the Slavs proved to us that they were Russian, only for some reason they were Soviet Jews-Christians with German bayonets from 1853-1953. They were Elston bandits, but became Stalinist bandits. And the gang is the same: Dimacresi Social Commune Party Intelgents. In the CPSU, Lenin ennobled it in 1917, contrary to Trotsky’s ban.

And the Cross was erected by Jewish Soviet soldiers with German bayonets during the restoration of 1901. But they say that it was in 1903. The Cossacks have been walking as they please for thousands of years. What's it been like for two years? The Cossacks' biography in 1352 does not agree with the General Staff of the Russian Army. State and National.