Brownstein Johann Friedrich

Biography

1713: Moving to Russia. Work in Peterhof and Kronstadt

In 1714, the German architect Schluter died in St. Petersburg just a year after arriving in Russia. His place was taken by the assistant Johann Friedrich Braunstein who came with him.

In 1714-1716, Braunstein was responsible for all construction in Peterhof.

In 1716-1719 he worked in Peterhof under the guidance of the French architect J.-B.-A. Leblona.

Braunstein had a great influence on the urban planning of Kronstadt, where he built the Italian Palace.

Engraving by I. Braunstein reveals the grandiose ensemble of the alleged Kronstadt port. The central axis of the ensemble is the Perovsky Canal, which protrudes far into the waters surrounded by the harbor maul. On the sides of the canal it was supposed to arrange two symmetrical internal rectangular harbors, and on the island itself above the canal to build a huge multi-tiered baroque lighthouse tower resembling a triumphal arch, and ships would pass deep into the island under its supports.

I.F. Brownstein. Panorama of Kronstadt. Unfulfilled project. State Hermitage Museum

The design of the lighthouse was carried out by architects Johann Braunstein and Italian Nicola Michetti, who since 1718 worked in St. Petersburg and since 1719 was the main court architect overseeing all construction work in St. Petersburg and its suburbs.

The foundation of the future tower was laid in 1722, but after the death of Peter I, construction was suspended.

Braunstein also worked in Oranienbaum (Grand Menshikovsky Palace), Strelna, Tsarskoye Selo (palace of Catherine I).

1717: The beginning of the construction of the stone chambers of Catherine I in the village of Sarsky

Architectural historian Anatoly Petrov in the book "Pushkin. Palaces and Parks "calls the date of construction of the first stone chambers - 1717. The researcher writes: "In the literature about Tsarskoye Selo, another date for the start of construction was adopted - 1718. The first to bring her was Ilya Yakovkin.<…> It would seem to be confirmed by the documented text of the order of April 29, 1719, on sending to the Sarsky Manor 'to the structure of the chambers of the empress Tsarina' masons, who 'had that building in the last 1718'. However, we managed to find a record of the delivery of food to masons located in the Sarsky village 'at the tent building and at the masonry of the stone from the last 717'.<…> This document serves as undisputed evidence that the construction of the chambers began no later than 1717. "

The stone chambers were designed by the architect Johann Braunstein. How the stone chambers of Ekaterina Alekseevna looked can be judged by the reconstruction of the eastern facade and on the basis of floor plans made by Nikolai Lancer according to a wooden model, which was in the museum collection until 1941. The plans and facade are published in the book of Alexander Benois "Tsarskoye Selo during the reign of Empress Elizabeth Petrovna."

"In the first floor of the new stone palace there was a lobby lit by two lanterns, the front one to its right, behind it is a corner chamber, next to it is a bedroom with a bed under a canopy, followed by a restroom. To the left of the canopy is a bedroom, a restroom and a bathhouse soon moved from the palace.

On the second floor there are front rooms. In the center is a hall with walls decorated with tapestries against the background of French cloth wallpaper, with red curtains on the windows, paintings and mirrors on the walls.

On the left and right are the front chambers, behind them are the two corner rooms. Bedrooms adjoined the corner chambers - the royal front room with a four-poster on the left, and the princess on the right. Restrooms and corner rooms adjoined the bedchambers, the walls of which were painted on canvas under marble, "- the architect Alexander Kedrinsky gives a description of the interior decoration of the stone chambers in the book" The Great Tsarskoye Selo (Catherine) Palace: from a suburban estate to a ceremonial residence. 1710–1760».

After the death of Leblon, Braunstein continued to work on his projects, but in the early 1720s he again found himself in the background, behind the Italian architect Nicolo Michetti. Braunstein's attempt in 1722 to remove Michetti failed.

In the eyes of his contemporaries, Braunstein's successes were overshadowed by his intrigues and already in 1725 he was removed from Peterhof.

1728: Resignation and departure to Germany

During the reign of Peter II, he received a resignation from buildings in the Chancellery, was dismissed from Russian service on January 16, 1728, and in February 1728 left for Germany.

Works in Russia

• Participation in the creation of bas-reliefs on the facades of the Summer Palace of Peter I in the Summer Garden (1714);
• The upper chambers in Peterhof (the small building from which the Grand Peterhof Palace developed);
• The middle part of Monplesir (the pavilion where the front hall is located), the main builder of Monplesir (1714-1723);
• Lower Park and Upper Garden plans;
• The structure of the Grand Grotto with cascades, which developed into the Great Peterhof Cascade;
• The initial arrangement of the subsequently converted fountains "Pyramid," the cascade of Dragons ("Chess Mountain") and the Marlin Cascade ("Golden Mountain");
• The Great Greenhouse in Nizhny Park (1722-1725, together with M. G. Zemtsov);
• Marley Palace (1720-1723);
• Pavilion Hermitage (1721-1724);
• Venus Garden and Bacchus Garden with the Triton Fountain in the western part of Peterhof Lower Park;
• The palace of Catherine I in the Saar Manor (1717), which formed the basis of the Great Catherine Palace of Tsarskoye Selo.