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St. Petersburg => Attractions and things to do in St. Petersburg => Peterhof => Topic started by: Mariria on December 30, 2010, 06:46:29 AM

Title: Sculpture "Samson tearing the lion's mouth" -out for four months for restoration
Post by: Mariria on December 30, 2010, 06:46:29 AM
Sculpture "Samson tearing the lion's mouth", which stands at the center of the Grand Cascade fountains, the palace and park complex of Peterhof, dismantled and sent for four months for restoration. Sculpture not been restored since the post-war mounting on the pedestal in 1947, and the pedestal - since 1928. Construction of the palace complex began in St. Petersburg under Peter I, and the biblical Samson is set in 1736.

On the restoration of Samson says the director of the State Museum "Peterhof" Elena Kalnitskaya:

- Peterhof, Samson, thank God, alive and well and unharmed. Deteriorated old gilding, which is damaged by water flows from rainfall, from temperature changes ... Gilding live 10-15 years. But all the previous times gilded Samson right here in the park. And this time, the pedestal is not restored to the postwar period, it requires a very serious repair, and we still would have to remove the figure. Our benefactors - Sberbank - allocated money for the gilding of the figure. After Samson go to the restoration workshops, we dream to make his solemn through the city - on a route by which he was riding in 1947.

It's hard work, gilding a special method in two layers. The figure, of course, in very poor condition, but four months later, it will sparkle like new - promised Elena Kalnitskaya.

Samson is set to commemorate the victory of Peter I of the Swedes at Poltava in 1709, the day of St. Samsonia Strannopriimtsa. Many details of the Grand Cascade fountains somehow symbolize this Petrine Victoria. In 1802, the lead figure of Samson Samson replaced bronze. During World War II monument was stolen.

- In the world there are many suburban palace complexes - Versailles, Sanssouci, Schönbrunn ... But perhaps none of the palace complex, except for Peterhof, so not exactly placed ideological emphasis. It's a monument to victory in a particular battle over a specific enemy.

- At the Palace era of absolutism always reflect the theme of power and people. German-Austrian absolutism - the same as Frederick the Great or Marie Theresa - was very important an aspect to the organization happy life of the people. And this is reflected in the interiors of the palace - the happy peasants, excellent organization of fertility, it's all present.

Peter - is another matter. Russian absolutist state - from Peter the Great to Nicholas I - drew attention primarily to foreign victories. Hence, in an ensemble of Peterhof - focus on imperial grandeur, the consolidation of the state.

- And that, as the Russian rulers have changed ideas about life in their palaces with tapestries did not appear cowherd?

The slogan of Russian absolutism, which, of course, has never been so written: "Rules without people for himself"

- Tapestry with happy cowherd were evacuated, mostly from France and Belgium, they personified the joy of life in the bucolic landscapes of Western Europe. For Russia they had a very small ratio. Smart money is the Russian empire, except, perhaps, one period - a quarter-century reign of Alexander I - this constant harping on about the external victories. I remind you that just is not scary, Alexander I like to remember about their victories, although perhaps it is more than any other time of the absolutist emperor would be proud of their victories - that when it came to Paris, the Russian troops. But he forbade the celebrations, understanding how a believer that it was blood, blood, and once again blood. And Nicholas I, Catherine and Peter very much on the outside of the empire wins.

- It's ideology, which in the Russian government was raised by several centuries of autocratic rule. Now there is talk that Vladimir Putin, building a huge palace Gelendzhik for one billion dollars. Assume it's true. Do you think this will also be a palace, where there are no happy people, but there are only symbols of victory and victories in the outside world?

- Will the same thing. But, unlike the imperial palaces of the XIX century, which were more or less open, they could go, now all of these residences are absolutely closed. This is just the place where the ruler lives happily. The idea of ruler as the organizer of its people did not become fashionable in the Russian society of the absolutist period. And indeed, the kings tried to limit the independent action of the people, they feared the people. I remember the main slogan of Western absolutism, which is formulated by Maria Theresa: "Rules for the people, but without the people." A slogan of Russian absolutism - "Rules without people for himself." In my opinion, this good tradition has been preserved to this day.
Title: Samson and the lion's mouth
Post by: Admiral_Kolchak on December 30, 2010, 11:28:31 PM
Samson and the lion's mouth
Title: Fountain Centerpiece "Samson" Sculpture returned to Peterhof
Post by: Admiral_Kolchak on May 23, 2011, 07:15:42 PM
April 16 the famous Samson sculpture form Peterhof has returned home after a tour through St. Peterburg from the  sculptural workshops on Vasilevsky Island all the way west to Peterhof to be teh centerpiece of the main fountain.

At noon Samson stopped on the square in front of Ostrowski Alexandrinsky Theater.

The restoration covered Samson with a double layer of gold leaf.
Restoration of the sculpture began in late 2010 to put in order for the 65 anniversary of the first post-war run the fountains, which will be celebrated in August 2011, ITAR-TASS.

The sculpture "Samson tearing the lion's mouth" was cast on the model by Bartolomeo Rastrelli and installed at Peterhof in 1735 to commemorate the 25 th anniversary of the victory at Poltava, which occurred on the day of St Sampson Strannopriimtsa.

By 1801 the composition dilapidated, was cast bronze figure of Michael Kozlowski.
She designed the pedestal for Andrei Voronikhin. When the Nazi occupation of Peterhof statue disappeared,  the third Samson appeared after the war.
Its reproduced from archival photographs by Basil Simonov and
returned to Peterhof on 31 August 1947.