Летний сад

не забывай,

входящий !”

        С. Кирсанов. 

    Железо, покорясь влиянию огня,

    Здесь легкостью дивит в прозрачности ограды,

    За  коей прячется и смотрит сад прохлады.

    Полтавская  рука сей разводила сад!

   П. Вязенский. 
 

    Давно стихами говорит Нева.

    Страницей Гоголя ложится Невский.

    Весь  Летний сад-Онегина глава.

     С. Маршак. 
 

     Летний  сад… Бессонница поэтов!

     Липы, соловьиные аллеи…

     Северные тихие рассветы

     Над тобой по-прежнему алеют.

     Э. Дубровина. 
 

    “Я к розам хочу в тот единственный сад,

    Где лучшая в мире стоит из оград,

    Где статуи помнят меня молодой,

    А я их под невскою помню водой,

    В душистой тиши между царственных  лип

    Мне мачт корабельных мерещится скрип,

    И лебедь, как прежде плывет сквозь века,

    Любуясь красой своего двойника.

    И замертво спят сотни тысяч шагов

    Врагов  и друзей, друзей и врагов.

    А шествию теней не видно конца

    От  вазы гранитной до двери дворца.

    Там шепчутся белые ночи мои

    О чьей-то высокой и тайной любви.

    И все перламутром и яшмой горит,

    Но  света источник таинственно скрыт.”

    А. Ахматова. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

ЗАКЛЮЧЕНИЕ. 

         В своей работе я  попыталась по возможности подробно познакомить читателя с уникальным музеем под открытым небом, хранящим много тайн. Архивные документы, те или иные издания, изученные мною, помогли мне выявить причины  магического притяжения Летнего сада как туристов, так и жителей Санкт-Петербурга.

         Не могу не сказать  о том, что моя подруга из Англии, которую я принимала у себя в гостях, выделила в качестве одного из наиболее понравившихся ей дворцово-парковых ансамблей именно Летний сад. Так как к тому времени мною уже было изучено немало литературы, на которую я основывалась позже при написании реферата, я смогла провести увлекательную и познавательную экскурсию. И именно в этом я вижу практическое значение проделанной мною работы. Я надеюсь, что мой реферат послужит источником полезной информации при подготовке экскурсий, краеведческих лекций, бесед и т.д. учащимся средних учебных заведений.

         Таким образом, я  считаю, что основная цель моего  реферата достигнута: поставленная задача-разностороннее освещение вопроса-выполнена. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

THE SUMMER GARDEN. 

         The Summer Garden is younger than St.-Petersburg only for one year. The work on laying it out began in 1704. Peter the Great had drawn up a plan of the garden by himself, had been giving the instructions concerning the kinds of flowers and trees and where from would be better to bring them in.

         Outstanding architects and masters of the gardening had been continuing to work under the design of the garden for the next decades in accordance with the Peter’s rough draft and putting it into practice.

         The Summer Garden was created as a regular park which was characterized by the right symmetrical arrangement of paths, the cutting of the trees and bushes in a form of geometrical figures, the creation of arbours, galleries, labyrinths with the aid of green planting.

         The arranging of the fountains began in 1706. First of them were erected according to the plans of an architect Ivan Matveev, who was in charge of the main works in the garden in 1705-1707.

         In 1710-1711 the water had been moved to the fountains by specially set machine. In 1718 the construction of the Ligovsky canal began. This canal linked the Liga river with the basins situated in Nekrasov street from which the water had been led by the pipes to the reservoir of the water-carrier towers situated on the Bezimyanni Yerik later named "Fontanka".

         By the middle of the CVIII century there had been more than 50 fountains in the garden. Thirty one of them were situated in the southern part of the garden and in the labyrinth built in the twenties years according to the plan of an architect M.G. Zemtsov (1688-1743). It is common knowledge that in 1719 the foundryman was called in order to cast figures according to the drawings of Zemtsov. The fables of an ancient Greek fabulist Azop were used as a subject of the fountain’s sculpture. By the evidence of an eyewitness, these were the lead gilded sculptural groups separately from which stood the statue of Azop. An idea of creation a labyrinth with such figures also belonged to Peter I. It’s a pity but the construction hadn’t been preserved until nowadays.

         The compulsory construction of the regular parks of the CVIII century-the grotto- hadn’t been preserved too. The beginning of work on laying out the grotto by architect Schluter was 1713-1714. After Schluter’s death the work was continued by I.Mattarnovi, I.Miketti, G.-B. Leblon and M.G. Zemtsov. It was the pavilion with high dome, decorated  with columns , marble busts and sculptural groups before the entrance. The grotto’s interior walls were faced with shells and stones of different colours. In the center of the main hall there were fountain "Neptun" and the organ, which was set going by the water. During  the flood of 1777 the grotto  had  been almost completely destroyed. Either had the fountains.

         The marble sculpture, which was ordered by Peter I in Italy, became the integral part of the regular garden. Particular glory did have Venice’s masters P.Baratta, D.Bonatsa, A.Tarsia and others. Their works were bought gladly in Europe. The prominent connoisseurs of an art U.Kologrivov, S.Raguzinski, P.Beklemishev (last one was the ambassador of Russia in Italy) helped Peter I to acquire Italian sculptures for the Summer Garden.

         Until now had been kept such Italian sculptural portraits as the bust of Alexander Makedonski (after P.Baratta), of Ulii Tsezar (the author is unknown), of Roman kings Avgust, Klavdii, Neron and Traian. The statues, connected with the characters of ancient mythology, formed a large group. On the special order of Peter I had been carried out the compositions upon the allegorical plots.

         In the first quarter of the CVIII century, when Peter I was alive, about 200 sculptural groups and busts decorated paths and fountains of the garden. Nowadays there had been kept about 90 of them in the garden.

         Peter the Great’s Summer Palace, designed by an architect Domenico Trezzini in 1710-1712 in the early Peter’s baroque, is situated in the north-eastern part of the garden. In contradistinction to the palace complexes of regular parks in Eastern Europe, it doesn’t take the central place in the whole composition and is situated as country-seat palaces in the suburbs of Moscow. It is the single structure in the Summer garden, which has been kept since the beginning of the CVIII century.

         The tsar and his family had been living in the Summer Palace since May till October for 1712-1725. Although the Palace wasn’t the ceremonial one, the Summer garden became the center of political life during the Peter’s governing. The celebrations of the main festivals had been held here: the Poltava’s victory, the taking of Narva, the rout of the Swedish armies under Lesnaya, the signing a Nieschtadt peace treaty. The purpose of the festivals was the demonstration of the Russian Navy, the frigates and other ships entered the Neva. There had been also arranged the fireworks. In the palace or in the garden, under the open sky, the assemblies had been held in order to meet each other and talk about the needs or to hear the news.

         There had been changed a lot in the Summer garden in due course. The original plan of the paths didn’t remain completely, the arrangement of the statues had been changed several times. Many of the statues had been lost, some-had been handed to the palaces and museums. But the nature of collection under the open sky had been kept. By the way, at the end of fifties of this century during the restoration the original arrangement had been re-created. Peter the Great’s Summer Palace had been kept also. That is why it is safe to say that if you want to see the unique corner of Peter’s Petersburg, you will better come around and visit the Summer Garden. 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

         Список  использованной литературы. 

         Болотова  Г. Летний сад. Серия "Памятники  городов России". Л.: Художник РСФСР, 1981.

         Дубяго  Т.Б. Летний сад. М.-Л., 1951.

         Дубяго  Т.Б. Русские регулярные сады и парки. Л., 1963.

         Ерёмина Н.С. Летний сад. Л.: Лениздат, 1976.

         Иванов  А. Понятие о совершенной  живописи. СПб., 1989.

         Канн  П.Я. Летний сад. Серия "Туристу  о Ленинграде". Л., 1967.

         Канн  П.Я. Прогулки по Петербургу. СПб., 1994.

         Кедринский  А.А., Колотов М.Г., Ометов Б.Н., Раскин А.Г. Восстановление памятников архитектуры Ленинграда. Л., 1983.

         Коренцвит В.А. Отчёт об архитектурно-археологических  изысканиях в зоне прокладки телефонной канализации и водоводов в Летнем саду в 1975 году. Л., 1976.

         Кузнецова О.Н., Сементовская А.К., Штейман Ш.И. Летний сад. Летний дворец. Домик Петра I. Путеводитель. Л., 1968.

         Лансере Н.Н. Летний дворец Петра  I. Л., 1929.

         Мацулевич Ж. Летний сад и его скульптура. Л., 1936.

         Поздеев Л., Веснин С. Летний сад. Серия "Многоликий Петербург". СПб., 1997.

         Пыляев  М.И. Старый Петербург. М., 1990.

         Семенникова Н.В. Летний сад. Л., 1970.

         Тихонов Л.П. Музеи Ленинграда. Л.: Лениздат, 1989.

         Ленинград. Историко-географический атлас. М., 1981.

    Ленинград. Спутник туриста. Л.: Лениздат, 197