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Sergeeva E. New System of Church Decoration in the Petrine Baroque Era

Elena Sergeeva
Saint Petersburg State University of Industrial Technology and Design
Saint Petersburg, Russian Federation
ORCID: 0000-0001-5292-5513
E-Mail: serge-elena@mail.ru

 

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ABSTRACT. The epoch of Peter the Great brought profound changes in church architecture and interior decoration. A new concept of church interior was engendered, oriented at the decoration typical of a Catholic cathedral. The author suggests that Peter and Paul Cathedral in St. Petersburg is an example of the new concept. The tiered composition of canonical murals was replaced by the principle of marginal scenes and ornamental frame. The author confirms the idea that the appearance of the Peter the Great Baroque church interior was prepared by several centuries of Russian architectural development. Already from the 16th century one can trace the preconditions for the change of the painting principle as well as the interrelation between the development of the architecture that gave birth to the hipped roof and the character of the pictorial composition delimited by the wall surface. The article considers the 17th century Russian art where one can notice the specific change of the vault’s internal surface and the composition of Stroganov and Naryshkin-type Baroque cathedrals as the next step towards formation of the new interior. It is suggested that the design of Catholic churches of Italy, Austria and Belgium influenced the interior of St. Petersburg cathedral. The author assumes that the placement of “The Entrance of the Lord into Jerusalem” on the western wall above the entrance to the Peter and Paul Cathedral was consonant with “The Donkey Walk” at the Entrance to the Jerusalem Side-Chapel of Moscow Cathedral of the Intercession on the Moat. This solution was further borrowed by some provincial churches. The interiors of non-preserved Peter the Great Baroque churches decorated with pictorial inserts of scriptural scenes are a subject of the author’s hypothesis according to which this design became a basis for a new technique that gained ground in the provincial monumental painting from the 18th century onwards.

 

KEYWORDS: Peter and Paul Cathedral, Peter and Paul Baroque, Trezzini, marginal scenes

 

DOI 10.31250/2618-8619-2022-1(15)-157-167
УДК 726.5.03

 

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