The Architectural Heritage of Leningrad
列宁格勒的建筑遗产
Author(s): Zoé Bakéeff Petersen
作者：Zoé Bakéeff Petersen
Source: The American Slavic and East European Review, Vol. 4, No. 3/4 (Dec., 1945), pp. 1834
《资料来源美国斯拉夫和东欧评论》，第 4 卷，第 3/4 期（1945 年 12 月），第 1834 页
Published by: Association for Slavic, East European, and Eurasian Studies; Cambridge
出版商斯拉夫、东欧和欧亚研究协会；剑桥
University Press 大学出版社
Stable URL: https://www.jstor.org/stable/2491759
稳定 URL：https://www.jstor.org/stable/2491759
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The recent siege and heroic defence of Leningrad have refocused the world’s attention on this remarkable city; attention that, from the architectural point of view at least, it has always merited, for Leningrad (the old St. Petersburg), even with its northern setting and its Russian background, is probably the most perfect classical city since ancient Rome. It owes this to a wise succession of rulers, each of whom, though building to his personal taste, followed the basic pattern established by Peter the Great, founder of the city.
最近对列宁格勒的围攻和英勇的保卫战使全世界重新关注这座非凡的城市；至少从建筑的角度来看，它一直值得关注，因为列宁格勒（旧圣彼得堡），即使是在其北方背景和俄罗斯背景下，也可能是自古罗马以来最完美的古典城市。这要归功于一代又一代英明的统治者，虽然每个统治者都按照个人喜好进行建设，但他们都遵循了城市创始人彼得大帝确立的基本模式。

In 1703, Peter, having captured the mouth of the Neva from the Swedes, decided to build a new capital that would be in closer contact with western Europe. In the same year he laid the cornerstone of the fortress of St. Peter and Paul, whose glittering spire is now one of the most beloved landmarks of this northern city. Architect in the major portion of this structure was Domenico Trezzini, an Italian, who had worked in Copenhagen under strong Dutch influence.
1703 年，彼得从瑞典人手中夺取了涅瓦河口，决定建立一个与西欧联系更加紧密的新首都。同年，他为圣彼得和保罗要塞奠基，其闪闪发光的尖顶现已成为这座北方城市最受喜爱的地标之一。这座建筑的主要设计师是意大利人多梅尼科-特雷齐尼（Domenico Trezzini），他曾在哥本哈根工作过，深受荷兰人的影响。

Besides Trezzini, Peter invited many other foreigners who, attracted by adventure and excellent salaries, flocked to St. Petersburg to leave their impress on the city, resulting in a mixture of contemporary Dutch, Italian and French styles. Perhaps the most outstanding of this group was one Leblond, a pupil of the famous Lenôtre.
除了特雷齐尼，彼得还邀请了许多其他外国人，他们被冒险和优厚的薪水所吸引，纷纷涌入圣彼得堡，在这座城市留下了自己的印记，形成了当代荷兰、意大利和法国风格的混合体。这群人中最杰出的可能要数勒布隆德，他是著名的列诺特尔的学生。

Leblond arrived in St. Petersburg in 1716 as a result of Peter’s second visit to Europe. Peter gave him full rights as head architect with particular instructions to model the Vasilievskií Ostrov (Basil’s Island) on Dutch lines and to establish it as the center of the future capital. Accordingly, as soon a’s Leblond arrived, plans were laid and canals dug. However, the greedy and powerful Menshikov, to whom Peter had given an estate on the island, did not relish the loss of his land and, taking advantage of Peter’s absence, saw to it that the canals were made too narrow to be of any use. When Peter returned he was furious, but the project was ruined and Menshikov got his way! Later the canals were filled in and, as a result, the Vasilievskir Ostrov became a dull and uninteresting part of the city. Thus Leblond was forced to shift his center to the present site of the Admiralty, where the economic heart of the city had already developed. No doubt inspired by the layout of Versailles, Leblond planned three radiating streets converging at the Admiralty. He also arranged for the paving of streets, their lighting, as well as for the laying out of gardens, avenues and fountains in the French manner all over St. Petersburg. Leblond is to be remembered, however, as the first great city
1716 年，彼得第二次访问欧洲，勒布隆德来到圣彼得堡。彼得授予他作为首席建筑师的全部权利，并特别指示他按照荷兰人的思路来设计瓦西里耶夫斯基岛（巴西尔岛），并将其建成未来首都的中心。因此，莱布隆德一到，就开始制定计划和挖掘运河。然而，贪婪而有权势的缅希科夫（彼得在岛上给了他一份产业）并不甘心失去自己的土地，他趁彼得不在之机，故意把运河修得太窄，以至于没有任何用处。彼得回来后勃然大怒，但工程还是泡汤了，缅希科夫得逞了！后来运河被填平了，结果瓦西里耶夫斯基尔奥斯特罗夫成为城市中沉闷无趣的一部分。因此，勒布隆德被迫将他的中心转移到金钟的现址，那里已经发展成为城市的经济中心。毫无疑问，勒布隆德受到了凡尔赛宫布局的启发，他规划了三条辐射状的街道，在金钟汇聚。他还按照法国人的方式在圣彼得堡铺设街道、安装照明设备、布置花园、林荫道和喷泉。然而，莱布隆德作为第一个伟大的城市
planner of the new capital, for his was the first organized plan that shaped the form the city took in the next fifty or seventy five years.
他是新首都的规划者，因为他的规划是第一个有组织的规划，决定了这座城市在接下来的五十年或七十五年中的形态。

Peter’s immediate short-lived successors, Catherine I and Peter I, left no trace on the cultural development of the country. It was Peter’s niece, Anne, the former Duchess of Courland, who brought new traditions to Russia with her ascension to the throne in 1731. Anne was dominated by Biron, her powerful Baltic-German favorite, who ruled Russia for ten dark years.
彼得短命的继任者凯瑟琳一世和彼得一世没有为国家的文化发展留下任何痕迹。1731 年，彼得的侄女、前库尔兰公爵夫人安妮登基，为俄罗斯带来了新的传统。安妮被她的波罗的海德国宠妃比隆（Biron）所控制，后者统治俄罗斯长达十年之久。

During these years the first of St. Petersburg’s great architects, Count Bartolomeo Francesco Rastrelli, started his career. Gaining the favor of Biron, who made him chief architect, he established his reputation, reaching the height of his career in the reign of Elizabeth.
在这些年里，圣彼得堡第一位伟大的建筑师巴托洛梅奥-弗朗切斯科-拉斯特雷利伯爵开始了他的职业生涯。巴托洛梅奥-弗朗切斯科-拉斯特雷利伯爵得到了比隆的赏识，比隆任命他为首席建筑师，从此他声名鹊起，在伊丽莎白统治时期达到了事业的顶峰。

Thus far architecture in St. Petersburg had been a mêlée of French, German and Italian influences superimposed on the young capital. With Rastrelli a new style evolved that combined Russian characteristics inherited from his father with those typically German. The influence of Neumann and Poeppelmann was acquired during his European travels. This fruitful contact of the indigenous Russian forms and of the German Baroque blossomed at a propitious moment, for, when in 1741 Peter the Great’s young and beautiful daughter, Elizabeth, ascended the throne, life became a succession of parties, pageants and balls. To house the court festivities, Rastrelli built the Summer and the Anichkov Palaces. These are noteworthy as early works. By contrast, the more mature creations, such as the Palace of Tsarskoe Selo, exhibit a lavishly grand composition, a wealth of bronze decoration, and startling contrasts of light and shade.
迄今为止，圣彼得堡的建筑一直是法国、德国和意大利影响的混合体，这些影响叠加在这座年轻的首都之上。在拉斯特雷利的带领下，一种新的风格逐渐形成，这种风格结合了从他父亲那里继承的俄罗斯特色和典型的德国风格。Neumann 和 Poeppelmann 的影响是在他的欧洲旅行中获得的。1741 年，彼得大帝年轻貌美的女儿伊丽莎白登上王位后，宫廷生活就变成了接连不断的宴会、庆典和舞会。为了举办宫廷庆典，拉斯特雷利建造了夏宫和阿尼奇科夫宫。这些都是值得一提的早期作品。相比之下，《沙皇塞洛宫》等更成熟的作品则表现出奢华宏伟的构图、丰富的青铜装饰和惊人的明暗对比。

The famous Winter Palace, rebuilt for Elizabeth on the banks of the Neva, though not as spirited nor as great a creation as the Palace at Tsarskoe Selo, is better known. This palace is far more stern, conveying a comparative air of sobriety and dignity, befitting a city residence. In this, Rastrelli’s last great creation, the extravagant buoyant spirit is subdued. Columns, single and double, are placed at closer intervals than at Tsarskoe Selo, as are also the heavily framed windows. The roof line is interrupted by a row of broken pediments, instead of by a row of free standing columns, and a strong horizontal cornice binds the Winter Palace more firmly to the ground. These features, plus moderate use of color and decoration intimate the taming of the Baroque. Thus Rastrelli’s architectural development coincides with the ascent, climax and decline of the Baroque. This Russian Baroque came later but prevailed a shorter time than the similar
在涅瓦河畔为伊丽莎白重建的著名冬宫，虽然没有沙皇塞洛宫那么雄伟壮观，但却更为人熟知。这座宫殿更加庄严肃穆，传达出一种与城市住宅相称的沉稳和庄重。在这座拉斯特雷利最后的伟大作品中，奢华浮华的精神得到了抑制。单柱和双柱的间距比 Tsarskoe Selo 更近，窗框也很厚实。屋顶的线条被一排残缺的花饰打断，而不是被一排独立的柱子打断，一个坚固的水平檐口将冬宫更牢固地固定在地面上。这些特点以及对色彩和装饰的适度使用，都是对巴洛克风格的驯服。因此，拉斯特雷利的建筑发展与巴洛克的兴起、高潮和衰落相吻合。这种俄罗斯巴洛克风格出现较晚，但盛行的时间比类似的巴洛克风格短。
movement in Western Europe. Despite its short life, this Barocco ${}^1$${}^1$^(1){ }^{1} left a permanent impression, not only in buildings of the Baroque period but also in buildings of the Empire style some 60 years later.
巴洛克运动在西欧兴起。尽管巴洛克风格的 ${}^1$${}^1$^(1){ }^{1} 寿命很短，但它给人留下了永久的印象，不仅在巴洛克时期的建筑中，而且在 60 多年后的帝国风格建筑中也是如此。

The first glimmering of the Neo-Classic that was to overwhelm St. Petersburg may be seen in a private house of Count Shouvaloff, built in 1753 during the last years of Elizabeth’s reign. Shouvaloff, brilliant young favorite of Elizabeth, was a highly educated man who was in constant touch with European circles and undoubtedly acquainted with the “classical trend of sobriety and purity in the era of Louis Fifteenth that by 1750 was formed and officially received” in France. ${}^1$${}^1$^(1){ }^{1} Shouvaloff disregarded Rastrelli, the outstanding architect of Elizabeth’s reign and the creator and executor of the Russian barocco ${}^2$${}^2$^(2){ }^{2} style, and instead commissioned young Alexander Kokorinov, not yet a full fledged architect, who never had been in Europe, with the building of his residence.
在伊丽莎白统治的最后几年，舒瓦洛夫伯爵（Count Shouvaloff）于 1753 年建造了一座私人宅邸，从这座宅邸中可以看到新古典主义的最初曙光，而这种新古典主义将席卷圣彼得堡。舒瓦洛夫是伊丽莎白年轻时的宠臣，受过高等教育，与欧洲各界保持着密切联系，毫无疑问，他熟知 "1750 年在法国形成并被正式接受的路易十五时代清醒和纯洁的古典主义潮流"。 ${}^1$${}^1$^(1){ }^{1} 舒瓦洛夫没有考虑伊丽莎白统治时期的杰出建筑师、俄罗斯巴洛克 ${}^2$${}^2$^(2){ }^{2} 风格的创造者和执行者拉斯特雷利，而是委托年轻的亚历山大-科科里诺夫（Alexander Kokorinov）建造他的住宅，他还不是一名成熟的建筑师，从未去过欧洲。

A view of the Shouvaloff façade will show that it is still conceived in the manner of the Baroque, yet classical interest is betrayed by the simple mouldings around the windows, the garlands below, the pediments crowning the wings, and in the absence of statues or urns breaking the horizontal roof line. Shouvaloff must have been pleased with his new residence, for in 1761 he engaged Kokorinov to build the Academy of Fine Arts on the Vasilievskiy Ostrov. In this building the classical elements are boldly pronounced. The first project for the Academy that had been submitted in 1756 by Jacques Blondel the younger was typical of the turn to severer lines. Blondel himself said he wished “masculine simplicity, not embarrassment of forms.” 3 Blondel’s project of 1756 influenced young Kokorinov greatly. Another French architect, Vallin de la Mothe, invited to teach at the Academy by Shouvaloff in 1759, also contributed to the design. It is to him that the façade is credited, for it is believed that he gave the Blondel project a classical touch and that Kokorinov somewhat changed and enlarged the plan.
从寿瓦洛夫的外墙可以看出，它仍然是按照巴洛克风格设计的，但窗户周围的简单装饰、下面的花环、两翼的山形装饰以及没有雕像或瓮打破水平的屋顶线，都透露出古典的趣味。舒瓦洛夫一定对自己的新居很满意，因为 1761 年他聘请科科里诺夫在瓦西里耶夫斯基奥斯特罗夫修建了美术学院。在这座建筑中，古典元素得到了大胆的体现。1756 年，年轻的雅克-布隆代尔（Jacques Blondel）提交了第一份学院设计方案，该方案是转向严谨线条的典型代表。布隆代尔本人表示，他希望 "阳刚简洁，而不是形式窘迫"。3 布隆戴尔 1756 年的设计方案对年轻的科科里诺夫影响很大。另一位法国建筑师瓦兰-德拉莫特（Vallin de la Mothe）于 1759 年受舒瓦洛夫之邀在学院任教，他也为设计做出了贡献。据说是他为布隆代尔的设计增添了古典气息，科科里诺夫对设计图进行了一些修改和扩建。

This type of façade, consisting of the central block with two symmetrical side arms that culminate in end wings, was particularly favored during the following Neo-Classic period in government and palace buildings. A rusticated basement with arched windows at regu-
这种立面由中央大块和两个对称的侧臂组成，侧臂的末端是翼楼，在随后的新古典主义时期，这种立面在政府和宫殿建筑中特别受欢迎。带有拱形窗户的锈迹斑斑的地下层，在建筑的中部和两侧都有。

Bartolomeo Rastrelli, The Grand Palace at Tsarskoye Selo (1749-1756)
巴托洛梅奥-拉斯特雷利，《沙皇赛洛的大皇宫》（1749-1756 年）

Vallin de la Mothe and Kokorinov, The Academy of Fine Arts, Leningrad
Vallin de la Mothe 和 Kokorinov，列宁格勒美术学院

Plate III 第 III 版
Vallin de la Mothe, The Old Hermitage, Leningrad (1764-1767)
瓦林-德拉莫特，列宁格勒老冬宫（1764-1767 年）

Plate IV 第 IV 版

Plate V 第 V 版
A. D. Zakharov, The Spire (Fliche) of the Admiralty, Leningrad (1806-1815)
A.A. D. Zakharov，列宁格勒海军部的尖塔（Fliche）（1806-1815 年）

Plate VI 图版 VI
K. I. Rossi, The State Academic Theater of the Drama (Formerly Aleksandrinskii), Leningrad (1827-18.32)
K.I. Rossi，列宁格勒国立戏剧学院（原 Aleksandrinskii）（1827-18.32）
larly spaced intervals, broken only by the rectangular doorway, lays the strong horizontal foundation that is relieved at the center and wings by free standing Doric columns.
这些柱子的间距很小，只有长方形的门洞打破了这一间距，它们构成了坚固的水平基础，中心和两翼则由独立的多立克柱支撑。

The order of the disposition of the solids in the central façade must be noted. The sides of this central section project first in a curve, then in a square; the movement produced is completely controlled by balanced counter curves in the upper stories. It is this central mass, topped by a Greek pediment, behind which one sees the dome of the vestibule that suggests the essence of the whole plan, essentially a circle inscribed in a square; the breadth of the facade indicates the magnitude of the total conception.
必须注意的是中央立面的实体排列顺序。中央部分的两侧先是曲线，然后是方形；所产生的运动完全由上层平衡的反向曲线控制。中央部分的顶部是一个希腊式的阶梯，在阶梯后面是前庭的穹顶，这表明了整个平面图的本质，即一个以方形为底的圆形；立面的宽度表明了整个构思的规模。

Of great interest in the Academy is the interior court façade. This façade, consisting of three stories divided from each other by cornices, is circular. Roman severity is felt in the plain rectangular windows, windows that in the middle story are separated by engaged pilasters. Bas-relief profile portraits are substituted for capitals of these pilasters, while small sculptured scenes and garlands alternate on either side above the windows.
学院中最引人关注的是内院的正面。这个立面由三层楼组成，每层之间用檐口隔开，呈圆形。普通的长方形窗户体现了罗马式的严谨，窗户的中间楼层由啮合壁柱隔开。这些壁柱的柱头用浮雕侧面肖像代替，而窗户上方两侧则交替摆放着小型雕刻场景和花环。

Although de la Mothe undoubtedly contributed to the building of the Academy, Kokorinov is rightly considered its principal architect. Designed by him in the last years of Elizabeth’s reign, the Academy was actually built in the first part of the reign of Catherine the Great.
虽然德拉莫特无疑为学院的建造做出了贡献，但科科里诺夫被认为是学院的主要建筑师也是实至名归。学院是他在伊丽莎白统治的最后几年设计的，实际上建于凯瑟琳大帝统治的前半期。

The influence of this remarkable woman on the development of Russian architecture is very important. In the years of her long reign from 1762 to 1796 great progress was made by Russia in every respect. Catherine, like Peter, was much interested in extablishing Russia’s place on the European continent. Politically, diplomatically, and by military coercion she realized Peter the Great’s idea of making Russia a great power. Like Peter also, she wished to make up for time lost while Russia was en retard. Even more than her famous predecessor, she established contacts abroad, invited foreigners to her court, and sent students abroad. Of all the arts, architecture was Catherine’s special passion, a fortunate event in the architectural history of Saint Petersburg.
这位杰出女性对俄罗斯建筑发展的影响是非常重要的。从 1762 年到 1796 年的漫长统治期间，俄罗斯在各个方面都取得了巨大进步。与彼得一样，凯瑟琳也非常关注如何确立俄罗斯在欧洲大陆的地位。在政治、外交和军事上，她实现了彼得大帝让俄罗斯成为一个大国的想法。与彼得大帝一样，她也希望弥补俄国迟滞不前时失去的时间。她甚至比她著名的前辈更积极地与国外建立联系，邀请外国人来她的宫廷，并向国外派遣学生。在所有艺术中，建筑是凯瑟琳的特殊爱好，这也是圣彼得堡建筑史上的一件幸事。

With the exception of Kokorinov, the prominent architects of the beginning of Catherine’s reign were foreigners, important in their development of Russian Neo-Classicism and as teachers of the following generation.
除了科科里诺夫之外，凯瑟琳统治初期的著名建筑师都是外国人，他们对俄罗斯新古典主义的发展非常重要，也是下一代的老师。

Vallin de la Mothe, who collaborated on the Academy with Kokorinov, built many significant buildings in St. Petersburg, among them the New Holland building (noteworthy in forecasting the characteristics of Ledoux in its great simplicity and monumentality), the Small
瓦林-德拉莫特与科科里诺夫合作建造了学院，他在圣彼得堡建造了许多重要的建筑，其中包括新荷兰大厦（其简洁和不朽的风格预示了勒杜的特点，值得一提）、小楼（"Small"）、大楼（"Small"）、小楼（"Small"）、大楼（"Small"）和小楼（"Small"）。

Winter Palace, and the Old Hermitage. The two latter buildings illustrate de la Mothe’s transition to the coming Neo-Classic style. Sets of coupled columns, a sculptured roof panel, protruding horizontal bands and rounded corners lent plasticity and an interesting concentration of lights and shadows. The stuccoed walls seem light and unrestrained, the total effect resulting in a light, graceful building completely characteristic of the barocco style. In contrast, is the Old Hermitage, an impressive, weighty block whose solidity is further emphasized by a strong horizontal band that divides a tall rusticated basement from the upper stories by plain vertical corner strips and by the projection of the major portion of the basement of the façade. This basement, carrying a set of six composite columns topped by a Doric entablature, continues around the building. Remarkably similar is the famous Hôtel de la Monnaie (1771-1775) by T. D. Antoine, the only notable difference being in the addition of sizable wings, supplying the grace, harmony and proportion characteristic of French architecture. The massive more monumental structure of the Old Hermitage, on the other hand, is more representative of Russian buildings of the period.
冬宫和老冬宫。后两座建筑体现了德拉莫特向新古典主义风格的过渡。一组组相连的圆柱、雕刻的屋顶板、突出的水平带和圆角赋予了建筑可塑性和有趣的光影集中。粉刷过的墙壁显得轻盈而奔放，整体效果形成了一座轻盈、优美的建筑，完全具有巴洛克风格的特征。与之形成鲜明对比的是老冬宫，这是一座令人印象深刻的厚重建筑，其坚固性因一条强有力的水平带而进一步凸显，该水平带将高大的锈蚀地下室与上层楼房用朴素的垂直角条分隔开来，地下室的主要部分则突出在立面上。地下室由六根复合圆柱组成，圆柱顶端是多立克式的檐口，环绕整个建筑。安托万（T. D. Antoine）设计的著名的蒙娜丽莎酒店（Hôtel de la Monnaie，1771-1775 年）与之极为相似，唯一明显的不同之处是增加了相当大的翼楼，使其具有法国建筑特有的优雅、和谐和比例。另一方面，老冬宫的巨大结构更具纪念意义，更能代表当时俄罗斯的建筑风格。

In 1755 an Italian, Antonio Rinaldi, was called to Russia by a patron and connoisseur of the arts, Count Razumovski. Rinaldi can be characterized as the most baroque of the architects of the transition. Although most of his frivolous creations have disappeared, the Chinese Palace and a Sliding Pavilion at Oranienbaum are noteworthy examples of his barocco taste. Besides these capricious creations, Rinaldi is noted for one of the outstanding palaces in St. Petersburg, the Marble Palace ordered by Catherine. The gay Rinaldi is scarcely visible in the severe exterior, so important to us as an example of his evolution from the Baroque to the Neo-Classic, but even if the grammar is Neo-Classic, the resulting spirit is mannered and stiff. Although Rinaldi’s compromise with the Neo-Classic seems to prove the overwhelming acclaim the Classic style had already received in the 1770’s, it is interesting to observe that Rinaldi reverted to the Baroque in the design of the interior.
1755 年，一位名叫安东尼奥-里纳尔迪的意大利人被一位赞助人和艺术鉴赏家拉祖莫夫斯基伯爵召到俄罗斯。里纳尔迪可以说是过渡时期最具巴洛克风格的建筑师。虽然他的大部分轻浮作品已经消失，但奥拉宁鲍姆的中国宫殿和滑动凉亭是他巴洛克品味的值得一提的例子。除了这些任性的作品，里纳尔迪还因圣彼得堡的一座杰出宫殿而闻名，那就是凯瑟琳下令建造的大理石宫殿。在这座宫殿严谨的外表下，我们几乎看不到同性恋者里纳尔迪的身影，而这正是他从巴洛克风格向新古典主义风格演变的重要典范。虽然里纳尔迪对新古典主义的妥协似乎证明了古典风格在 17 世纪 70 年代已经获得了压倒性的赞誉，但有趣的是，里纳尔迪在内部设计中又回到了巴洛克风格。

While Rinaldi was a transitional architect, the works of his successor, George Veldten, the son of Peter’s chef, show conviction and assurance. Veldten began as an assistant to Rastrelli, in the Baroque style; however, once on his own, he worked in the Neo-Classic style with some later work in the Gothic manner. His first independent commission was to lay a two-mile embankment on the Admiralty side of the Neva. When Catherine gave him this commission in 1760, he was considered a second-rate architect. The completion of this gi-
里纳尔迪是一位过渡时期的建筑师，而他的继任者乔治-维尔登（George Veldten）--彼得的厨师之子--的作品则展现了坚定的信念和自信。维尔德滕起初是拉斯特雷利的助手，设计风格为巴洛克式；但一旦独立后，他的设计风格就变成了新古典主义风格，后来也有一些哥特式风格的作品。他的第一个独立委托是在涅瓦河海军部一侧铺设一条两英里长的堤坝。当凯瑟琳在 1760 年把这项任务交给他时，他还被认为是一个二流建筑师。该工程于 1760 年竣工。
gantic girdle 20 years later established his rank as no less than a firstrate architect and engineer. The famous wrought-iron fence of the Summer Gardens, the fresh but original treatment of the Second Hermitage, and the original ideas for ground plans and façades for churches mark Veldten as a resourceful architect whose imagination, originality and knowledge of the architectural past, left an impress on the city as well as on the next generation of architects, outstanding of whom were Basil Bazhenov and Ivan Starov.
20 年后，Veldten 的 "巨型腰带 "一举奠定了他不亚于一流建筑师和工程师的地位。维尔德滕是一位足智多谋的建筑师，他的想象力、独创性和对过去建筑的了解，给这座城市和下一代建筑师留下了深刻印象，其中最杰出的是巴希尔-巴真诺夫和伊万-斯塔洛夫。

After considerable training under de la Mothe, Starov and Bazhenov were sent to Paris to receive further training under de Wailly and his colleagues. The school to which de Wailly belonged and of which Boullée and Ledoux were the most radical members had several definite objectives: simplicity of form, monumentality of structure, absence of decoration and character of building forms. These aims, however, never found expression in France for with the Revolution and the downfall of wealthy nobles, large scale building virtually stopped. The ideas of the French Revolutionary School of Architecture lived on, however, in the hearts of the Russian students sent to Paris by the Petersburg Academy of Fine Arts; the ideas were transplanted to Russia, grafted on to native characteristics, instituting a grandiose and magnificent period of Russian architecture.
斯塔洛夫和巴热诺夫在德拉莫特手下接受了大量培训后，被派往巴黎接受德韦利及其同事的进一步培训。德韦利所属的学派（布埃利和勒杜是该学派中最激进的成员）有几个明确的目标：形式简洁、结构纪念性、无装饰和建筑形式的特点。然而，这些目标从未在法国得到体现，因为随着大革命的爆发和富有贵族的衰落，大规模的建筑活动几乎停止了。然而，法国大革命时期建筑学派的思想却在彼得堡美术学院派往巴黎的俄罗斯学生心中延续了下来；这些思想被移植到了俄罗斯，嫁接到了当地的特色上，形成了一个宏伟壮丽的俄罗斯建筑时期。

Bazhenov and Starov were the first of the Russians to come under the influence of this French Radical Classicism. While Starov attained fame through his buildings at home, Bazhenov attained fame through his projects abroad, but in spite of his great foreign success, Bazhenov returned to Russia to continue, as Rinaldi in the traditions of Rastrelli. Before Bazhenov fell into complete disfavor at St. Petersburg, Catherine commissioned him with a project of the Smolnyí Institute for the Daughters of Nobility. This building illustrates his Baroque tendencies in its curving plan and ornate façade, tendencies that caused the disfavor of an Empress whose taste was more attuned to the Neo-Classic style fashioned by Starov.
巴热诺夫和斯塔洛夫是最早受到法国激进古典主义影响的俄罗斯人。斯塔洛夫因其在国内的建筑而声名鹊起，而巴真诺夫则因其在国外的项目而声名鹊起，但尽管在国外取得了巨大成功，巴真诺夫还是回到了俄罗斯，继续像里纳尔迪一样继承拉斯特雷利的传统。巴真诺夫在圣彼得堡彻底失宠之前，凯瑟琳委托他为贵族之女设计斯莫尔尼学院。这座建筑的弧形平面和华丽的立面体现了他的巴洛克倾向，而这种倾向却引起了皇后的不满，因为皇后的品味更倾向于斯塔洛夫的新古典主义风格。

Although Starov’s fame rests on two buildings, a religious edifice and a palatial residence, his career is significant not only because of his personal development but also because of the precedents he established. Starov’s first buildings were uninteresting, being under the strict supervision of de la Mothe, but within the space of two years he was able to drop the traditions of the past, for adjoining the Baroque residence of Prince V. E. Gagarin in the Province of Moscow, he built a completely Neo-Classic church and belfry. The remarkable
虽然斯塔诺夫的名声来自两座建筑，一座宗教建筑和一座宫殿式住宅，但他的职业生涯之所以意义重大，不仅是因为他的个人发展，还因为他开创的先例。斯塔洛夫的第一批建筑由于受到德拉莫特的严格监督而显得平淡无奇，但在两年的时间里，他就摆脱了过去的传统，因为在莫斯科州 V. E. 加加林亲王的巴洛克式官邸旁边，他建造了一座完全新古典主义风格的教堂和钟楼。引人注目的
feature of this design is the abstraction of the walls, perhaps inspired from his Parisian schooling, and certainly notable as a feature to become characteristic of Russian Neo-Classicism.
这个设计的特点是墙壁的抽象化，这也许是他在巴黎求学时受到的启发，当然也是俄罗斯新古典主义的一个显著特点。

The Cathedral of the Trinity in the Alexander Nevskiir Lavra was Starov’s important religious creation. The basilican plan culminating in a large trefoil apse with two western towers enframing a pedimented entrance, a large parabolic central dome above an octagonal crossing and an interior barrel vault cut by spandrels and ovals are features foreign to Russian soil. No doubt this edifice was inspired by Sir Christopher Wren’s St. Paul’s Cathedral, yet, while the English example is one of Baroque detail, the Russian building is wholly NeoClassic in its strict use of the Doric order in the façade and in its relative simplicity. This church has but few Russian features, only the use of stucco is a native characteristic.
亚历山大-涅夫斯基尔修道院的三位一体大教堂是斯塔洛夫的重要宗教作品。大基底式的设计以一个大的三叶形天顶为顶点，两个西塔环绕着一个带有花饰的入口，一个大的抛物线形中央穹顶位于一个八角形十字架之上，内部的桶形拱顶由镶边和椭圆形切割而成，这些都是俄罗斯土地上的外来特征。毫无疑问，这座建筑受到了克里斯托弗-雷恩（Christopher Wren）爵士的圣保罗大教堂的启发，然而，英国的例子是巴洛克式的细节，而俄罗斯的建筑则完全是新古典主义的，它的正面严格使用了多立克式，而且相对简洁。这座教堂几乎没有俄罗斯特色，只有灰泥的使用是当地的特色。

Starov’s other great creation, the Tauric Palace, is not only an architectural but also a historical monument. Built as a reward to Catherine’s favorite, Potemkin, for conquest of the Crimea, this palace is immortalized by the contemporary Russian poet Derzhavin as the background of fabulously lavish parties given in honor of Catherine by her favorite. On the accession of Paul I in 1796, the Palace was converted to a stable, since Paul hated everything associated with his mother. Between the beautiful columns in the magnificent ballroom stalls were set up to lodge the horses. Later Catherine’s grandson, Alexander I, ordered the regimental stable to be remodeled. In 1906 this Palace became the Seat of the Duma and around it centered the first uprisings of the Revolution in 1917.
斯塔洛夫的另一个伟大作品陶里克宫不仅是一座建筑，也是一座历史古迹。这座宫殿是为了奖励凯瑟琳的宠臣波坦金征服克里米亚而修建的，当代俄罗斯诗人德尔扎文将其描绘成凯瑟琳的宠臣为凯瑟琳举办的奢华宴会的背景。1796 年保罗一世即位后，由于保罗憎恨与其母亲有关的一切，宫殿被改建成了马厩。在华丽舞厅的美丽圆柱之间，设置了马厩来停放马匹。后来，凯瑟琳的孙子亚历山大一世下令改建马厩。1906 年，这座宫殿成为了杜马的所在地，1917 年革命的第一次起义就发生在这里。

In the Tauric Palace, Starov embodied certain traits that were to become definite and consistent features adopted by all architects of the next generation, however individual they were. For these men, order was the fundamental element underlying everybuilding. Usually orders of a strictly canonical type were used, with the Roman the most popular. Another important element was the conception of the solids, a central mass to which were correlated subordinate masses. Architects now aimed at simple and grandiose forms, and ornamentation was used discreetly in order not to dematerialize the walls. Plans were characterized by compactness, and interior courts, so common for the transitional classicists, disappeared entirely. The Taurida typical of all these features, had a tremendous influence on dwellings and civic buildings of the next era.
斯塔洛夫在金牛宫中体现了某些特征，而这些特征将成为下一代所有建筑师所采用的明确而一致的特征，无论他们是如何的个性。对这些人来说，秩序是所有建筑的基本要素。通常，他们使用的是严格的教规类型的秩序，其中罗马式秩序最受欢迎。另一个重要元素是实体的概念，即一个中心体块，与之相关的是附属体块。建筑师们现在的目标是简洁而宏伟的形式，装饰品的使用也很谨慎，以免使墙体非物质化。平面布局以紧凑为特点，过渡古典主义时期常见的室内庭院完全消失了。具有上述所有典型特征的陶丽达对下一个时代的住宅和市政建筑产生了巨大的影响。

With Starov, Catherine’s taste for strict Classicism was established. With Charles Cameron and Giacomo Quarenghi this passion for the antique reached its peak. Cameron, invited to St. Petersburg
与斯塔洛夫一起，凯瑟琳确立了对严格古典主义的喜好。在查尔斯-卡梅隆和贾科莫-夸伦吉（Giacomo Quarenghi）的帮助下，这种对古董的热情达到了顶峰。应邀前往圣彼得堡的卡梅隆
by Catherine for his knowledge of Greek and Palladian cannons, fashioned many charming interiors and pavilions in strictly antique motives and gave a new value to material through his love and expert handling of stucco and polychrome marble. Cameron’s contribution to Russian Neo-Classicism was far less, however, than that of Giacomo Quarenghi. While the former was faithful exclusively to antique ideals, Quarenghi, soon after his arrival, adapted himself to native situations. Those buildings best typifying Quarenghi’s ideas are the Theatre of the Hermitage and the Imperial Bank.
卡梅隆因其对希腊和帕拉第奥大炮的了解而受到凯瑟琳的赏识，他以严格的仿古主题设计了许多迷人的室内装饰和亭台楼阁，并通过对灰泥和多色大理石的热爱和专业处理赋予了材料新的价值。然而，卡梅隆对俄罗斯新古典主义的贡献远不及贾科莫-夸伦斯基。前者完全忠实于古代的理想，而夸伦斯基则在来到俄罗斯后不久就适应了当地的环境。最能体现夸伦斯基思想的建筑是冬宫剧院和帝国银行。

The Theatre, located on the banks of the Neva, is indeed a masterly composition both in its interior plan and in its exterior treatment. The plan, essentially a square, has been divided into two rectangular halls (theatre and reception room) placed at right angles to each other with a number of smaller rooms and offices besides. The Palladian manner, prominent in his earlier churches, is visible in the disposition of the façade. The severity of mass and wall surface are lessened at the corners of the building. At the level of the main story are niches containing a full-sized figure. These decorative elements plus the rustication and cornices combine to give a certain flavor of continuity with its great neighbors, the two Hermitage buildings and the Winter Palace. This theatre, besides being reached from the Millionaya (street running parallel to the Neva Embankment) may be reached directly from the Hermitage by means of a covered bridge. The arches of this bridge, under which the Catherine Canal flows into the Neva are rusticated as are the other buildings of the group. Thus Quarenghi provides a spiritual as well as physical link, for, from the Winter Palace to the Old Hermitage, to the second Hermitage, across the bridge to the Theatre, the architectural transition from the Baroque to the Neo-Classic may be followed.
剧院坐落在涅瓦河畔，无论是内部布局还是外部装饰都堪称杰作。其平面基本上是一个正方形，分为两个长方形大厅（剧院和接待室），互成直角，此外还有一些较小的房间和办公室。帕拉第奥式的建筑风格在他早期的教堂中非常突出，这一点在建筑立面的布局中也可见一斑。建筑四角的体量和墙面都有所减弱。在主楼的水平面上有一个壁龛，里面有一个全尺寸的人物。这些装饰元素加上锈饰和檐口，使其与周围的两座冬宫和冬宫形成了某种连续性。除了从与涅瓦河河堤平行的米百万亚大街（Millionaya）可以到达这座剧院外，还可以通过一座有顶的桥从冬宫直接到达剧院。凯瑟琳运河从这座桥上流入涅瓦河，桥拱与该建筑群的其他建筑一样都锈迹斑斑。因此，夸伦斯基提供了一种精神和物质上的联系，因为从冬宫到老冬宫，再到第二冬宫，过桥到剧院，可以看到从巴洛克到新古典主义的建筑过渡。

The other of Quarenghi’s great creations, the Imperial Bank, built at the height of his career 1783-1788, on the shore of the Catherine Canal, has a singular plan, taking the form of a huge horseshoe. Possibly Quarenghi wished to harmonize the curve of the bank with the the bend in the Canal. This interest in his artificial surroundings, as also witnessed in the Theater, is significant as it forecasts one of the great features of Alexandrian Classicism. In the center of the courtyard, formed by the great curve, is a small building. By this ingenious plan of encompassing his vaults with a strong ring, Quarenghi made a financial fortress. The building speaks in the manner that Ledoux’s project for a river guardhouse was to speak. Though given
夸伦斯基的另一个伟大作品是帝国银行，建于 1783-1788 年他事业的巅峰时期，位于凯瑟琳运河岸边，其平面图非常奇特，呈巨大的马蹄形。夸伦斯基可能是想让河岸的曲线与运河的弯道相协调。这种对人工环境的兴趣在剧院中也有所体现，它预示着亚历山大古典主义的一个重要特征。在大弧线形成的庭院中央，有一座小楼。夸伦斯基巧妙地用一个坚固的圆环将拱顶包围起来，从而建造了一座金融堡垒。这座建筑与勒杜（Ledoux）的河边警卫室项目如出一辙。虽然
a meaning, the bank may have proven inconvenient for daily business spread out as it was.
这意味着，该银行可能不方便日常业务的开展。

In the Theater, the Bank, and the Academy of Science, Quarenghi achieved his highest fame and in these his chief characteristics may be epitomized: a use of large masses, wall surface and space betray the influence of ancient Rome and Palladio. Although he once stated that “rules do not make a great creation, but a great creation gives birth to rules” ${}^{\prime 4}$${}^{\prime 4}$^('4){ }^{\prime 4} he never freed himself from principles of the past. In two respects, however, he proved himself in advance of his time. The first was his revival of stucco and the second was his interest in producing an integration of building and location. These features, though secondary in Quarenghi’s style, were primary in the style of the early 19th Century.
在剧院、银行和科学院中，夸伦斯基获得了最高的声誉，他的主要特点可以在这些建筑中得到体现：大体量、墙面和空间的使用透露出古罗马和帕拉迪奥的影响。虽然他曾说过 "规则不会造就伟大的创造，但伟大的创造会催生规则" ${}^{\prime 4}$${}^{\prime 4}$^('4){ }^{\prime 4} ，但他从未摆脱过去的原则。然而，他在两个方面证明了自己走在了时代的前列。首先是他对灰泥的复兴，其次是他对将建筑和地点融为一体的兴趣。这些特点虽然在夸伦斯基的风格中是次要的，但在 19 世纪早期的风格中却是主要的。

With Quarenghi’s work an era of Classicism ended. In the successive change from one architect to another after the great Baroque architect, Rastrelli, the evolution of the tastes and ideas of the Empress Catherine may be followed through a Transitional to a Classical period. As she grew older her taste for the severe antique predominated with the more serious works of the Italian winning her complete admiration. Although the Neo-Classic development was due to arrive in time, because of Russia’s role and contact abroad, it arrived sooner, at a faster rate and at a higher level of achievement because of the good taste and high standards of her ruler.
随着夸伦斯基作品的问世，一个古典主义时代结束了。在伟大的巴洛克建筑师拉斯特雷利之后，凯瑟琳皇后的品味和思想也在不断变化，从过渡时期到古典主义时期。随着年龄的增长，她对严谨的古代风格的喜好占了上风，意大利人更严肃的作品赢得了她的完全钦佩。虽然新古典主义的发展本应及时到来，但由于俄罗斯的作用和与国外的接触，新古典主义来得更早、速度更快、成就更高，因为她的统治者有着良好的品位和高标准。

Catherine was succeeded by her ill-fated son, Paul. Though cultured and well educated, militaristic affairs occupied his interests entirely; these were reflected in the well-known Mikhailovskil Palace, (now the Russian Museum), built for him by his favorite architect, Vincent Brenna.
凯瑟琳的继任者是她命运多舛的儿子保罗。虽然保罗受过良好的教育和文化熏陶，但军国主义事务占据了他全部的兴趣；他最喜欢的建筑师文森特-布伦纳为他建造的著名的米哈伊洛夫宫（现俄罗斯博物馆）就反映了这一点。

The Mikhailovskiĭ Palace, built from 1797 to 1800 , exemplifies a reversion from the strict Classicism of Catherine’s reign, in its medieval conception of a castle surrounded by a moat and its Baroque detail. This tendency toward freedom from Classicism is noteworthy, although the structure in itself is a poor model of artistic beauty. Brenna’s contribution lies not in this fact, but in his use of sculptured panels of the façade. Patterns laid with diamond-cut bricks reveal interest in material and design as well as in light and shade. This idea of sculptured decoration which Brenna evolved was transmitted to his pupil Carlo Rossi and to the architect of the Admiralty, Zakharov, who carried it to its full fruition. The propensity toward
米哈伊洛夫斯基宫殿建于 1797 年至 1800 年，它从凯瑟琳统治时期严格的古典主义风格中走了出来，其护城河环绕的中世纪城堡概念和巴洛克式的细节设计都体现了这一点。这种摆脱古典主义的趋势值得注意，尽管其结构本身并不是艺术美的典范。布伦纳的贡献并不在于此，而在于他对外墙雕刻面板的运用。用钻石切割的砖块铺成的图案显示出对材料和设计以及光影的兴趣。布伦纳逐渐形成的这种雕刻装饰理念传给了他的学生卡罗-罗西（Carlo Rossi）和海军部建筑师扎哈罗夫（Zakharov），后者将其完全付诸实践。这种倾向

freer Classicism is also evidenced in the work of Andrei Voronikhin who, like Brenna, revived features of a previous tradition. Voronikhin, originally a serf of the great art connoisseur and president of the Academy of Fine Arts, Count Stroganoff, won the competition sponsored by Paul I for the Cathedral of Our Lady of Kazan with the stipulation that the project be based on the plan of St. Peter’s in Rome.
安德烈-沃罗尼克欣的作品也体现了更自由的古典主义，他与布伦纳一样，恢复了以前传统的特征。沃罗尼金原本是伟大的艺术鉴赏家兼美术学院院长斯特罗加诺夫伯爵的农奴，他在保罗一世主办的喀山圣母大教堂设计竞赛中胜出，但规定该项目必须以罗马圣彼得大教堂的平面图为基础。

The original project was to have been a basilican church with two circular colonnades whose great curves would be tangent to the transepts on the north and south. On the west side a straight colonnade, interrupted by the great western entrance, was to join the extremities of the circular colonnades, however, only one colonnade was actually built. This is indeed an essay in space composition, in plan, in space interpenetration, an essay whose general effect is one of graceful impressiveness, an essay of skillful space transitions. From the inner space of the cathedral one passes to the more open space of the colonnades, to the bound space of the circular court, to the free space of the street beyond.
最初的设计方案是一座大殿式教堂，有两个圆形柱廊，其大曲线与南北两侧的中厅相切。在西侧，一条笔直的柱廊将环形柱廊的两端连接起来，并被西侧的大入口打断，但实际上只修建了一条柱廊。这的确是一篇空间构成、平面布局和空间穿插的论文，其总体效果给人留下了优雅的印象，是一篇巧妙的空间过渡论文。从大教堂的内部空间到更开阔的柱廊空间，到环形庭院的约束空间，再到外面街道的自由空间。

But Voronikhin did not draw on Saint Peter’s exclusively, for the portico, dome and general elegance betray French influence, particularly that of the French Pantheon.
不过，沃罗尼金并没有完全借鉴圣彼得大教堂，因为它的门廊、穹顶和整体优雅风格都受到了法国的影响，尤其是法国万神殿的影响。

Not only an essay in space is this, but one in material, for this cathedral is built of a combination of granite, marble, gilt, stucco and bronze. Because of the haste in the final completion of the interior the decorative wall designs were spoiled. Even now, however, the masterly handling of material may be seen in the richly coffered barrel vault of the nave, and the fifty-six interior granite columns.
这不仅是一篇空间论文，也是一篇材料论文，因为这座大教堂是由花岗岩、大理石、镀金、灰泥和青铜组合而成的。由于最后完工时过于仓促，装饰墙的设计被破坏了。不过，即使是现在，我们也可以从中殿富丽堂皇的桶形拱顶和内部的 56 根花岗岩圆柱中看到对材料的巧妙处理。

Like Brenna, Voronikhin revived features of a previous tradition. The importance of space and the dematerialization of the mass were the elements Voronikhin borrowed from the Baroque to combine them in a Neo-Classic cathedral. On this cathedral Voronikhin’s fame rests and although he built another important work, the Mining Engineers Building, that was inspired by the Temple of Poseidon, the Cathedral on the Nevskiil Prospekt is far more important. In this NeoClassic creation Voronikhin was able to achieve the dematerialization of a solid, the solid that was so dear to Quarenghi and the strict classicists.
与布伦纳一样，沃罗尼金也恢复了以往传统的特征。沃罗尼金从巴洛克借鉴了空间的重要性和质量的非物质化等元素，并将其融合到新古典主义大教堂中。沃罗尼金的名声就建立在这座大教堂上，尽管他还建造了另一座重要作品，即受到波塞冬神庙启发的采矿工程师大楼，但位于涅夫斯基大街上的大教堂要重要得多。在这个新古典主义的作品中，沃罗尼金实现了实体的非物质化，即夸伦斯基和严格的古典主义者所珍视的实体。

Voronikhin, though commissioned by Paul, rightfully belongs to the Golden Age of St. Petersburg’s architecture, the age that lasted throughout the long reign of Alexander I, under whose inspiring guidance architecture flourished achieving brilliant results. Among the outstanding masters of this period besides the aforementioned, were
沃罗尼金虽然是保罗委托建造的，但他理所当然地属于圣彼得堡建筑的黄金时代，这个时代贯穿了亚历山大一世漫长的统治时期，在他的激励指导下，建筑业蓬勃发展，取得了辉煌的成就。除上述大师外，这一时期的杰出大师还有
de Thomon, Zakharov and Rossi, all of whom completed their architectural training in Paris.
de Thomon、Zakharov 和 Rossi，他们都在巴黎完成了建筑培训。

Influenced by the admiration of the antique and the love for simplicity, monumentality, and realism of the French school of the eighteenth century, Thomas de Thomon projected these ideals into the Bourse, his greatest creation. The site of the Bourse was to be on that point of the Vasilievskií Ostrov that protruded into the great Neva, facing the Fortress of Saint Peter and Paul on one hand and the embankment and Admiralty on the other. Where the River Neva was such an important factor in determining the layout of this great city, it was the dream of every architect to build on its banks; but until de Thomon came no architect had truly taken advantage of this site. Although some ideas were not his own and the great interior hall was suggested by Tardier’s plan for the Royal Gallery of 1788, the exterior from a Greek Temple of the peripteral type, de Thomon cannot be denied a great power of assimilation that resulted in one of the most significant sections of St. Petersburg. Like the Kazan Cathedral, this too is an essay in space composition, an essay that goes a step beyond Voronikhin. Not only is de Thomon interested in a simple enclosed space, from which one is led to the half open space of the portico down a double flight of steps to the exterior, but he also enables one to enjoy the square where there are two fine rostral columns each crowned by a huge statue, and also a granite embankment, below which roll the cold waves of the Neva.
托马斯-德-托蒙（Thomas de Thomon）受到十八世纪法国学派对古代建筑的推崇以及对简洁、纪念性和现实主义的热爱的影响，将这些理想融入到了他最伟大的作品--"交易所 "中。交易所选址在瓦西里耶夫斯基大街（Vasilievskií Ostrov）突出涅瓦河的那一点上，一边是圣彼得和保罗要塞，另一边是堤坝和海军部。涅瓦河是决定这座伟大城市布局的重要因素，在涅瓦河畔建造建筑是每一位建筑师的梦想，但在德-托蒙到来之前，还没有一位建筑师真正利用过这片土地。虽然德-托蒙的一些想法并不属于他自己，他的内部大殿是根据塔迪埃 1788 年的皇家美术馆计划而设计的，外部则是根据希腊神庙的周边类型而设计的，但不可否认的是，德-托蒙具有强大的同化能力，这也是圣彼得堡最重要的建筑部分之一。与喀山大教堂一样，这也是一篇空间构成论文，一篇超越沃罗尼欣的论文。德-托蒙不仅对一个简单的封闭空间感兴趣，从这里沿着双层台阶通往外部的半开放式门廊空间，他还让人们欣赏到广场，广场上有两根精美的圆柱，每根圆柱上都有一个巨大的雕像，还有一个花岗岩堤坝，堤坝下是寒冷的涅瓦河波涛滚滚。

While Voronikhin was concerned with the solution of space in a purely artistic sense, de Thomon gave a certain character to the space unit that he created, a character related to the function of the building. Therefore de Thomon’s importance cannot be overlooked. He brought the elements of realism and of space units from France, combined them with hitherto developed elements of Russian monumentalism and made the Russians not only building-conscious but spaceconscious. From now on, buildings were not conceived in the setting of a garden or court, but in relation to a whole unit of space. Moreover, the space unit had a definite character, in this case a character acquired by its maritime location and its business building, its grand embankment and fine rostral columns.
沃罗尼金关注的是纯艺术意义上的空间解决方案，而德-托蒙则赋予了他所创造的空间单元某种特性，一种与建筑功能相关的特性。因此，德-托蒙的重要性不容忽视。他从法国带来了现实主义和空间单元的元素，并将其与俄罗斯迄今为止发展起来的纪念碑元素相结合，使俄罗斯人不仅具有建筑意识，而且具有空间意识。从那时起，人们不再在花园或庭院的环境中构思建筑，而是将其与整个空间单元联系起来。此外，空间单元具有明确的特征，在这种情况下，这种特征是由其海洋位置和商业建筑、宏伟的堤坝和精美的圆柱而获得的。

With Andrei Voronikhin and Thomas de Thomon the height of Alexandrian Classicism (usually termed Russian Empire) is approached. As before, the interest in the antique prevailed, but by this time, the archaeologists had forsaken Rome for Greece and the influence of the French Revolutionary School had been more completely felt in the demand for functional, monumental, simple, rational archi-
随着安德烈-沃罗尼欣和托马斯-德-托蒙的出现，亚历山大古典主义（通常被称为俄罗斯帝国）达到了顶峰。和以前一样，对古代的兴趣占了上风，但此时，考古学家们已弃罗马而取希腊，法国大革命学派的影响已更全面地体现在对功能性、纪念性、简洁、理性建筑的需求上。
tecture. While their structural solutions did have effect on contemporary Russian architecture, the philosophical ideas did not penetrate, for the proletarian cry of the revolutionaries was too far away in those days to have much effect on Imperial Russia. Architecture in Russia was not yet conceived as an expression of humanity and social order as it was mirrored in the eyes of Ledoux, who, though himself a royalist, was a thinker far in advance of his age.
结构。虽然他们的结构方案确实对当代俄罗斯建筑产生了影响，但其哲学思想并没有深入人心，因为当时革命者的无产阶级呼声离我们还很遥远，对帝国俄国的影响不大。列杜虽然是保皇党人，但却是一位思想家，他的思想远远超越了他的时代。

The Russian architect who was particularly influenced by the French Revolutionary School was Adrian Zakharov (1761-1811). His great masterpiece, the Admiralty, occupies the focal point of Leningrad where three radiating streets converge, as planned by Leblond approximately one hundred years before. The original building was constructed in 1704, a year after the founding of the city. With the growth of the city the Admiralty expanded. Yet the latter was not large enough for its manifold purposes; a new building was commissioned and this indeed was here to stay.
俄罗斯建筑师阿德里安-扎哈罗夫（1761-1811 年）尤其受到法国大革命学派的影响。他的伟大杰作--海军部大楼占据了列宁格勒的中心地带，三条放射状的街道在此交汇，这是约 100 年前勒布朗规划的。最初的建筑建于 1704 年，即建城一年之后。随着城市的发展，海军部也不断扩大。随着城市的发展，海军部的规模也在不断扩大，但海军部的规模还不足以满足其多方面的需要；于是，一座新的建筑开始投入使用，而这座新建筑也将继续留在这里。

Zakharov’s idea was as simple as it was grandiose, an immense rectangular block with symmetrical wings projecting at right angles from the extremities of the long block to the river bank. The 2526foot façade, facing the great plaza, is divided into five sections, that of the central tower with its nearly cubical foundation, two wings and two long arms joining the central tower and wings. The wings, in their turn, are divided into a five-partite scheme, with side and central columnar porticos connected by severe side arms. Thus the colonnaded porticos at the end of each façade merge, providing a logical and skillful transition. A similar transition of a colonnaded portico is adopted in the side and river façades. The two Neva façades, however, are composed only of three parts; a colonnaded portico on either side of the triumphal arch. This arch, that is derived from Moitte’s arch, repeats the motif of the main arched entrance of the central façade. Linked closely as it is to the composition of the masses, the integrated treatment of the façade is always subordinated to the organization of the masses. The three separate masses constitute the plan of the building, their size, dignity and simplicity produce its monumentality and by their complete organization they create the perfect space order of the composition.
扎哈罗夫的构思既简单又宏伟，这是一座巨大的长方形建筑，从长形建筑的两端向河岸呈直角伸出对称的两翼。面向大广场的 2526 英尺长的正面分为五个部分，即中央塔楼及其近似立方体的地基、两翼以及连接中央塔楼和两翼的两条长臂。两翼又分为五个部分，侧面和中央柱廊由严酷的侧臂连接。这样，每个立面末端的柱廊门廊就融合在一起，形成了一个合理而巧妙的过渡。侧立面和河岸立面也采用了类似的柱廊过渡。然而，涅瓦河的两个正面仅由三部分组成：凯旋门两侧的柱廊。凯旋门源自莫伊特（Moitte）拱门，重复了中央立面主拱形入口的图案。立面的综合处理与体量的构成紧密相连，始终服从于体量的组织。三个独立的体块构成了建筑的平面，它们的大小、庄重和简洁产生了建筑的纪念性，它们的完整组织创造了完美的空间秩序。

During the period of strict Classicism the use of sculptured ornamentation was negligent. It may be remembered that Brenna was the first to revive sculptural decoration by adorning wall surfaces with figures and designs, thus giving buildings a certain emotional and
在严格的古典主义时期，雕刻装饰的使用被忽视了。人们可能还记得，布伦纳（Brenna）是第一个恢复雕塑装饰的人，他在墙壁表面装饰人物和图案，从而赋予建筑物某种情感和风格。
decorative quality. Zakharov, realizing the possibilities of Brenna’s sculptural ornamentations, developed a new harmonious system on these lines, yet his decoration in no way dematerialized the wall; instead, it strengthened and emphasized it. The flying victories over the arches seem to be sliding over the even surface, stressing the smoothness of the plain wall, and thus achieving unusual expression and beauty. Zakharov showed his excellent taste in his manipulation of the sculpture, using it not over decoratively, as Brenna, but to accentuate an important part of the composition as, in this case, the entrance to the Admiralty. The entrance is further emphasized by the austerity of the walls that join it with the side wings. In those severe and tight walls the influence of the French Revolutionary School may be felt, particularly that of Ledoux, whose factory buildings of the Forge à Canons are not unlike this section of the Admiralty.
装饰性。扎哈罗夫意识到布伦纳雕塑装饰的可能性，在此基础上发展出一种新的和谐体系，但他的装饰丝毫没有使墙壁非物质化，相反，它强化并强调了墙壁。拱门上的飞胜仿佛在平整的表面上滑动，强调了素墙的平滑，从而达到了不同寻常的表现力和美感。扎哈罗夫在对雕塑的处理上展现了他的高超品味，他没有像布伦纳那样过度装饰性地使用雕塑，而是突出了构图的重要部分，在本作品中就是海军部的入口。入口处与侧翼相连的墙壁的肃穆感进一步突出了入口。在这些严谨而紧密的墙壁上，我们可以感受到法国大革命时期学院派的影响，尤其是勒杜的影响，他的卡农锻造厂的厂房与海军部的这一部分并无二致。

The applied order used by Zakharov is canonıcal, following Palladian ideals in the use of heavy Roman Doric columns throughout the main features of the design, with the contrast of lighter Roman Ionic columns, that are topped by a row of statues, in the tower. In this great tower (229’), Zakharov incorporated Korobov’s original Tower (built in the first deçade of the eighteenth century) which may be viewed through the Ionic colonnade. The original gold fleche of the first Admiralty, carrying a model of a ship, rises majestically above the building glistening in the clear cold atmosphere of this northern city. It is complemented by the Dutch spire of the Peter and Paul Cathedral across the river.
扎哈罗夫采用的应用顺序是卡农式的，遵循帕拉第奥式的理想，在整个设计的主要特征中使用厚重的罗马多立克柱式，而在塔楼上则使用较轻的罗马爱奥尼克柱式，柱顶有一排雕像，形成鲜明对比。在这座巨大的塔楼（229 英尺）中，扎哈罗夫将科罗博夫原来的塔楼（建于十八世纪的第一层立面）融入其中，通过爱奥尼克柱廊可以看到它。在这座北方城市清澈寒冷的空气中，第一任海军上将的原金色舰旗在建筑上方巍然耸立，闪闪发光。河对岸彼得保罗大教堂的荷兰式尖顶与之相得益彰。

The significance of Zakharov cannot be overlooked. Synthesizing those qualities of de Thomon, Voronikhin, Brenna and the French School, i.e., space, sculptured decoration and monumentality, respectively, he evolved the mature Russian Empire style, a style that was to be continued and brought to its culmination by Carlo Rossi.
扎哈罗夫的重要性不容忽视。他综合了德-托蒙、沃罗尼欣、布伦纳和法国画派的特质，即空间、雕刻装饰和纪念性，形成了成熟的俄罗斯帝国风格，这一风格将由卡洛-罗西延续并推向顶峰。

While Zakharov was ahead of his age in many projects, planning completely utilitarian buildings of maximum simplicity and compactness, he was not interested in the specific location on which the buildings were to rest. He planned, instead, according to a preconceived geometric scheme. Rossi, however, was always conditioned by his environment. Herein lies the greatest difference between Zakharov and Carlo Rossi.
扎哈罗夫在许多项目中都走在了时代的前列，他规划的完全是功利性的建筑，最大限度地做到简洁和紧凑，但他对建筑所处的具体位置并不感兴趣。相反，他是按照事先设想好的几何方案进行规划的。然而，罗西总是受环境的制约。这就是扎哈罗夫与卡洛-罗西最大的不同之处。

Born in 1775 in Naples, the son of a famous Italian dancer, Rossi came to Russia with his mother when he was eight years old. Paul’s
罗西 1775 年出生于那不勒斯，是意大利著名舞蹈家的儿子，8 岁时随母亲来到俄罗斯。保罗的
favorite architect, Brenna, took great interest in the gifted young man. At eighteen Rossi became one of Brenna’s helpers and later, through Brenna’s influence, he was sent to the Florentine Academy. There he must have studied and deeply appreciated the beauty of town squares, such as the Piazza del la Signoria, which perhaps inspired him in the ensembles he created for the Russian capital. Although he returned to Russia in 1806, little is heard of him until 1816, the year when he was appointed to the Building Commission Committee.
他最喜欢的建筑师布伦纳对这位天才少年产生了浓厚的兴趣。18 岁时，罗西成为布伦纳的助手之一，后来在布伦纳的影响下，他被送到佛罗伦萨学院学习。在那里，他一定学习并深深欣赏了城市广场的美景，如市政广场，这或许是他为俄罗斯首都创作合奏曲的灵感来源。虽然他于 1806 年返回俄罗斯，但直到 1816 年他被任命为建筑委员会委员之前，人们对他知之甚少。

The Building Committee was the result of the interest in architecture and city planning that Alexander had inherited from his grandmother, Catherine. Every plan, no matter how modest, had to be submitted to this Committee who approved the layout of streets, squares, canals, bridges, suburban districts, as well as the proportions and style of every façade. Any plan of importance was reviewed by the Emperor himself, whose excellent taste and judgment equaled any of those of his Committee.
建筑委员会是亚历山大从祖母凯瑟琳那里继承的对建筑和城市规划的兴趣的结果。每项规划，无论多么不起眼，都必须提交给该委员会，由其批准街道、广场、运河、桥梁、郊区的布局，以及每个立面的比例和风格。任何重要的规划都要经过皇帝本人的审查，他的品味和判断力不亚于委员会的任何成员。

The enthusiasm for further building and replanning of whole blocks was at its peak when Rossi came into his own. By bringing streets and squares into his compositions he advanced a step beyond de Thomon. Instead of considering the meaning of the relation of a building to a square, Rossi considered the whole square in relation to the city; by thinking in terms of areas of the city, Rossi expressed the final development of the Russian Empire style.
当罗西（Rossi）崭露头角时，人们对进一步建造和重新规划整个街区的热情达到了顶峰。通过将街道和广场纳入他的作品，他比 de Thomon 更进了一步。罗西不再考虑建筑物与广场的关系，而是将整个广场与城市联系起来考虑；罗西从城市区域的角度思考问题，表达了俄罗斯帝国风格的最终发展。

The Mikhailovskir Palace was Rossi’s first important creation. The result of his Italian education is betrayed in the impression of massiveness and solidity. He himself admitted that the Romans were his teachers, that he wanted to make Saint Petersburg a second Rome. “Our goal is not in the number of monuments but in their majesty of form and perfect unity.” 5
米哈伊洛夫宫是罗西的第一个重要作品。他所受的意大利教育给人的印象是庞大和坚固。他自己也承认，罗马人是他的老师，他想把圣彼得堡打造成第二个罗马。"我们的目标不在于纪念碑的数量，而在于其庄严的形式和完美的统一"。5

This was the last palace of the country estate scheme to be built in Saint Petersburg. As Rossi wished to link his building to the surrounding streets he planned a new square and street. In this unusual manner Rossi combined the last country estate scheme with the first city ensemble. Although the misproportion and stern solidity of the Palace building are flaws of this architectural composition, the creation of a whole artistic city block was a tremendous step foreward in city planning, a step that only a great artist could take. This step determined the future of Rossi.
这是圣彼得堡最后一座乡村庄园式的宫殿。由于罗西希望将他的建筑与周围的街道连接起来，因此他规划了一个新的广场和街道。罗西以这种不同寻常的方式将最后一个乡村庄园方案与第一个城市建筑群结合在一起。虽然宫殿建筑的比例失调和坚固性是这种建筑构图的缺陷，但创造出一个整体的艺术化城市街区是城市规划的一大进步，只有伟大的艺术家才能迈出这一步。这一步决定了罗西的未来。

In November, 1819, Rossi began the remodeling of the (Winter)
1819 年 11 月，罗西开始改建（冬季）

Palace Square. The huge sum of eight million rubles was appropriated for this project, emphasizing the importance of the location, for this had become the business and administrative heart of the capital. In the organization of the Palace Place, Rossi’s plan was simple as it was grandiose. Opposite the Winter Palace Square he built the huge semicircular façade of the General Staff, cutting its center with a huge monumental arch. Underneath this arch is the street that runs from the Palace Place to the Nevskiir Prospekt, dividing the offices of the General Staff into two buildings. At the angle of the street Rossi built another great arch, thus finishing off the Palace Square with an impressive perspective view.
皇宫广场。800 万卢布的巨额拨款被用于这项工程，这凸显了该地点的重要性，因为它已成为首都的商业和行政中心。在皇宫广场的组织方面，罗西的计划既简单又宏伟。他在冬宫广场对面建造了总参谋部巨大的半圆形立面，用一个巨大的纪念性拱门将其中心切开。拱门下方是一条从皇宫广场通往涅夫斯基大街的街道，将总参谋部的办公楼分为两座建筑。在街道的拐角处，罗西又建造了一座巨大的拱门，从而以令人印象深刻的透视景观结束了皇宫广场。

The façade that opens on to the Square has four stories; two that on the exterior are treated as a basement story, and two above, screened by a colossal order, consisting of eight gigantic Corinthian columns that flank tall arched windows on each side of the central arch, forming a colossal portico. Above the arch is a tremendous sculptured attica flanked, like the windows, by Corinthian columns. On it stands the bronze figure of Glory driving six horses. This sculptural device taken over from Zakharov and Brenna, gives the final perfected touch to the arch.
通向广场的正面有四层，其中两层在外观上被视为地下室，上面两层被巨大的秩序所遮挡，秩序由八根巨大的科林斯式圆柱组成，在中央拱门两侧各有一扇高大的拱形窗户，形成一个巨大的门廊。拱门上方是一个巨大的雕刻阿提卡，与窗户一样，两侧也是科林斯式圆柱。上面矗立着驾驭六匹马的荣耀铜像。这个雕塑装置是从扎哈罗夫和布伦纳手中接过来的，为拱门增添了最后的完美色彩。

Two other famous ensembles created by Rossi are the Alexandrinskiĭ Theater Square and Theater Street, 1827-32, and the Senate and Synod group, 1829-34, both of which were built during the first years of the reign of Nicholas I.
罗西创作的另外两个著名建筑群是亚历山大林斯基剧院广场和剧院街（1827-1832 年）以及参议院和宗教会议群（1829-1834 年），这两个建筑群都建于尼古拉一世统治的最初几年。

Theater Street, at the head of which stands the Alexandrinskiy Theater, is bounded on either side by buildings of similar size and composition. Having a tall basement story and a colossal Doric order, these buildings seem ordinary, but, as Grabar says, the monotony of the street is a preparation for the theatre beyond. ${}^6$${}^6$^(6){ }^{6} Rossi’s earlier visit to Italy no doubt inspired him in this theatre, for the Russian building is very similar to the San Carlo Theatre in Naples, though lacking in the simplicity of the latter. Here he used his favorite Roman attica; by this device he perhaps heightened the theatre in size and impression, but lost in artistic value. It is nevertheless significant that he was thinking not in terms of an individual building but in terms of relations of buildings to each other and to the general areas surrounding them, i.e., streets and squares.
剧院街位于亚历山大林斯基剧院的街头，两侧是规模和结构相似的建筑。这些建筑拥有高大的地下室和巨大的多立克式阶梯，看似普通，但正如格拉巴所说，街道的单调是为后面的剧院做准备。 ${}^6$${}^6$^(6){ }^{6} 罗西早些时候对意大利的访问无疑给了他建造这座剧院的灵感，因为这座俄罗斯建筑与那不勒斯的圣卡洛剧院非常相似，只是缺少后者的简洁。在这里，他使用了他最喜欢的罗马式阿提卡；通过这种方式，他或许在规模和印象上扩大了剧院，但却失去了艺术价值。不过，重要的是，他不是从单个建筑的角度考虑问题，而是从建筑之间的关系以及建筑周围的一般区域（即街道和广场）的角度考虑问题。

The Theatre group covers a large area from the Nevskir Prospekt to the Fontanka river. The street at the river end opens into a small semicircular place. Running in the opposite direction, about halfway
剧院群占地面积很大，从涅夫斯基大街一直延伸到丰坦卡河。河边的街道是一个半圆形的小广场。向相反的方向延伸，大约有一半的距离

to the Nevskir, it opens into a very large Square, at one end of which stands the Theatre and at the other the Nevskií Prospekt. At the corner of the Nevskir and the Square stands the Public Library and on the other corner are the pavilions of the Anichkov Palace, all of which Rossi remodeled.
广场的一端是剧院，另一端是涅夫斯基大街。在涅夫斯基大街和广场的拐角处矗立着公共图书馆，在另一个拐角处是阿尼奇科夫宫的亭子，所有这些都是罗西改建的。

The Senate and Synod group is another example proving the terms in which Rossi was thinking. These two buildings are located on the banks of the Neva, facing the Senate Square, on the other side of which extends the wing of the Admiralty. In order to balance the great wing of the Admiralty across the Square, Rossi connected the Senate and Synod by a great triumphal arch, thus providing Galernaya Street with a magnificent arched entrance. As a final detail, he rounded the corner façade of the Senate building in order to further enhance the view to and from the Neva. That he wished to make his buildings alike stylistically is seen in his favorite facade composition of a high rusticated basement with a colossal order surmounted by an entablature and attica. That he achieved such varied compositions proves Rossi’s skill. In his artistic manipulation of means he arranged, on one hand, a geometric pattern for the Theatre ensemble, and, on the other hand, he capitalized and aggrandized one of the largest and most important squares of the city. It is in this Senate Square that the mighty statue of Peter the Great stands. Erected on a huge roughshaped rock brought all the way from Finland, and enclosed by a wrought-iron fence by Veldten, the statue bears the significant and witty inscription “Petro Primo Catherina Secunda.”
参议院和宗教会议楼群是证明罗西思维方式的另一个例子。这两座建筑位于涅瓦河畔，面向参议院广场，广场的另一侧是海军部的侧翼。为了平衡广场对面的海军部侧翼，罗西用一个巨大的凯旋门将参议院和议会连接起来，从而为加勒纳亚街提供了一个宏伟的拱形入口。作为最后一个细节，他将参议院大楼的转角立面修成圆形，以进一步美化涅瓦河的景观。他希望自己的建筑在风格上保持一致，这一点可以从他最喜欢的立面构图中看出：高高的锈蚀基座上有一个巨大的阶梯，阶梯的顶端是中庭和attica。他能完成如此多样的构图，证明了罗西的高超技艺。通过对各种手段的艺术处理，他一方面为剧院建筑群安排了一个几何图案，另一方面，他将这座城市最大和最重要的广场之一资本化并加以扩大。彼得大帝的雕像就矗立在这个参议院广场上。雕像矗立在从芬兰运来的一块巨大的粗糙岩石上，由 Veldten 设计的锻铁栅栏围住，雕像上刻有 "Petro Primo Catherina Secunda"（彼得-普里莫-凯瑟琳娜-塞孔达）的重要而诙谐的题词。

With these four great ensembles the discussion of Carlo Rossi and the development of the Neo-Classic style in St. Petersburg must be closed, for after Rossi no great architects contributed to the Russian Empire style; instead, there was a definite trend toward a search for something new. Already in the 1820’s, with Brulov and Montferrand, the inspiration changed from Greece and Rome to Pompeii and the Italian Renaissance. Outstanding as Stasov’s Triumphal Gates of Entry are, with their heavy impressive Doric columns, and Plavov’s beautiful Morgue, they are completely eclipsed by Montferrand’s Cathedral of Saint Isaac of Dalmatia, the Cathedral that took forty years to build, and was the most expensive building of its kind in Europe. This huge church, built on one of the significant sites in the city, commanding a view to the Neva and entrances to both the Senate and Isaakievskaya, immense squares, is but a weak solution of a five-domed church in Classical style. During the 1830’s, the romantic movement brought into use the Russo-Byzantine style, which replaced the Neo-Classic. This held sway until the Revolution in 1917
关于卡洛-罗西和圣彼得堡新古典主义风格发展的讨论到此为止，因为在罗西之后，再没有伟大的建筑师为俄罗斯帝国风格做出贡献；相反，出现了寻求新事物的明确趋势。早在 19 世纪 20 年代，随着布鲁洛夫和蒙特费朗的出现，灵感已从希腊和罗马转向庞贝和意大利文艺复兴时期。斯塔索夫的凯旋门和普拉沃夫美丽的停尸房虽然都有着令人印象深刻的厚重多立克柱，但在蒙费朗的达尔马提亚圣以撒大教堂面前却黯然失色，这座大教堂耗时 40 年才建成，是欧洲同类建筑中最昂贵的。这座巨大的教堂建在城市的重要地段之一，俯瞰涅瓦河，是参议院广场和伊萨基辅广场的入口，规模宏大，但却只是一座古典风格的五圆顶教堂。19 世纪 30 年代，浪漫主义运动兴起，俄罗斯-拜占庭风格取代了新古典主义风格。这种风格一直持续到 1917 年革命
when Le Corbusier’s utilitarian style became the vogue. Since 1930 there has fortunately been a return of admiration for the NeoClassic, so that one may hope that the post-war reconstruction of Leningrad may be in harmony with the past.
勒-柯布西耶的功利主义风格开始流行。幸运的是，自 1930 年以来，对新古典主义的推崇又重新抬头，因此人们希望列宁格勒的战后重建能够与过去保持一致。

In conclusion, it may be helpful to review the factors that contributed to the architecture of Saint Petersburg: (1) The rulers, especially Peter, Catherine and Alexander, showed remarkable foresight, taste and interest in the growth of the city. (2) Almost limitless funds and energy were provided by the government and private individuals for the beautification of the city. (3) The location of the city on the Neva delta provided both a beautiful site and close contact with the rest of Europe. (4) International influences were eagerly assimilated and intelligently modified, especially by the efforts of the members of the Academy.
最后，我们不妨回顾一下促成圣彼得堡建筑发展的因素：(1) 统治者，尤其是彼得、凯瑟琳和亚历山大，对城市的发展表现出了非凡的远见、品位和兴趣。(2) 政府和私人为美化城市提供了几乎无限的资金和精力。(3) 城市位于涅瓦河三角洲上，这既为城市提供了优美的环境，又密切了与欧洲其他地区的联系。(4) 尤其是在学院成员的努力下，城市热切地吸收了国际影响，并对其进行了明智的改造。

These influences produced an architecture distinctive for the following features: (1) Monumentality was more pronounced than in any Neo-Classic architecture anywhere. (2) Space conception was highly developed and here almost for the first time large masses of buildings and city squares were integrated. (3) Sculptured decoration was extensively used. (4) Structures were built of brick, covered by stucco, and painted in pastel colors in contrast to the monochromatic white of most Neo-Classic architecture.
这些影响产生了一种具有以下特点的建筑：(1) 纪念性比任何地方的新古典主义建筑都更为突出。(2) 空间概念得到了高度发展，这里几乎是第一次将大型建筑群和城市广场融为一体。(3) 大量使用雕刻装饰。(4) 建筑由砖砌成，表面覆盖灰泥，粉刷成柔和的颜色，与大多数新古典主义建筑的单色白色形成鲜明对比。

The architecture of this city, though largely imported, has so strongly influenced the national taste that almost each of its features, in turn, is an important factor of Soviet architecture today; monumentality, the use of sculpture, color, and space are all to be found. With such firmness has the Classic city of Leningrad taken root in its native Russia.
这座城市的建筑虽然主要是舶来品，但却如此强烈地影响着俄罗斯人的审美观，以至于它的几乎每一个特点都反过来成为今天苏联建筑的重要因素；纪念性、雕塑、色彩和空间的运用都可以在这里找到。列宁格勒这座经典城市就这样坚定地扎根于俄罗斯本土。

Chicago, Illinois. 伊利诺伊州芝加哥