Monuments of the Patriotic War of 1812. Monuments of the Smolensk battle

At present, humanity does not always agree that the monuments being erected are a necessary tribute to the departed heroes and events. But people who think in this way do not realize that the significance of historical monuments is not in their beauty, but in a reminder of the events in honor of which they were erected. One of the main and historical events of our country is the Patriotic War. And it is impossible to imagine cities without monuments, arches and other monuments, just like taking away from people the memory of the great feat of descendants. And who can imagine that the capital of our country will suddenly disappear from the face. How will this city look then, without the Triumphal Arch, the monument to Pyotr Ivanovich Bagration, without the Manege, without the Panorama of the Battle of Borodino at Chistye Prudy, without the Cathedral of Christ the Savior and many, many others. Without such works of art, Moscow would have a completely different look - colorless, empty and faceless. - this is our life, a great and terrible past, and a bright and happy future.

One of the most striking and memorable monuments in Moscow in honor of the war of 1812 is the Triumphal Arch, now located on Kutuzovsky Prospekt, and its historical location in 1814 was at the end of Gorky Street, at that time Tverskaya Zastava. It was erected at the time of the return of Russian troops from Western Europe, in honor of the end of the First World War. The main material from which the structure was built was wood. Unfortunately, this material quickly fell into disrepair and it was decided to restore the arch, 12 years after its construction. The work took five years to complete, due to insufficient funding and the indifferent attitude of the city authorities. The restoration was carried out by one of the largest Russian architects - Osip Ivanovich Bove, thanks to whom the resulting monument vividly and clearly expressed the military strength, the heroism of the victorious soldiers and the unconquered power of Russia. The sculptors I.P. Vitali and I.T. Timofeev. Their gift, talent and extraordinary ability to fully reproduce the architect's drawings helped to create one of the greatest and most grandiose monuments in Moscow, dedicated to the war of 1812. The Arc de Triomphe was an image of Moscow, standing and unconquered, “from the ashes and ruins” of the insurrection, as the inscription on the arch said. It was an arch, on either side of which were symmetrically located small but richly decorated guardrooms, reminiscent of mighty wings and connected to the arch by a forged lattice.

O.I. Bove created and restored other monuments in Moscow dedicated to the war of 1812, but none of the others was so grand, majestic and beautiful.

This monument existed for 102 years, after which it was dismantled as a result of the decision of the authorities to redevelop and expand the transport highway Leningradskoye Highway - Gorky Street. The rich remains of the arch can now be seen only near the Great Cathedral on the territory of the former Donskoy Monastery.

Only in 1996, the deputies of the Moscow Council decided to restore the Arc de Triomphe. V. Libson, I. Ruben, D. Kulchinsky, M. Grankin and A. Rubtsov, the leading engineers and restorers of that time, undertook to fulfill this most difficult task. It was not easy to restore the original appearance of the Arc de Triomphe, each element had to be created in the model, focusing on photographs and drawings. On the basis of archival materials, plaster casts were prepared, the forms of parts were created, according to which individual figures were cast.

The main controversy arose over the place where the Arc de Triomphe was now supposed to be restored, many questions were connected with how accurately and fully it should be recreated. As a result, it was decided to erect a monument on Victory Square, without guardhouses and fences, like a monument.

Located on Kutuzovsky Prospekt, the arch is not lost among the high-rise buildings that modern Moscow is full of in abundance. The main material of the monument is cast iron, thanks to it only one column, the number of which is 12, weighs 16 tons. The walls of the arch are decorated with white stone, and it is its combination with black cast iron that gives the structure artistic expressiveness and unique charm.

The Arc de Triomphe was completely recreated on November 6, 1968, after which it was restored again 9 years later, including for the 200th anniversary of the victory over Napoleon.

At present, this grandiose creation is a symbol of victory for the entire Russian people. This is a tribute to descendants, a solemn reminder of heroism, deep gratitude embodied in the Moscow monument.

There are others moscow monuments dedicated to the war of 1812... One of them, the Manezh, was decided to be erected in honor of the five-year anniversary of the victory in the Patriotic War. Its development was entrusted to the talented engineer-general A.A. Betancourt, who, in turn, entrusted the construction to General A.L. Carbonier, architect Lamoni and engineer-lieutenant A.Ya. Kashperov.

The Moscow Manege was opened on November 30, 1817, it was an extraordinary building of that time. The total wooden roof of the space of almost 7.5 thousand square meters, lying on the rafters, did not have any intermediate supports. Such an amazing building structure has not yet been in world practice, and therefore a military team followed the preservation of the structure for many years.

And to this day, the wooden forms are perfectly preserved and are quite capable of working with the same load. The original purpose of the Manege was to celebrate the anniversary, in honor of which a parade was to be held inside. It took place, but due to the haste with the construction, a year later the roof gave a draft, the restoration of which took place only in 1823 under the leadership of engineer-colonel R.R. Bauss. OI Bove was also involved in the work, placing stucco decorations on the facades of the Manege, personifying the military power of Russia. He added solemnity and completeness to the structure.

The Moscow Manege is an unusual, original monument to the soldiers of the Patriotic War, for a long time it retained its original appearance without significant changes, it underwent a serious restoration only in the 30s of our century. In the years after World War II, the strength of its structure was complemented by metal rafters, which strengthened the effect of wooden ones. Instead of a triple entrance gate, a three-arch entrance with granite steps was then installed. Since 1957, the Manezh has been used as the Central Exhibition Hall of the capital, while maintaining its main purpose - a monument to ordinary soldiers patriotic war, their extraordinary endurance, valor and courage. In 2004, the Manege building was badly damaged by fire and had to be almost completely rebuilt. The interior and other details were changed; P.Yu. Andreev.

Not all monuments of Moscow dedicated to the war of 1812,so majestic and immense. But even without having an impressive size, historical monuments are capable of captivating, attracting and making you think about the memorable events of our past. Monument to M.I. Kutuzov was installed in honor of the great commander. It is a high pedestal, which depicts a bronze figure of a field marshal in a ceremonial uniform on a horse. Around it are bronze statues of warriors, each of which represents a certain image - from great commanders to an ordinary Russian soldier. From a distance, this composition does not seem large, but when it is nearby, it turns out that each sculpture surrounding the pedestal is three meters high. And the monument itself rises up to 6 meters. The sculptor N.V. Tomsk for 28 years, from 1945 to 1973, striving not only to create a monument to the great commander, but also to the patriotism of the entire people.

- these are the places where you can rest your soul, feel the pain of war and the joy of victory. They are the soul of the country, something without which no state can exist - its history. These monuments certainly include the Cathedral of Christ the Savior.

It began to be erected towards the end of 1812, when the last French soldier left Russia, by order of Alexander I. By that time, Moscow was a ruin and ashes, but it was the Cathedral of Christ the Savior that was one of those buildings that were erected among the first.

It was decided to build a temple on Vorobyovy Gory, but the work was suspended due to fragile soil and moved to the Kremlin. The second construction began only in 1832 and lasted more than half a century, during which time several sovereigns were replaced, from Alexander I to Alexander III. This temple, dedicated to victory, crowned the walls of generals and other images of great people who made a special, irreplaceable contribution to the victory.

Unfortunately, the temple has not survived to this day in its original form, in 1931 it was blown up by order of Stalin, and it was restored only in the mid-90s.

The first project for the construction of a church on Vorobyovy Gory was created by the architect Alexander Vitberg. According to his plan, the temple was to consist of several parts - the Incarnation, Resurrection and Transfiguration. In the lower part of the church, the remains of the fallen heroes should have been located.

The second project belonged to the architect K.A. Ton, who decided to combine classical techniques and preserve features from Vladimir-Suzdal architecture in the construction being erected. Together with Ton, the best artists and builders worked on the creation of the Temple: V. Surikov, Baron T. Neff, G. Semiradsky and other unique people of that time.

This temple is the largest cathedral, it was erected by all of Russia and was the embodiment of the strength of the people, their faith and greatness. He is the personification of the immortality of the spirit of the Russian people, its invincibility, and therefore the Cathedral of Christ the Savior is one of the most striking symbols of the country's victory.

Is an invaluable part of our country. The true meaning of historical monuments cannot be described or explained to those who do not understand. Moscow's monuments dedicated to the war of 1812 are a tangible symbol of victorious Russia in general and Moscow in particular.

So numerous that only the state register knows about them, but not the people for whom they were established.

Monument to the Hero of the Patriotic War of 1812 D.V.Davydov:

The monument was erected in 1986 near house number 27 on Russkaya Street.

Sculptor B. P. Volkov.

Davydov Denis Vasilievich

Russian poet and military writer, hero of the Patriotic War of 1812, one of the initiators of the partisan movement.

DV Davydov was born in Moscow into a noble family. He was brought up among the opposition-minded officers. Davydov was a member of the literary circle "Arzamas" and was on friendly terms with many Decembrists, but did not believe in the success of their political plans and did not enter the secret society.

Denis Davydov gained fame in 1803, when his political fables "Head and Legs", "River and Mirror", and the satire "Dream" were circulated in the lists. For these verses, Davydov was transferred from a cavalry regiment in St. Petersburg to a provincial hussar regiment stationed in the Kiev province. In the new environment, Davydov moved from satire to the chanting of the daring hussar manners. The fame of the creator of the hussar lyrics was fixed to him. In the best poems of Denis Davydov, the patriotic theme is clearly expressed. The main lyrical image of his songs is a “hero-singer”, a dashing grunt, a hussar full of courage and courage.

I love a bloody fight
I was born for the royal service!
Saber, vodka, hussar horse,
With you my golden age!

In 1807, D.V. Davydov took part in the war with Napoleon as an adjutant of N.I.Bagration, fought in Finland, took part in the Russian-Turkish war of 1809.During the Patriotic War of 1812, he became an outstanding organizer of partisan actions behind enemy lines. The combat deeds of the partisan detachment of Denis Davydov are widely known.

In 1827 he took part in the Russian-Persian War. He was the author of many works on the history of military art ("Meeting with the great Suvorov", "Diary of partisan actions in 1812", etc.). In 1821, D. V. Davydov published the book "Experience of the theory of partisan action."

Denis Davydov summed up the results of his poetic activity in 1832 by publishing a collection of poems, supplied with a vivid autobiography. He retired with the rank of lieutenant general. Continuing to write poetry, romances, he created the sensational "Modern Song", where evil ridiculed the rear military and ostentatious liberalism, fashionable in the noble salons of that time.

On May 10, 1963, in memory of the national hero (partisan) of the Patriotic War of 1812, by the decision of the executive committee of the Vladivostok City Council of Workers' Deputies, the newly formed street in the Vtoraya Rechka valley was named Denis Davydov Street. In 1986, at the intersection of Russkaya and Denis Davydov streets, his bust was installed (by sculptor B.P. Volkov).

Monument to the hero of the Patriotic War of 1812 P.I.Bagration:

The monument was erected near the road ring in the area of \u200b\u200bthe "Ring of Bagration" stop(Borodinskaya street, 90).

Sculptor B. P. Volkov.

Bagration Petr Ivanovich

Russian general from infantry, prince.

PI Bagration was born in 1765 in Kzilyak, in the family of a colonel from an old Georgian princely family. Began military service in 1782. He served in the Caucasus, took part in the Russian-Turkish war of 1787-1791. and the Polish campaign of 1793-1794.

Under the command of A. V. Suvorov, he made Italian and Swiss campaigns. In 1799, with the rank of major general, he commanded the vanguard and distinguished himself in all major battles: at Trebia, Novi, during the attack of the St. Gotthard Pass.

During the war with France, as part of the Russian corps commanded by M.I.Kutuzov, he headed the rearguard of the Russian army (1805-1806) and distinguished himself at Preussisch-Eylau and Friedland. Commanding a detachment of five thousand, he withstood the onslaught of thirty thousand French near the village of Schöngraben, thereby securing the Russian army.

Participated in the Russian-Swedish War of 1808-1809, where he commanded a division. He became famous for making the famous crossing on the ice of the Gulf of Bothnia. In the spring of 1809 he occupied the Aland Islands.

During the Russian-Turkish War of 1806-1812. from July 1809 to March 1810 he commanded the Moldavian army. In August 1811 he took command of the Podolsk army, and from March 1812 he became the commander of the 2nd Western Army, with which he met the beginning of the Patriotic War. During the retreat, he took care of the preservation of the army. More than once, by skillful maneuvers with battles, he took his 2nd Western Army out of the blows of the superior forces of the Napoleonic army, successfully linking up with the 1st Western Army of M. B. Barclay de Tolly near Smolensk.

In the Battle of Borodino, the 2nd Western Army occupied the left flank of the Russian position, to which Napoleon directed his main blow. In the battle, the army showed exceptional resilience, and its commander P.I.Bagration showed endurance and personal courage. At the time of one of the counter-attacks, P. I. Bagration was mortally wounded.

Pyotr Ivanovich died in the village. Sims of the Vladimir province, where he was buried. In 1839 his ashes were transferred and reburied at the Borodino field.

On October 12, 1962, when the 150th anniversary of the Battle of Borodino was celebrated, by the decision of the executive committee of the Vladivostok City Council of Working People's Deputies, a new street in the built-up area of \u200b\u200bVtoraya Rechka was named Bagration Street. In the late 1980s, a monument to the hero of the Patriotic War of 1812 P.I.Bagration was erected on it by the sculptor B.P. Volkov.

Monument to the Hero of the Patriotic War of 1812 M.I. Kutuzov:

The monument is installed in the area of \u200b\u200bRussian street, 41.

Sculptor N. V. Tomsky.

Kutuzov Mikhail Illarionovich

Russian commander, Field Marshal, His Serene Highness Prince of Smolensk.

MI Kutuzov was born on September 5, 1745 in St. Petersburg, in the family of an engineer-lieutenant-general. He graduated with honors from the Noble Artillery School and was left with her as a teacher of mathematics. In 1761 he was promoted to ensign and appointed company commander of the Astrakhan Infantry Regiment. Since 1762, Adjutant of the Revel Governor-General, in 1764-1765. commanded a detachment in operations against the Polish Confederates.

Participated in the Russian-Turkish wars of 1768-1774. and 1778-1791 He was a student and ally of A. V. Suvorov, participated in the storming of Izmail, in the battles at Babadag and Machin.

Kazan Cathedral is one of the largest churches in St. Petersburg. It is an architectural monument of Russian classicism. Built in the years by the architect A.N. Voronikhin by decree of Emperor Alexander I to transfer there the revered list of the miraculous icon of the Mother of God of Kazan. Consecrated in 1811. In 1932 it was turned into the Museum of the History of Religion and Atheism. Since 1991, a functioning temple.

In 1837, in honor of the twenty-fifth anniversary of the defeat of Napoleon, on a semicircular square in front of the Kazan Cathedral, bronze monuments to the famous Russian commanders M.I. Kutuzov and M.B. Barclay de Tolly. The author of the project was the outstanding Russian architect V.P. Stasov, and the figures of the commanders themselves were molded according to the models of the outstanding sculptor B.I. Orlovsky. The monuments emphasized the memorial significance of the Kazan Cathedral as a kind of monument to the unfading feats committed by Russian soldiers in the name of the Fatherland.

Kazan Cathedral is a temple of Russian military glory. In the summer of 1812, before leaving for the active army, the cathedral was visited by Mikhail Illarionovich Kutuzov, appointed to command the Russian army. He fell to the icon of the Kazan Mother of God. The renowned field marshal found his last refuge here. In 1813, the ashes of His Serene Highness Prince M.I.Kutuzov, who died in the Prussian city of Bunzlau during the Foreign campaign of the Russian army, was buried in the Kazan Cathedral. The lattice enclosing the grave of M.I.Kutuzov and the marble slab on it were made according to the drawing of A.N. Voronikhin. Over the years, 107 captured French banners and standards of defeated French regiments, 93 keys from fortresses and cities taken by the Russian army were exhibited in the cathedral for inspection.

Military Gallery of 1812 Russia was guided by the patriotic idea, creating one of the most significant interiors of the Winter Palace, the Military Gallery, dedicated to the memory of the heroes of the Patriotic War. It was opened in 1826. 332 portraits of the commanders of the Russian army who participated in battles with Napoleon's troops in the years, on the walls of the gallery. The famous English painter George Dow was specially invited to perform the paintings, he was assisted by two Russian masters Alexander Polyakov and Vasily Golike.

Among several large, full-length images, the portraits of field marshals M.I.Kutuzov and M. B. Barclay de Tolly attract particular attention. Between them and on the sides in five rows are bust portraits of generals. We know and honor many of them from childhood, among them: P.I.Bagration, A.P. Ermolov, N.N.Raevsky, Decembrist S.G. Volkonsky, Cossack Ataman M.I. Platov.

In the poem "The General" by A.S. Pushkin wrote about the gallery: “The Russian Tsar has a chamber in his palaces: It is not rich in gold, not velvet; It is not in her that the diamond of the crown is kept behind the glass; But from top to bottom, the entire length of the circle, His brush, free and wide, It was painted by a fast-paced artist. There are no rural nymphs, no virgin Madonnas, No fauns with cups, no full-breasted wives, No dancing, no hunting, but all cloaks and swords, Yes faces full of warlike courage. In a crowded crowd, the artist placed Here the leaders of our people's forces, Covered with the glory of a wonderful campaign And the eternal memory of the twelfth year. Often, slowly between them I wander, And I look at their familiar images, And hesitates, I hear their warlike cries ... "

The Alexander Column was built from 1829 to 1834, and in 1834 it was solemnly opened on the Palace Square. The project of the architect Auguste Montferrand The Alexander Column, together with the pedestal, rises above the square to a height of 47.5 meters. Among the monuments of this type, it is the largest in the world.

Moscow Department of Education

School 1222 with advanced study of the German language

South-Eastern Administrative District

abstract

in Moscow studies

TOPIC: "Monuments to the victory of the Russian people in the Patriotic War of 1812 in Moscow."

Student: 11 "A"

Teacher: Samarenko Larisa Pavlovna

Moscow, 2002

Plan

I. Moscow is the cultural and historical center of Russia.

II. Monuments to the exploits of the Russian people in the war of 1812.

· Triumphal Arch.

· George Hall.

· Obelisk "Mass grave of 300 soldiers-heroes of the Patriotic War of 1812".

· A memorial plaque at the Khamovniki barracks.

· Museum-panorama "Battle of Borodino".

· "Kutuzovskaya hut".

· Monument "MI Kutuzov, the glorious sons of the Russian people who won the Patriotic War of 1812".

· A memorial plaque on the house where the hero-partisan Denis Davydov lived.

· Arsenal.

· Borodinsky bridge-monument and Kievsky railway station.

III. The grandiose victory of the Russian people in the Patriotic War of 1812 was reflected in no less grandiose monuments.

Today Moscow is the capital of one of the largest states, the largest political, economic and cultural center. The history of the heroic struggle of the people against social oppression, for the freedom and independence of the Motherland is inextricably linked with the name of Moscow. Moscow is growing and becoming prettier, its appearance is changing, but by erecting new residential areas around the old core of the capital, modern buildings of scientific institutes, universities, institutions, daily changing and decorating the appearance of the city, the workers of Moscow never forget those who stood up to protect it in the terrible the years of the Patriotic Wars, who raised her from the ruins, who spared no effort for the sake of her greatness and glory. This is evidenced by the respectful attitude of Muscovites to historical and artistic values \u200b\u200band memorable places associated with heroic events of the past. This is one of the expressions of the inextricable connection between times and generations. Feats of the past and heroics of the present. Let's go around Moscow, and we will see wonderful architectural ensembles, monuments and obelisks, from the inscriptions of which we learn the names that will remind us of the exploits of the Russian people in 1812.

At Poklonnaya Hill, where "Napoleon waited in vain, intoxicated with his last happiness, kneeling Moscow with the keys of the old Kremlin", stands the Triumphal Arch - a symbol of the glory of the victors of the first Patriotic War. Not far from it is a museum - panorama "Battle of Borodino", which houses a grandiose painting by F.A. Roubaud, resurrecting the heroic deed of the people on the Borodino field. There is also a monument to the fallen heroes of this battle and the famous "Kutuzovskaya hut". And on the new Victory Square, a monument to M.I. Kutuzov and the glorious sons of the people, created by N.V. Tomsky. This group of monuments is surrounded by a network of streets whose names keep the memory of the events of the Patriotic War. Along Kutuzovsky Prospekt across the Borodinsky Bridge - the monument can be walked to the house of the poet-partisan D.V. Davydov on Prechistenka, and from there - to the Kremlin, where hundreds of captured guns of Napoleon's "great" army are stacked near the Arsenal building. Near the Kremlin is the majestic Manege, which welcomed the heroes of the Twelfth Year. The building of the Khamovniki barracks, where the Moscow militia was formed in 1812, has also survived in the capital. Monuments associated with the Patriotic War are also found in other districts of Moscow.

The indissoluble patriotic bond of generations gives rise to the desire in the hearts of the living to be worthy successors of the military glory of fathers and great-grandfathers.

A "hero" serving the Fatherland never dies and comes to life in posterity, "wrote Ya. P. Kulnev, one of the participants in the war of 1812. And those who, with arms in their hands, defended the Motherland in the days of the Patriotic War, cannot be forgotten, just as their deeds cannot be erased from the people's memory.

Even today, we are worried about every fate, every name associated with the Twelfth Year, because they make us feel the greatness and immensity of the historical path traversed by our people, form in the current generation a high civil and patriotic self-awareness.

Triumphal Arch.

In the middle of 1814, for the solemn welcome of the victorious Russian troops returning from Western Europe, a wooden Triumphal Arch was erected at the Tverskaya Zastava (at the end of Tverskaya Street). But the monument was rapidly decaying, and after 12 years, in 1826, it was decided to replace the wooden Arc de Triomphe with a stone one. The project was commissioned by the largest Russian architect O.I. Beauvais. In the same year, he developed its initial project. However, the decision on a new layout of the front square at the main entrance to Moscow from St. Petersburg led to the need to redesign the project. The new version, on which Bove worked from! 827 to 1828, was adopted in April 1829.

The ceremonial laying of the arch took place on August 17 of the same year. A bronze plaque was embedded in the base of the future monument with the inscription: “These Triumphal Gates were laid in commemoration of the triumph of Russian soldiers in 1814 and the renewal of the construction of magnificent monuments and buildings of the first capital city of Moscow, destroyed in 1812 by the invasion of Gauls (French) and with them twelve languages \u200b\u200b”(Napoleonic army, consisting of representatives of more than 20 nationalities).

The construction of the Triumphal Gates, the first and only arched-type monument in Moscow, erected after the war of 1812, took five years due to a lack of funds and indifference on the part of the city authorities. It was only on September 20, 1834 that this remarkable monument was opened, reflecting the military power, glory and greatness of Russia, the heroism of its victorious soldiers. Beauvais created a vivid, expressive image of the unconquered Moscow, which had risen “from ashes and ruins,” as one of the inscriptions on the arch said.

The Triumphal Gates stood at Tverskaya Zastava for 102 years. In 1936, the square near the Belorussky railway station, on which an arch rose, was decided to redesign and expand Gorky Street - Leningradskoye Highway to unload the transport highway. The Arc de Triomphe was dismantled after careful control measurements and large-scale photography. Its rich sculptural decoration was kept for 32 years in the branch of the A.V. Shchusev (on the territory of the Donskoy Monastery).

In 1966, the restoration of the Arc de Triomphe began in a new location. Thousands of specialists worked on the restoration of the arch: architects, artists, engineers, restorers, art casting masters, embossers, concrete workers, cladders, etc. The architects faced a very important task. The problem of installing the grandiose monument was not limited to the choice of a location on Kutuzovsky Prospekt. If Bove put the arch on the outskirts of the capital, among small houses, where it was the center of the architectural composition, then modern city planners had to install a monument among the prevailing urban landscape, among tall buildings that surpass the arch in size. It was necessary to erect the monument so that it would not be covered by multi-storey buildings, so that it would not get lost among them, and so that it would be fashionable to view its magnificent decoration from a distance.

The most suitable place was the current Victory Square. Now the Arc de Triomphe was not erected as a passing gate, and as a monument in such a way that busy traffic flows flow around on both sides, and it unites and decorates the space between the surrounding houses, at the same time does not merge with them.

On November 6, 1968, Beauvais's remarkable creation took on a second life. By the labor of designers, restorers and builders, perhaps the most grandiose Moscow monument in honor of the victory of the Russian people in the Patriotic War of 1812 was recreated.

The Triumphal Arch now stands on Victory Square, not far from Poklonnaya Gora, forming a single historical and memorial complex together with the museum-panorama "Battle of Borodino", "Kutuzovskaya izba" and the monuments located next to them.

The front side of the arch is facing the entrance to the capital. By placing it in this way, the architects observed the old tradition, according to which the triumphal gates and arches were always facing the main facade of those entering the city. The base of the monument is a single-span arch with six pairs of free-standing 12-meter high Corinthian-style cast iron columns located around two arched pylons. Between each pair of columns, weighing 16 tons each, in niches formed by them, on high pedestals there are powerful cast figures of warriors with heart-shaped shields and long spears, in ancient Russian chain mail and pointed helmets with cloaks in the form of Roman robes thrown over their shoulders. The bearded faces of the knights are stern and expressive. Rhythmic, somewhat artificial under the warriors, their tight, Roman-type tunics are a tribute to the classical image prevailing at the beginning of the 19th century. Above the figures of the warriors, in the upper part of the pylons, there are beautifully executed, graceful high reliefs full of dynamism. The high relief "The Expulsion of the French", called by the creators "The Expulsion of Gauls from Moscow" or "The Beating of Two-Ten Tongues", depicts hand-to-hand combat against the background of the jagged Kremlin wall. Russian soldiers in antique armor, uncontrollably advancing on the right in dense rows, are pressing the enemy, whose army is running, throwing down their weapons. In the foreground is a Russian warrior. With his left hand he holds a round shield with the emblem of Russia. With a wave of his right, he raised his sword over the defeated enemy. The figure of the Russian warrior, as if revived on the relief, embodies the power of the peoples of Russia, who rose to fight the conqueror. The terror and doom of the enemies are opposed by the firm confidence and boundless determination of the Russian soldiers - the liberators of Moscow. The figure of a dead enemy warrior with a bare chest is also expressively executed.

The composition is masterfully constructed. The impression of movement is enhanced by creating spatial depth. The figures in the foreground and in the depths of the relief are different in size. And despite the fact that the nearest figures are almost independent sculptures, the high relief fits well into the plane of the wall of the Arc de Triomphe. Conventionality and reality are merged into one here. The relief is executed with great patriotic feeling, passion and deep vitality of the drawing.

Another high relief - "Liberated Moscow" - is done in a more relaxed manner. A reclining Russian beauty, leaning her left hand on a shield with an ancient Moscow coat of arms. Her figure is dressed in a sundress and a robe; her head is adorned with a small crown. She holds out her right hand to Emperor Alexander I. He is wearing the rich dress of a Roman Caesar. These central figures are surrounded by images of Hercules with a club on his right shoulder, Minerva, a feeble old man, a woman and a youth. The jagged wall of the Moscow Kremlin serves as a background for them. A combination of Russian national features with antique ones is noticeable in the clothes of the characters, as in the previous relief. Undoubtedly, this high relief is in many ways inferior to "The Expulsion of the French", but they are close to each other in style that goes beyond the traditional framework of classicism, but acquires the features of romanticism.

The traditional figures of those who trumpet about Glory soar in the walls above the bends of the arch. And along the entire perimeter of the strongly protruding cornice, there are 48 coats of arms of the administrative regions of Russia, the population of which took part in the fight against the aggressor.

Above the cornice, the allegorical statues of Victories froze in calm poses. War trophies are stacked at the feet of Victory. In the hands of the goddesses, wreaths and scepters are symbols of the sovereign victory.

The arch is crowned with a chariot of Glory, as if flying over the attic. The six horses, acting in a measured step, pulls the chariot. The winged goddess of Victory stands proudly in the chariot. A laurel wreath is raised high in her right hand, she crowns the winners with it. The gaze of the ancient Greek goddess is turned to those entering the capital. She seems to be trying to tell them the good news of the victory of Russian weapons.

It is interesting to note that the Moscow Metropolitan refused to consecrate the Arc de Triomphe when it was opened in 1834 due to the placement of sculptural images of mythological gods on it.

Memorial plaques with inscriptions are placed in the center of the attic, above the roadway, on both sides of the arch. The one that looks at the city is composed of the words of M.I. Kutuzov, addressed in 1812 to Russian soldiers. On the main facade, the layout of the mortgage board is repeated. And, reading these lines, we seem to lose the sense of time and, as it were, stand next to those who fought at the walls of Moscow, who raised it from the ruins, who performed their feat of arms more than 180 years ago.

The walls of the arch are faced with white stone. Skillful combination in one monumental structure of various materials, contrasting colors - black cast iron and white stone - enhances the artistic expressiveness of the monument.

The architectural and sculptural designs are in complete unity. The masterfully conceived and executed staging of the sculpture of the arch perfectly took into account the play of light and shadow of its parts. This is easy to see if you go around the arch at sunrise or sunset. That is, at its maximum illumination. Due to the fact that the columns and the figures of soldiers standing between them do not adjoin the wall of the arch, the light seems to flow around them and, reflecting from the white walls, additionally illuminates the black figures from behind and from the sides.

The creators found excellent solutions for the harmonious architectural proportions of all elements of the Architectural Arch.

The idea of \u200b\u200ba clear and calm creation of Bove's victory was helped to express by the talented Russian sculptures I.P. Vitali and I. T. Timofeev. They carried out most of the work on the architect's drawings. In the works of Vitali and Timofeev, one can feel the desire for simplicity and truthfulness. Their works are distinguished by restraint and stately calm. The perfect beauty of the form, the vitality of the molding, the firmness of the line speaks of the sculptures' deep understanding of the essence of ancient art and the appearance of realistic motives in their works. It is the merit of Vitali and Timofeev that in the composition of the Arc de Triomphe monumental sculpture is successfully combined with massive architectural forms. The names of the creators, the history of the construction and the renewal of the Arc de Triomphe are written on a commemorative cast-iron plaque installed under the arch.

The Triumphal Arch is a wonderful symbol of victorious Moscow, imbued with the idea of \u200b\u200bthe triumph of the Russian people, it is the main monument of the Patriotic War of 1812 in the capital, it is a visible embodiment of the descendants' deep gratitude to the victorious heroes. "Russia must solemnly remember the great events of the Twelfth Year!" - wrote V.G. Belinsky. And the recreated Arc de Triomphe on Victory Square is the best confirmation of this.

Manezh testifies.

In the fall of 1817, Moscow was preparing to solemnly celebrate the 5th anniversary of the victory in the Patriotic War. For the review and parade of troops, it was ordered to build an "ekzerzirgauz" - an arena in which an infantry regiment, that is, almost two thousand soldiers, could deploy. The talented mechanical engineer General A.A. Bettencourt.

He entrusted the construction of the arena to General A.L. Carbonier, who chose Mokhovaya Square (now Manezhnaya) for the construction of the building in the area of \u200b\u200bthe ceremonial development of the city. On June 10, 1817, the project was approved.

Opened on November 30, 1817, the arena became an engineering marvel of its time. The enclosed space of 7424.67 m2 was covered by a common roof, which lay on wooden rafters, each 44.86 m long, and did not have any intermediate supports. Such a surprisingly bold decision was applied for the first time in the world construction practice and demanded from Betancourt accurate and careful calculations of the ceiling structures and their loads.

The one-storey building, rectangular in plan, still has significant dimensions - length 166.42 m, width -44.81 m, height - about 15 meters. The majestic appearance of the arena is emphasized by its external design. The massive walls, thickened towards the bottom, rest on a high rusticated plinth. The side walls of the building are dissected by evenly adjoining columns of the Tuscan order. And between the columns in the recessed arched openings there are vaulted windows, which makes the walls of the arena seem even higher. The powerful upper part of the building rests on a colonnade of walls. Its architectural design is in the Doric style. On the end walls of the arena, under smooth pediments, as well as in the middle part of the side walls, in high niches cutting through the basement, there are elongated triple wooden gates. Due to the fact that the windows make up about a third of the entire area of \u200b\u200bthe walls, the interior is well lit with daylight.

One of the best creations of post-fire Moscow, the arena is a kind of monument to the heroes of the Patriotic War of 1812. It hosted a celebration and a festive parade on the occasion of the fifth anniversary of the victory of Russian weapons in this war.

Due to the fact that they were in a great hurry with the construction of the arena, a year after the opening, the roof settled down and Karbo-nye was corrected. However, the continued subsidence of the rafters forced Betancourt in 1819 to come up with a proposal for a serious restructuring of the roof. But it was carried out only four years later, in 1823-1824, according to the project and under the guidance of the military engineer Colonel P.P. Bauss, with the active participation of Kashperov as the main contractor for the assembly and installation of newly made rafters. At this time, the remarkable architect and town planner O.I. was involved in decorating the arena. Beauvais.

Having deeply felt and correctly understood the role and significance of the arena as a building-monument in the ensemble of popular development in the center of Moscow, Bove suggested placing stucco decorations on the facades glorifying the military power of Russia. Beauvais insisted on the simplicity of the design of the front facades, limiting himself to a small relief under the cornice. Decorative details in the form of military attributes of Roman legionaries, made according to drawings by Bove, were reinforced outside and inside the arena in the summer of 1825.

The plastering and stucco works, carried out under the direction and according to Bove's drawings, further emphasized the solemn character of the arena as a whole. The decor of small austere rhythmic reliefs, skillfully interspersed into the architectural appearance of the monumental building, brought completeness to the entire structure - one of the best works of classicism in Russia.

The building of the arena has survived to this day without any special external changes. During the festivities, festivities and concerts were held in it, various exhibitions were often unfolded. In the post-war years, wooden rafters were replaced by metal ones, which retained the outer contour of the roof, but required installation inside intermediate supports. From the side of the square, the triple entrance gates were replaced by a three-arched entrance, to which granite steps lead. In 1957 the arena became the Central Exhibition Hall. In 1976, restoration work was carried out in the arena, the purpose of which was to "return youth" to the unique building. The Manezh was returned to its original appearance. The words on a memorial plaque made of gray stone say that this building is one of the worthy monuments to the heroes of 1812:

"The building of the arena was built in 1817 to commemorate the victory of the Russian people in the Patriotic War of 1812".

Georgievsky hall.

At about 5 pm on Monday, September 2, 1812, units of the Napoleonic army occupied the Kremlin. In the Kremlin Palace, built by the famous architect V.V. Rastrelli in 1749-1753, Napoleon occupied the ceremonial chambers of the Russian emperors, overlooking the river with a view of Zamoskvorechye. There was enough space in the palace for the services of the main headquarters of the army. Six weeks later, the enemies were forced to hastily leave Moscow. However, during the retreat, they destroyed part of the buildings in the Kremlin, among which was the Kremlin Palace. By 1817, it was hastily restored and even built on, but soon fell into complete desolation. In 1838, a group of Russian architects consisting of N. Chichagov, P. Gerasimov, V. Bakarev, F. Richter, according to the project and under the guidance of Professor K.A. Tona began construction of the new Grand Kremlin Palace. Construction took almost 11 years.

The main facade of the two-story building of the palace, which has survived to this day, faces the Moscow River. The main entrance, the white marble vestibule of the first floor, the wide front staircase and the blue anteroom of the second floor lead to the ceremonial halls of the palace dedicated to the highest Russian military orders. Thanks to these halls, the palace became not so much an imperial residence as a monument to the feats of arms of the sons of Russia. The most significant in size and the most luxurious in decoration is the St. George Hall. Its length is 61 meters, width - 20.5 meters and height - 17.5 meters.

The whiteness of the walls and ceilings, as well as the abundance of light, make the hall elegant and solemn. Its longitudinal walls are cut through by deep niches with windows overlooking the Cathedral Square of the Kremlin. On the end walls of the hall, almost under the very ceiling, there is a statue of the equestrian figure of George the Victorious, striking a dragon with a spear, made by the famous sculptor P.K. Klodt. The hall is covered with a cylindrical vault, richly decorated with molding. The stucco signs of the order in the shape of a cross are also placed on the walls. In the piers between the window niches, there are 18 twisted columns, cast from zinc by Krumbugel and Schönfelt, in pairs, decorated with stucco, floral ornaments, and magnificent Corinthian capitals. The columns are crowned with allegorical statues, in antique robes with laurel wreaths in their right hand and with shields in their left, which depict the coats of arms of the lands that became part of Russia and the dates of their annexation. The statues were made by the famous sculptor I.P. Vitali. Banquettes, benches and stools with gilded legs, standing along the walls, are covered with silk fabric, repeating the colors of the St. George ribbon. In the corners of the hall, on white light wooden stands, there are large bronze ark-boxes for keeping the lists of the Knights of St. George. The parquet floor of the hall was recruited in 1845 from more than 20 rare multi-colored woods according to the project of the academician of painting F.G. Solntsev by master Miller. The decoration of the hall, dedicated to the victories of Russia in the 15th-19th centuries, is successfully complemented by six multi-tiered gilded bronze chandeliers with thousands of candle lamps and wall lamps. In the evening, the hall is illuminated by over 3 thousand lamps. George Hall - the hall of Russian military glory - is dedicated to the Order of the Victorious George, established on November 26, 1769. The Cross of St. George, as it was often called, was intended to reward officers who "during the hostilities distinguished themselves by special courageous deeds to greatly encourage military services rendered on the battlefield." "For service and courage" - that was the motto of this order. On February 13, 1807, the insignia of the military order, numbered with the Order of St. George, was approved. They were awarded the "lower ranks" for military service and bravery. Military units were also awarded with the insignia of the Order - the Cross of St. George and the ribbon.

The anthem of glory to Russian weapons are the white marble memorial plaques of the St. George Hall with the names of the heroes inscribed on them in gold - the Knights of St. George and famous military units, awarded the insignia of this order. Commemorative plaques are attached to the walls of the hall, between twisted columns. Among the numerous names of soldiers and the names of regiments, crews, batteries, there are many names of participants in the Patriotic War of 1812. M.I. Kutuzov in December 1812 was awarded the highest degree of the order. M.B. Barclay de Tolly became a full Knight of St. George in 1813 for his distinction at the Battle of Kulm. L.L. Bennigsen was awarded the 1st degree of the Order "for the whole company" 1812-1814.

Behind the names of the glorious units, engraved in gold on the memorial plaques, there are the names of thousands of unknown heroes of the Patriotic War. It is for their hard military work that the regiments of the Russian army, awarded with St. George's banners and trumpets, are immortalized. Among the regiments awarded with St. George's banners and trumpets are such as the Life Guards Lithuanian Regiment, Life Guards Grenadier, Life Guards Equestrian, Little Russia, Life Guards Hussars, Life Guards Cuirassier Regiments.

The St. George Hall, which became a monument to the victorious heroes, is also associated with the most important political events of our time. It hosted both the participants of the Victory Day parade in 1945 and the space explorers.

Within the walls of the Georgievsky Hall, government awards are presented to the largest figures of science and culture. Here important international acts and agreements were signed aimed at further relaxation of international tension.

In recent years, significant restoration work has been carried out in the Grand Kremlin Palace. Unique floors have been restored, molding, bronze and furniture have been renewed. Everything in the palace and its halls is preserved in its original form.

Obelisk "Mass Grave".

The artillery cannonade was still rattling on the Borodino field, along the Smolensk road carts were drawn to Moscow, taking away the wounded. Seriously wounded soldiers shook in peasant carts, begging the driver not to drive on the bumps. The wounded trudged wearily alongside the carts, taking care, whenever possible, of the comrades groaning on the straw. Often the moans and words of prayer froze on the lips of the wounded, and he died down forever. The dead were buried in roadside cemeteries. Many such unnamed soldiers' graves remained along the Smolensk road in August 1812, but time has saved us too little. No monuments were erected over these graves, no simple Russian names were written on wooden crosses ...

Approaching Moscow, the convoys with the wounded stopped not far from the Dorogomilovskaya outpost, where the Mozhaisky tract came closest to the old Dorogomilovskiy cemetery. In silence, they removed from the carts those who were no longer destined to shout "hurray" and go on the attack against the enemy in a single formation with their comrades. They were buried in a common grave under the mournful funeral service for the cemetery church servants. This is how a mass grave of 300 Russian soldiers who died from wounds received in the Battle of Borodino appeared at the Dorogomilovsky cemetery. It is to them, the heroes of Borodin, who survived and died in battle, the words of Kutuzov are addressed: “This day will remain an eternal monument of courage and excellent bravery of Russian soldiers, where all the infantry, cavalry and artillery fought desperately. Everyone's desire was to die on the spot and not The French army under the leadership of Napoleon himself, being in superb forces, did not overcome the firmness, the spirit of the Russian soldier who sacrificed his life with vigor for his fatherland. "

For 128 years, only a modest tombstone indicated the burial place of the soldiers. In 1940, by the decision of the Moscow Council of Working People's Deputies, a granite obelisk was raised over the common grave of Borodin's heroes. Where its gray edges descend to a polished black pedestal, the words are inscribed in gold: "A common grave of 300 warriors-heroes of the Patriotic War of 1812, who died a heroic death in the Battle of Borodino. Built by the Moscow City Executive Committee in 1940". After the Great Patriotic War, a radical reconstruction of the area began, and the obelisk was moved to the Kutuzovskaya Hut Museum. In 1962, in connection with the redevelopment of the territory during the construction of the building of the Borodino Battle panorama museum, the obelisk was moved closer to its right wing.

By the thirtieth year of its existence, the monument on the only soldier's grave of the heroes of the Twelfth Year had noticeably aged: it sank into the ground, cracked. Specialists and restorers dismantled the obelisk to the ground, strengthened the foundation, replaced the destroyed slabs, inserted lead gaskets for strength, and renewed the inscription. Neither the proximity of the Borodino battle panorama museum, nor the Kutuzovskaya hut, nor other monuments can distract your attention from this austere monument. And, coming to the foot of the obelisk, you involuntarily bow your head as a sign of deep gratitude to the unknown heroes.

Moscow militia.

In 1812, the whole people rose to defend the fatherland from the conquerors. Napoleon's army ran into stubborn resistance from Russian troops and waging war "not according to the rules of the partisans." Without waiting for official instructions from the authorities to convene the militia, the peasants and artisans themselves initiated the creation of a "people's military force." They submitted petitions to the landowners and local authorities with a request to arm them and send them to the enemy as soon as possible, hoping for their participation in the expulsion of the enemy from their native land to receive liberation from serfdom. The patriotic upsurge among the villagers and townspeople was so great that the July manifesto of the government was only the legal basis for the formation of the militia. In July 1812, the formation of the militia began in the Moscow province. Combat General I.I.Markov was appointed head of the Moscow militia.

The registration of volunteers in the "Moscow Military Force" was festively furnished. In different parts of the capital - on Novinsky Boulevard, in Maryina Roshcha, etc. - there were large colorful tents. Inside, their walls were decorated with drawings on military themes, weapons, and attributes of military equipment. In the center of the tent was a table covered with a bright cloth, on which lay a book covered with crimson velvet. The names of the militias were entered into it.

By mid-August, the gathering of warriors was basically finished. Representatives of the advanced intelligentsia also joined the Moscow militia. The famous poets V.A. Zhukovskikh and P.A. Vyazemsky.

In Moscow, the center for the formation of the "military force" was the Khamov-nik barracks. The assembly point of the Moscow people's militia was located here. A memorial plaque made of smoky Yamtsevo granite by the architect K.V. Curly seam. It was opened on September 18, 1962 on the central barracks building near the former main entrance. The Khamovniki barracks is not only an interesting architectural monument (the building project was developed by the son of a wonderful Russian architect, architect M.M. Kazakov), but also a monument to the heroic past of the capital and the courage of its defenders. The Moscow militia, numbering 34,000 people, has passed a glorious battle path. The regiments of the Moscow militia took part in all the main battles of the Patriotic War - Borodinsky, near Tarutino, for Maloyaroslavets and Vyazma, at Krasny and Borisov. The active participation of the people's militia in the hostilities of the Russian army greatly contributed to the quickest expulsion of the invaders from our homeland.

History has preserved us an insignificant number of names of these valiant defenders of the fatherland. Only a small memorial plaque on the Khamovniki barracks reminds of their exploits. To them, soldiers, militias, partisans - rank and file of the titanic struggle against the hordes of Napoleon, Russia owed its independence, as did Europe for its liberation. They became the personification of the fatherland that had risen to fight, thereby giving the war the name of the Patriotic War.

Museum-panorama "Battle of Borodino".

This impressive-looking, unusual architecture building made of glass, metal and stone has grown near the already formed ensemble of monuments to the heroes of the Patriotic War of 1812 and has become one of its main elements. It was designed by architects A.R. Korabelnikova, S.I. Kuchanova, A.A. Kuzmin and design engineer Yu.E. Avrutin in less than 19 months.

The building of the museum, located on Victory Square, was created specifically to display a unique piece of Russian fine art - the panorama "Battle of Borodino". It was painted by the greatest master of panoramic painting, academician F.A. Ruboy is an artistic and historical monument to the heroic events of 1812. Roubaud worked on the creation of the panorama from 1909 to 1912. By this time, he was known far beyond the borders of Russia as the author of the panoramas "Storming the village of Akhulny" and "Defense of Sevastopol", as well as a number of wonderful paintings. Roubaud managed to create a highly artistic canvas that became a hymn to the glory of Russian weapons.

The building, in which the panorama was shown for the first time, was built on Chistoprudny Boulevard according to the project of the military engineer Colonel P.A. Vorontsov-Velyaminov and opened for the 100th anniversary of the Battle of Borodino. F. Roubaud himself attended the opening. For 5.5 years of its existence, the panorama was viewed by 143,000 visitors. In connection with the outbreak of the 1st World War, the demonstration of the panorama was stopped, and the wooden, rapidly dilapidated building was demolished. The huge canvas was screwed onto a 16-meter shaft and remained in this form for more than a dozen years. As a result, only the battle part without one fragment survived from the original painting. Painting of the sky has not been completely preserved. In 1949 the restoration of the canvas began. A group of restorers led by P.D. Korin and E.V. Kudryavtsev completely replaced the canvas base. Academician of painting M.N. Avilov was engaged in the reconstruction of the model of the subject plan. In 1961, a group of artists was created, headed by I.V. Evstigneev. She re-painted the lost parts of the battle painting, the sky was re-painted on the canvas area of \u200b\u200babout 930 m2. So, 50 years later, the one-of-a-kind pictorial monument was completely restored by Soviet artists. Museum-panorama "Battle of Borodino" was opened on October 18, 1962. Since then, there has been an endless stream of visitors. Several thousand tourists come to the museum every day. And this is the best confirmation of the enormous popularity of the artistic and historical monument to the heroic events of 1812.

The building in which the museum is located captivates with the compositional unity of all its parts. In its center is a cylindrical structure, reminiscent of a drum, made of glass and aluminum, about 23 meters high and 42 meters in diameter.

Two low rectangular wings adjoining the central part of the building are decorated with mosaic panels "The People's Militia and the Fire of Moscow" and "The Victory of the Russian Army and the Expulsion of Napoleon". These panels, with an area of \u200b\u200b75 m2 each, introduce the viewer to the heroic events of the great battle, and tell about the immortal feat of the people. Their author is the Moscow artist B. Talberg.

The heroic-patriotic theme of the mosaic seems to be continued by the trophy gun barrels laid on the stone steps of the basement. All these 68 guns belonged to different states of Europe, whose troops were part of the army of "twelve languages". They were transferred to the panorama from the walls of the Arsenal of the Moscow Kremlin, humbly turning into an element of its decoration.

Mosaic panel on the museum building

Fifty names and surnames of the heroes of the Patriotic War of 1812, representatives of all strata of the population of Russia, who stood shoulder to shoulder in the first rank of courageous fighters, adorn the building-monument. Not all of them were participants in the Battle of Borodino, but they all bravely fought the enemy for the sake of a common victory. And with their victory in the Twelfth, they conquered time ...

Through the stone-lined lobby of the panoramic museum, we enter 2 small rectangular halls located in the side wings of the building. Their exhibits acquaint with the events of the Patriotic War before and after the Battle of Borodino. Wide white marble steps lead to a small round hall dedicated to the work of F.A. Roubaud.

With bated breath, we climb the spiral staircase to the central part of the building. And here we are on the observation deck, in the thick of the Borodino battle. Troops in unusually bright clothes were spread across the boundless space. The unusual blueness of the sky, slightly pinkish at the horizon, fills the surrounding space with an abundance of light. And the green of the forest, and the calm water in the stream, and the golden rye field - all these details of the landscape paint the homeland for which the battle is raging. The artist makes us eyewitnesses of the critical moment of the battle, which came at 12:30. General Dokhturov arrived at the command post near the village of Semenovskaya, replacing the seriously wounded Bagration.

The village is on fire, the enemy has intensified the shelling, but Dokhturov calmly leads the battle in his sector. Soldiers of the Moscow and Astrakhan grenadier regiments pass by him. Opposite, behind the Semyonovsky ravine, French guns, lined up in a line, fire at the Russian positions. Crossing the Semyonovsky brook, the grenadiers counterattacked the enemy. Throwing reserves into battle, Napoleon is trying to break through the defenses of the Russian troops in the center. Here, on the southern slopes of the Kurgan Heights, a "battle in the rye" began. Saxon cuirassiers and Polish lancers fight with Russian dragoons and cuirassiers. At the top of the height, covered with clouds of smoke, there is a fierce battle. In the distance, on the Semyonov heights, the Izmailovtsy guardsmen, Lithuanians and Finns, standing in a dense formation in a square, are repelling the fierce attacks of the enemy's heavy cavalry.

Two commanders - Kutuzov near the village of Gorki and Napoleon from the Shevarda redoubt - are watching the battle. We see them in the background of the panorama facing each other. Napoleon is nervous and in a hurry. Calm and full of confidence Kutuzov. He stands in a greatcoat draped over his shoulders. His gaze is directed to the valley of the Kolocha River, where the outcome of the battle is being decided. And although at this moment Napoleonic soldiers are still attacking, we feel with what unshakable fortitude, with what heroic enthusiasm the Russians are fighting, and they cannot but win. The panorama is written with great realistic force. She glorifies the heroism of an ordinary soldier defending the freedom of his fatherland.

"Kutuzovskaya hut".

On the sixth day after the Battle of Borodino, the Russian army along the Mozhaisky tract approached the suburbs of Moscow and camped along its western border. The right flank of the army deployed in front of the village of Fili, the center - between the villages of Troitskoye and Volynskoye, the left flag - near the village of Vorobyov. The vanguard stopped at the village of Setun. No songs are heard on the bivouacs, the weathered faces of the soldiers are gloomy. What will happen to Moscow?

The commander-in-chief of the Russian troops M.I. Kutuzov. Meanwhile, on the morning of September 1, the strengthening of certain sections of the Russian position began. In the first half of the day, the commander-in-chief himself examined the position of the army and found it unprofitable for battle, because the Moscow River with steep banks stretched behind the entire location of the Russian troops, and the flanks could easily be bypassed by the enemy. Returning to the main apartment, located in the village of Fili, 2 km from the Dorogomilovskaya outpost, Kutuzov ordered to convene a military council by 5 o'clock in the afternoon.

At this time, the village of Fili consisted of only 7 huts. Here, in the hut of the peasant Frolov, Kutuzov's headquarters is located. The chopped hut of the Frolovs, judging by the surviving drawings from nature, was spacious. With three sash windows on the façade she looked out onto the street and with one side window out onto the courtyard. A small roofed porch with a canopy and 5 steps led to the front door, through which one could enter a small entrance. In this hut on Sunday, September 1, 1812, Kutuzov received the generals who had gathered for the military council. This military council decided the fate of Moscow and all of Russia. After much debate, M.I. Kutuzov decided to leave Moscow and retreat.

For several years after the Patriotic War, the family of the peasant Frolov lived in the famous hut. In 1850 the dilapidated house was repaired, the outside was sheathed with boards, the thatched roof was replaced with a plank roof and painted. The memorial hut, named "Kutuzovskaya", was surrounded by a low earthen rampart and planted with trees. The number of visitors to this historic site has grown every year. In the half of the hut where the military council took place, a kind of museum was formed. A long oak table and benches have survived here, at which the members of the military council sat, icons in the red corner and a bench on which the commander sat that day, bowing his gray wounded head in deep thought. The walls were decorated with portraits of council members. There were also several published descriptions of the military events of 1812 and a book in which the names of the visitors were entered.

In another room of the hut lived a retired disabled soldier who performed the duties of a watchman, janitor and caretaker for a meager payment received from the local landowner Naryshkin. But in 1867 the old veteran was deprived of his maintenance by the landowner, and the invalid was forced to seek refuge in other parts. The hut was boarded up and left unattended.

On June 7, 1868, the abandoned hut suddenly caught fire. The peasants who came running to the fire managed to take out of the fire only icons and a bench on which the council members were sitting. On August 3, 1887, on the 75th anniversary of the Patriotic War, a new "Kutuzovskaya hut" was opened, built with funds collected by Muscovites from drawings and under the supervision of architect N.R. Strukov. On the cornice of the facade there was an inscription: "The hut of the military council, which was on September 1, 1812".

The hut, rebuilt in the same place, consisted of two rooms, separated by a passage, and in the plan repeated the old hut of the Frolovs. In the left room, overlooking the street, there is a small museum, which collected relics and other items saved from the fire, reminiscent of Kutuzov, the military council and its members, of the heroic events of the Patriotic War. The place where the field marshal was sitting was marked with a special sign with an inscription.

Four retired soldiers of the Pskov infantry regiment named after Field Marshal Kutuzov, "fostered at the expense of society", settled in the room to the right of the entrance, or back, room. By the 100th anniversary of the Patriotic War of 1812, the museum that existed in the "Kutuzovskaya hut" was reorganized, its exposition was replenished. However, in the late 10s, he eked out a rather miserable existence.

In 1928 the museum was closed. Most of the exhibits collected in it were irretrievably lost. Only the original bench and the marching droshky, on which Kutuzov arrived in the active army in August 1812 and on which he rode around on campaigns in 1812-1813, survived and were transferred to the Borodino Military History Museum-Reserve, where they are still located.

In 1938, the building was restored, and a branch of the State Borodino Military History Museum was opened in it. A new exposition was launched, telling about the military council in Fili, about the life and work of M.I. Kutuzov and other glorious commanders and military leaders, about the heroic struggle of the peoples of Russia and its army against foreign invaders. The front room shows the furnishings of a peasant hut of the early 19th century.

In 1962, the Borodino battle panorama museum was created, and the Kutuzovskaya hut, located nearby, became its branch. It is an integral part of the memorial complex in memory of the Patriotic War of 1812 at Poklonnaya Gora.

In front of the "Kutuzovskaya izba" stands a stone obelisk, darkened with age, covered with a network of small cracks. Two memorial plaques are attached to its edges. On one of them, the words spoken by Kutuzov at the closing of the military council were engraved, and on the other, the story of the creation of this unusual monument was told: "On this place there was a hut belonging to the peasant of the village of Fili Frolov, where on September 1, 1812, a military council was created under the chairmanship of a field marshal Prince Kutuzov, who decided the fate of Moscow and Russia.The hut burned down in 1868. The officers of the Grenadier Corps, who were on a military field trip in 1883 in the vicinity of Moscow and imbued with a sense of reverence for the historical site, had a desire to immortalize this place with a stone and enclose it with a fence, which filled with the care and diligence of the ranks of the Grenadier Corps, September 8, 1883 ".

So the old milestone became a memorable obelisk. And after 4 years a new "Kutuzovskaya hut" was built near it. In 1958, on the 145th anniversary of the death of the outstanding military leader M.I. Kutuzov, a bronze bust by the sculpture by N.V. Tomsk. And it is no coincidence that the first monument to Kutuzov in Moscow was erected at this very place.

Here, at the military council in Fili, when the fate of Moscow and the fate of Russia were being decided, the military leadership talent of this truly people's commander was fully manifested.

"To the glorious sons of the people."

Monument to M.I. Kutuzov, heroes of the Patriotic War of 1812.

For almost 30 years, starting in 1944, the sculptor N.V. Tomsky over the monument, in which he brilliantly embodied the unity of the commander with the people in the person of partisans, militias and soldiers. The monument makes a great impression with inner strength, expressiveness, noble humanity. It was opened in July 1973, the year when the whole country celebrated the 160th anniversary of the death of M.I. Kutuzov. The monument was erected in front of the building of the Borodino battle panorama museum and organically entered the existing memorial ensemble to the heroes of 1812.

Above the monumental group of 26 figures rises a bronze equestrian statue of Kutuzov. On a pedestal made of gray granite the inscription: "To Mikhail Illarionovich Kutuzov, glorious sons of the Russian people who won the Patriotic War of 1812". Kutuzov's pose emphasizes his calm confidence in the triumph of a just cause, to which the whole people have risen. The confidence and calmness of the people's commander is, as it were, transmitted to the generals around him, peasants, warriors and soldiers, on whose titanic efforts Kutuzov relied.

Each of the figures in the monumental group embodies the image of a specific historical person, they are given features of portrait resemblance to the heroes of 1812. Here are depicted talented commanders: Bagration, Barclay de Tolly, Dokhturov, Platov, Tuchkov, Raevsky, Ermolov, Kutaisov, Neverovsky, Likhachev, Konovnitsyn; commanders of partisan detachments Davydov, Seslavin, Figner; peasant partisans Kozhina, Kurin; ensign Pavlov; ordinary Russian soldiers Ruchkin, Alekseev, Korennoy; Feldwebel Zolotev; Mikhailov is a hero drummer.

Fragments of the monument to the heroes of the Patriotic War of 1812.

The specific images of Russian soldiers included in the ensemble of the monument are, at the same time, unconditionally collective, for thousands of Russian soldiers who selflessly fought for the independence of the Motherland were characterized by selfless love for the Fatherland and unparalleled courage, readiness to sacrifice for the sake of a common cause and mutual assistance in battle. burning hatred for the enslavers and boundless devotion to heroic commanders.

The creator of the monument to the glorious sons of the fatherland N.V. Tomsky stressed that this is not only a monument to one of the greatest Russian commanders, but also a monument to the fiery patriotism of the people. The introduction of a gallery of sculptural portraits of real heroes of the twelfth year into it gives the monument a genuine historicity. Among the heroes are generals, soldiers, militias, and partisans. Here are the best representatives of the nobility, from which the Decembrists came. And the patriotic peasants. All of them are the embodiment of the unfading glory of the people, the embodiment of the feat accomplished by them at that distant time.

To the partisan hero.

On September 18, 1962, a memorial plaque was solemnly unveiled on the facade of house No. 17 on Kropotkinskaya Street (now Prechistinka). A manly face with cheerful eyes and a dashingly curled mustache, the face of a brave warrior in a hussar uniform, a famous writer, an original poet, looks from the gray granite. The inscription over the portrait reads: "In this house in the mid-30s of the XIX century lived the hero of the Patriotic War of 1812, the poet-partisan Denis Davydov." Wanting to emphasize the hero's belonging to the "literary workshop", the architect A. Kotyrev, as if on a sheet of paper, threw a quill pen under the text. The house where Denis Davydov settled in 1836 was built in the late 18th - early 19th centuries. In this house, the poet-partisan Denis Davydov wrote a critical article "Did Frost Destroy the French Army in 1812?", The autobiographical story "Meeting with the Great Suvorov", the epigram "Contemporary Song" and verses full of fighting enthusiasm.

The memorial plaque on the house number 17 on Prechistenka Street has become another monument to the famous Muscovite.

Denis Vasilievich Davydov was born in Moscow on July 16, 1784. On September 28, 1801, Davydov began his military service as an estan-dart junker. After 11 years, Davydov was promoted to lieutenant colonel and appointed commander of the 1st battalion of the Akhtyrsky hussar regiment.

During the Patriotic War of 1812, as the commander of a hussar regiment and a partisan detachment, he successfully operated behind enemy lines. Denis Davydov was awarded the Order of the 3rd Degree and the Order of George 4th Class for the company in 1812.

An excellent organizer, a talented military leader, a resolute warrior. Denis Davydov forever engraved his name in the history of the partisan movement.

The name of Denis Davydov was assigned to the Akhtyrka hussar regiment, which is associated with the brightest pages of his combat biography.

An ardent patriot, a courageous and unshakable warrior, a military theorist and a talented poet, Davydov forever became akin to Moscow. Here he was born and lived. His remains rest on the territory of the Novodevichy Convent. In 1955, a bust was erected over the grave of the poet-partisan by the sculptor E.A. Rudakov.

For eternal times.

The walls of the Kremlin arsenal were crowded with Napoleon's guns - witnesses of past victories and defeat of the conquerors. Coats of arms, mottos, numbers, stamps with an indication of the place and time of casting, the name of the foundryman, engraved on the deadly vents can tell us a lot of interesting things.

A repulsed gun was an expensive trophy, equated to a captured banner, since artillery units at the beginning of the 19th century did not have their own banners, unlike cavalry and infantry units.

It is no coincidence that this rare collection of artillery trophies from the first quarter of the 19th century has been kept in the Moscow Kremlin for over 180 years.

Back in 1701, Peter I ordered to build along the wall connecting the Nikolsky and Troitsky gates of the Kremlin, the Arsenal building for storing, repairing and manufacturing various weapons, military equipment and ammunition. It was decided to organize a military museum in the same building, which was named "Zeihaus". By a special decree, it was ordered to collect and bring to the "newly built guesthouse for the memory of eternal glory" captured copper and iron cannons, as well as various foreign weapons. Military equipment and banners captured in battles. Despite the Peter's decree, the conceived museum of captured weapons was never created.

By 1812, the Kremlin Arsenal in Moscow was one of the largest bases where tens of thousands of different samples of mainly domestic weapons and ammunition were stored. While the Napoleonic army was in Moscow, the Arsenal building was blown up. Arsenal remained in a dilapidated state for another 4 years after the liberation of Moscow. Its restoration lasted until 1828.

By the 100th anniversary of the Patriotic War, it was planned to open a museum of 1812 in the building of the Kremlin Arsenal. But due to lack of funds and because of the outbreak of the First World War, the museum was not open. To this day, moldings in the form of military attributes have been partially preserved on the facade of the building - traces of the beginning of the decoration of the Kremlin Arsenal as a museum. Barrels of trophy guns of the armies of all European states, drawn by Napoleon into the invasion of Russia, also remind of the museum's purpose of the building.

In 1812, an imperial rescript was issued, which spoke of the creation of a pillar from enemy guns.

This monument was initially supposed to be installed at the Tverskaya Gate (now Pushkin Square), but soon the Senate Square, opposite the arsenal building, was chosen as a place for it. Many well-known architects began work on the project of the victory monument. One of the first was the leading Moscow architect of the late 18th century M.F. Kazakov. However, none of the many projects was ever implemented.

By 1819, 875 captured gun barrels had been collected at the walls of the arsenal. In the 1830s, when the original idea of \u200b\u200bcreating the monument was abandoned, they were placed on stepped stone pedestals along the main facade of the Kremlin Arsenal, from the Troitsky to Nikolsky gates. At the southern wall of the arsenal, pyramids of trophy cannonballs from 207 ammunition boxes abandoned by the French in Moscow grew.

In the middle of the 20th century, in connection with the construction work that began in the Kremlin on the construction of the Palace of Congresses and the demolition of the old building of the Armory Chamber, 40 ancient guns of the 16th-17th centuries were placed on decorative carriages along the main and southern facades of the Arsenal. For this, some of the captured guns of 1812 had to be removed and their placement changed. Earlier, in 1936, about 40 trophy barrels were transferred to the Borodino military-historical museum-reserve, 68 captured guns in 1962 were transferred to the building of the Borodino battle panorama museum.

In 1974, these historical tools were cleared, freeing them from various layers.

At the Dorogomilovskaya outpost.

The news of M.I. Kutuzov to leave Moscow without a fight quickly spread among the troops. The troops left Moscow in two columns, one of which went through the Dorogomilovskaya outpost and the Moscow River. Kutuzov was also in it. The first at 3 o'clock in the morning on September 2 along the Dorogomilovsky bridge and further along the streets of Moscow were carts. The militia followed them, then the infantry and artillery. The Cossacks were at the rear of the column. Soldiers' boots knocked regularly on the wooden pavement at the entrance to the Dorogomilovsky bridge. In sorrowful silence, regiment after regiment, company after company, the Russian army marched across the Dorogomilovsky bridge.

In August 1837, Russia celebrated the 25th anniversary of the Battle of Borodino. At the same time, the Dorogomilovsky bridge was renamed Borodinsky.

In 1868 the wooden Borodino bridge was replaced with an iron one on two tall stone bulls with ice cutters. Muscovites called the new bridge a construction miracle. Its roadway 139 m long and 15 m wide was covered with upper metal trusses. At the entrances there were stone arches with decorative turrets at the corners. The bridge was built according to the design of the engineer V.K. Schleier.

In this form, the bridge existed until 1909, when its reconstruction began according to the project of the architect R.I. Klein and engineer N.I. Oskalkova. The carriageway was widened to almost 26 m with the same length and the same number of bridge supports.

The opening of the bridge took place in 1913. With a thoughtful architectural design, Klein turned the Borodinsky Bridge into a kind of monument to Russian soldiers who stood to death on the Borodino field.

In 1938 the bridge was partially reconstructed. It underwent a secondary reconstruction in 1950-1952. Borodinsky Bridge was significantly widened and lengthened. Arched driveways are arranged under its congresses, opening the way along the embankment under the bridge. The architectural appearance of the monument bridge has been preserved. From the side of Bolshaya Dorogomilovskaya Street, gray granite obelisks rise on both sides of the entrance to the bridge. In their shape, they resemble those old stone pillars that once marked the entrance to Moscow from the Dorogomilovskaya outpost. From the side of Smolenskaya Square, on the sides of the entrance there are free-standing conical colonnades in a semicircle. A common cornice connects each six of the columns, and decorative pyramids of ancient military armor and banners cast from cast iron are installed on it. The coastal structures of the bridge are made in the form of bastions. On the cast-iron lattice of the parapet there are medallions with images of various military attributes. The architecture was able to give the design of the bridge-monument a solemn triumphal character, emphasizing the greatness of the victory of the Russian people in the Patriotic War of 1812.

Cast-iron boards with the names of the heroes are attached to the pedestals of slender tetrahedral obelisks. The four commemorative plaques of the left obelisk list prominent military leaders and commanders. On three boards of the right obelisk, framed by relief images of military armor. The names of the famous partisans are inscribed. The inscription on the fourth board of this obelisk, facing the Kievsky railway station, briefly tells about the history of the bridge: "Borodinsky bridge was built in 1912 in memory of the Patriotic War of 1812. Reconstructed in 1952."

Simple Russian names and surnames without titles and titles. All of them are equally inextricably and forever linked to the Twelfth Year. In memory of these wonderful people, the granite obelisks of the bridge rise.

The solemn motives of the design of the Borodinsky Bridge with its obelisks and colonnades were taken up by the architect I.I.Rerberg during the construction of the Bryansk, and now Kievsky railway station. Its construction began in 1914 and ended in 1920.

This ensemble is one of the most remarkable of its time. It is built not only on the use of classical forms, but also on the unity of the ideological orientation of the architecture of the structures included in it. But if the appearance of the Borodinsky Bridge immediately reveals a monumental monument to the outstanding events of the Patriotic War of 1812, then in the building of the Kievsky railway station heroic motives are presented in a special way. The connection between the architecture of the Borodinsky Bridge and the Kievsky railway station was especially pronounced after the expansion of Dorogomilovskaya square in the 1960s.

The power and invincibility of Russia, which preserved its independence during the harsh days of the Patriotic War of 1812, is symbolized by both of these structures.

The grandiose victory achieved in the twelfth year as a result of the titanic efforts of all the peoples of Russia demanded its reflection in equally grandiose and diverse monuments. And whether it be the name of the street, an obelisk, a triumphal arch, a memorial inscription on the house, reminiscent of the heroic deeds of the heroes of the Patriotic War of 1812, this is an excellent embodiment of the continuity of the traditions of generations, it is a reflection of the gratitude of descendants. This is the thread that stretches from the distant past to the present day, to the minds and hearts of our generation, making a person spiritually richer.

The succession of the glorious deeds of generations is the guarantee of the growth of culture and patriotism of the Russian person. This is confirmation that tomorrow's story begins today. Only a person who has grown up in the conditions of our reality, a person with a broad outlook is able to truly understand and appreciate the great feat of his ancestors, perpetuating it in stone, in metal, erecting more and more evidence of people's boundless respect for the memory of heroes who gave their lives for their Motherland ...

List of references

1. A.S.Smirnov. "Moscow - to the heroes of 1812." Guide, 1996

2. Collection "Old Moscow", ed. Bustard, Moscow 1998

3. History of Moscow - textbooks, ed. "International House of Cooperation", 1996

The memory of the Patriotic War of 1812 remained not only in music, painting, literature and history textbooks. Glorious events and heroes of battles are immortalized in monuments, monuments and memorial plaques, in the names of squares and streets.


In 2000, the Cathedral of Christ the Savior, destroyed in 1931 by the Bolsheviks, was restored and consecrated in Moscow.

The cathedral was built in 1883 by K. Ton's project in gratitude to God for saving Russia in the war with Napoleon and preserving eternal memory. The names of those who died in the war in 1812 are depicted on the walls of the temple.

In 1912, Russia celebrated the 100th anniversary of the victory of the Patriotic War of 1812. The museum "On the Borodinskoye Field" was created with the voluntary donations of descendants. For this anniversary, the battle painter F. Roubaud created his famous panorama "The Battle of Borodino". At the same time, in 1912, the “Kutuzovskaya izba” was rebuilt in the village of Fili, instead of the one that burned down in 1863 - the first museum in Russia in memory of Field Marshal MI Golenishchev-Kutuzov.

In 1962, in the year of the 150th anniversary of the Battle of Borodino, next to the hut, the building of the Battle of Borodino panorama museum was solemnly opened, where the outstanding work of F. Roubaud was placed. Museum-panorama "Battle of Borodino" and "Kutuzovskaya hut" became the center of the historical and architectural ensemble dedicated to the victory in the war of 1812.

Gradually, other monuments to the "heroes of the war of 12" were erected around. Monument-bust of M.I. Kutuzov, the work of the sculptor N. Tomsky was opened in 1958 near the "Kutuzovskaya izba". Money for this monument was collected back in 1912, but the First world War did not allow this plan to be realized.

Near the "Kutuzovskaya izba" there is a milestone of the Smolensk road. The most inconspicuous, but the oldest of all the monuments, which laid the foundation for the creation of a historical and architectural complex. It was moved here from the Smolensk road in 1883 and installed on the site of the burnt down Kutuzovskaya hut.

In 1973, in front of the building of the panoramic museum, the second monument to N. Tomsky "Mikhail Illarionovich Kutuzov and the glorious sons of the Russian people who won the Patriotic War of 1812" was opened. A bronze equestrian statue of Kutuzov rises above a group of 26 figures. Most of the figures bear a portrait resemblance to the heroes of the war of 1812. It depicts officers, soldiers who showed themselves in the Battle of Borodino and militias.

On the right of the pedestal is the composition "Generals": Bagration, Barclay de Tolly, Dokhturov, Tuchkov, Raevsky, Kutaisov, Ermolov, Neverovsky, Likhachev, Konovnitsyn, Platov.

Left - "Soldiers": Seslavin, Matveev, Pavlov, Zolotov, Alekseev, Ruchkin, Korennoy, Mikhailov, as well as the figures of a hussar in a dolman embroidered with laces and a Cossack in a hat with a hat - two representatives of the Russian light cavalry who were always close at the Patriotic War ...

Behind - "Partisans": Figner, Kurin, Davydov, Kozhina, Stulov.

Between the monument to Kutuzov and the Kutuzov hut, there is an obelisk "The mass grave of 300 soldiers-heroes of the Patriotic War of 1812". Initially, 300 fallen soldiers were buried at the Dorogomilovsky cemetery, in 1953, due to the reconstruction of the area, the grave of the soldiers was moved to the "Kutuzovskaya izba".

The modern complex of the historical and architectural ensemble "Battle of Borodino" at the beginning of the Kutuzovsky Avenue of the capital cannot be imagined without the Triumphal Arch.

In 1814, a wooden arch was built on the square of Tverskaya Zastava for a solemn meeting from the foreign campaign of the Russian troops. Later, in 1834, instead of the wooden one, a new arch was installed by the architect O. Bove, faced with white stone with cast-iron columns and sculptures. Dismantled in 1936 according to the General Plan of Reconstruction of Moscow in 1935, the arch was kept for 32 years in the branch of the Shchusev Museum of Architecture on the territory of the Donskoy Monastery. In 1968, next to the museum complex "Battle of Borodino" on Kutuzovsky Prospekt, the arch was recreated with the replacement of the vaulted brick floors with reinforced concrete structures.

Towards the center of the city along Kutuzovsky Prospect, not far from the northern pavilion of the Kutuzovskaya metro station, the Monument to the War Hero of 1812, Commander Pyotr Ivanovich Bagration, was opened in 1999. Directly from the monument you can walk to the bridge named after the commander, "Bagration". The metro station of the Filevskaya line "Bagrationovskaya", located north of Kutuzovsky Prospekt, is named after him.

Unfortunately, General Raevsky, one of the main heroes of the Battle of Borodino, has been ignored by sculptors. There is not a single monument to him in Moscow.

Poklonnaya Gora stretches along Kutuzovsky Prospekt. The street of 1812 does not start from there, crossing Kutuzovsky Avenue. Further, on Victory Square, from the avenue, you can turn to General Ermolov Street, which is adjacent to Neverovsky and Denis Davydov streets. Between Kutuzovskiy Prospekt and Novozavodskaya Street is Barclay Street, and next to it is Bagrationovskiy Proezd, along which you can get to Tuchkovskaya Street. At the other end of Kutuzovskiy Prospekt, between the Kievskaya and Kutuzovskaya stations, there is Raevskiy Street. Next to it are Platovskaya Street and Dokhturovsky Lane.

Along Kutuzovsky Prospekt across the Borodinsky Bridge (formerly Dorogomilovsky, renamed in 1837 in honor of the 25th anniversary of the victory), you can walk to Prechistenka to the house of the poet-partisan D. Davydov. The ashes of the hero of the war rests in the cemetery of the Novodevichy monastery, transported there from the estate of Davydov in the village of Verkhnyaya Maza, Simbirsk province.

The building of the Khamovniki barracks, where the people's militia was formed, has also survived in the city.

In the very center of the capital, in the Kremlin, along the facade of the Arsenal, captured weapons are displayed, repulsed from the enemy. After 1812, the Arsenal was supposed to be used as a museum of the Patriotic War, for this in 1819, 875 captured guns were delivered to it.

The names of 11 thousand holders of the Order of St. George are carved on marble plaques in the St. George Hall of the Kremlin. But there are only four full Knights of St. George (IV degree): the Commander-in-Chief of the Russian Army, Field Marshal General Prince Mikhail Kutuzov-Smolensky, Field Marshal General Count Mikhail Barclay De Tolly, Field Marshal General Count Ivan Paskevich-Erivansky, Field Marshal General Zabhal Ivan. And they are all heroes of the Patriotic War of 1812.

The Alexander Garden is located near the Kremlin. The decoration of the cast-iron gate and fence is dedicated to the victory in the war of 1812.

Near the Kremlin there is a majestic Manege, built on the occasion of the 5th anniversary of the victory of Russia in the Patriotic War, designed by A.A.Betancourt.

In 1997, a monument to the Defenders of the Russian Land (sculptor A. Bichugov) was unveiled in the Victory Park on Poklonnaya Hill. Symbolizing the connection between generations, it is a collective image of three heroes: on the left - a medieval knight, on the right - a soldier of the Great Patriotic War, and in the center - a grenadier of the Patriotic War of 1812.

Traditionally, anniversaries of victory in the Patriotic War of 1812 were celebrated at a high state level. To celebrate the 100th anniversary of the victory in 1910, Nicholas II established a Special Commission of 12 departments. For the 100th and 150th anniversaries, monuments were restored and opened, and solemn events were held.

The 200th anniversary of the victory will be no less grandiose. This date will be widely celebrated in the capital. Throughout the year, scientific conferences and "round tables" will be held in Moscow, historians will re-evaluate the events of 200 years ago, preventing distortion and falsification of the events of 1812-1814.

Preparations for the holiday began in 2007. The plan of events to celebrate the 200th anniversary of Russia's victory in the Patriotic War of 1812 was approved by the Government of Russia on November 2, 2009. Much has already been done, but much is still in the process of reconstruction and preparation.

On March 6, 2012, after the restoration and renovation of the exposition, the Borodino battle panorama museum was opened, which this year celebrates its 100th anniversary. The opening of the new exposition was the most worthy gift for the 200th anniversary of the victory in the Patriotic War of 1812.

The new exposition has become wider and more accessible. It presents exhibits that have not been exhibited before, unique items of that era. Throughout the museum and in the panoramic hall, where previously there was only the panorama itself, interactive screens and labels have appeared, with the help of which you can view individual parts of the panorama.

The museum presents a new word in painting - a reproduction of the painting "Fire in Moscow" (1813) by the artist Smirnov in 3D format.

The next in line is the opening of "Kutuzovskaya izba" and "Carriage shed". Kutuzovskaya hut was closed for almost 17 years, since 1995. Now the restoration has already been completed, for its opening it remains to solve only organizational issues.

Currently, the restoration of the Arc de Triomphe is in full swing. Now she is "chained" in scaffolding.

The statue crowning the arch, the six horses carrying the chariot with the goddess of Victory Nika, has been dismantled. Its two component parts, Nika's statue and her chariot, have been dismantled. The reconstruction works will be carried out in special workshops. But the horses remained in the same place, they will be restored right on the arch, at a height of more than 20 meters above the ground. But all this is not for long. By September 8, the day when the anniversary of the Battle of Borodino is celebrated, all work should be completed.

In 2011, the monument and bust of M.I. Kutuzov in the memorial complex "Battle of Borodino" and a monument to P. Bagration on Kutuzovsky Prospect.