ROSSI, Karl Ivanovich - b. 1775 Napoli, d. 1849 St. Petersburg - WGA

ROSSI, Karl Ivanovich

(b. 1775 Napoli, d. 1849 St. Petersburg)

Russian architect, born in Italy as Carlo di Giovanni Rossi. He was the author of many classical buildings and architectural ensembles in St. Petersburg and its environments.

He was brought to Russia in his childhood. He trained in the studio of architect Vincenzo Brenna. In 1795 he entered the service of the admiralty board of architecture. In 1802-03 he traveled in Italy to further his education. He was appointed court architect in 1806.

In 1808 he was dispatched to the Kremlin archaeological expedition in Moscow, where he played a crucial role in reconstructing the old metropolis after the fire of 1812.

In 1815, he returned to St. Petersburg, and in 1816, he was appointed to a position on the committee of structures and hydraulic works. Rossi designed vast urban architectural ensembles in the manner of Voronikhin and Zakharov, and his work is still a decisive factor in shaping St. Petersburg today.

The buildings of Rossi are characteristic of the Empire style, which combines grandeur with noble simplicity. These include: the Yelagin Palace with the hothouse and the pavilions (1816-1818), St. Michael’s Palace, General Staff Building, the buildings of the Senate and Synod (1829-1833), the façade of the Russian National Library that faces Alexandrinskaya Square, the pavilions of Anichkov Palace, the arch of the General Staff Building, the Alexandrinsky Theatre and the buildings of the Board of Theatres and Ministry of Internal Affairs.

In Pavlovsk, Rossi built the palace library. One of the last buildings of Rossi was the belfry of the Yurevskogo monastery near Velikiy Novgorod.

Karl Rossi’s oeuvre represents the pinnacle of St. Petersburg’s achievements in the realm of urban planning. Like no other architect, Rossi knew how to integrate a building’s design with its urban environment. He even incorporated elements that would act as contact points for buildings in future plans. Rossi’s achievements, based on a comprehensive planning concept, signaled the perfection of Russian Neoclassicism.

He died of cholera in St. Petersburg in complete oblivion and in poverty.

Exterior view
Exterior view by

Exterior view

The complex of the Mikhailovsky Palace (today the Russian Museum) includes the square onto which it fronts, as well as a system of roads. Rossi’s work is an exemplary piece of architecture in the Russian Empire style. The main fa�ade features a gabled portico resting on eight columns, while the wings - with their projecting termini - are ornamented with engaged columns.

Exterior view
Exterior view by

Exterior view

Starting from the Nevsky Prospekt, the theatre complex includes a square, the buildings along Rossi Street, and the Alexandrinsky Theatre. The focus of this urban ensemble is the theatre itself, which opened in August 1832 and soon established itself as one of the city’s foremost dramatic venues. The fa�ade is decorated by a loggia of Corinthian columns, while niches at the sides house statues of the Muses Terpsichore and Melpomene. The loggia is crowned by an attic with the quadriga of Apollo. For the sculptural ornamentation Rossi was able to rely on Stepan Pimenov (1784-1833), Vasily Demut-Malinovsky (1779-1846) and Paolo Triscori. The main fa�ade is in stark contrast to the strict Doric colonnades of the symmetrically planned buildings of the Rossi Street, which are uniform in appearance.

The photo shows the main fa�ade on the Nevsky Prospekt.

Exterior view
Exterior view by

Exterior view

Starting from the Nevsky Prospekt, the theatre complex includes a square, the buildings along Rossi Street, and the Alexandrinsky Theatre. The focus of this urban ensemble is the theatre itself, which opened in August 1832 and soon established itself as one of the city’s foremost dramatic venues. The fa�ade is decorated by a loggia of Corinthian columns, while niches at the sides house statues of the Muses Terpsichore and Melpomene. The loggia is crowned by an attic with the quadriga of Apollo. For the sculptural ornamentation Rossi was able to rely on Stepan Pimenov (1784-1833), Vasily Demut-Malinovsky (1779-1846) and Paolo Triscori. The main fa�ade is in stark contrast to the strict Doric colonnades of the symmetrically planned buildings of the Rossi Street, which are uniform in appearance.

The photo shows the main fa�ade on the Nevsky Prospekt.

General view
General view by

General view

The complex of the Mikhailovsky Palace (today the Russian Museum) includes the square onto which it fronts, as well as a system of roads. Rossi’s work is an exemplary piece of architecture in the Russian Empire style. The main fa�ade features a gabled portico resting on eight columns, while the wings - with their projecting termini - are ornamented with engaged columns.

General view
General view by

General view

On the street side opposite the Admiralty, Rossi built the symmetrically arranged Senate (the highest government department) and the Synod (the highest ecclesiastical authority), which are united by a majestic arch.

General view
General view by

General view

Starting from the Nevsky Prospekt, the theatre complex includes a square, the buildings along Rossi Street, and the Alexandrinsky Theatre. The focus of this urban ensemble is the theatre itself, which opened in August 1832 and soon established itself as one of the city’s foremost dramatic venues. The main fa�ade of the theatre is in stark contrast to the strict Doric colonnades of the symmetrically planned buildings of the Rossi Street, which are uniform in appearance.

The photo shows the Rossi Street.

Triumphal Arch
Triumphal Arch by

Triumphal Arch

Rossi constructed the triumphal arch connecting the two unified General Staff buildings opposite the Winter Palace. The arch facing the Palace Square is crowned by an attic, which bears a statue of Victory in a chariot drawn by six horses. The rest of the sculptural ornamentation glorifies the victory over Napoleon.

Triumphal Arch
Triumphal Arch by

Triumphal Arch

Rossi constructed the triumphal arch connecting the two unified General Staff buildings opposite the Winter Palace. The arch facing the Palace Square is crowned by an attic, which bears a statue of Victory in a chariot drawn by six horses. The rest of the sculptural ornamentation glorifies the victory over Napoleon.

The photo shows a view to the Alexander Column and the Winter Palace.

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