Alexander Column (Alexandrian Pillar) - history, construction, legends. Alexander Column (Alexandria Column) Alexandria Column on the palace square history

N. EFREMOVA, State Museum of Urban Sculpture, St. Petersburg

The Alexander Column (1829-1834) is the world's largest granite monolith, standing under its own weight.

The rise of the Alexander Column. Lithograph from 1836.

Science and life // Illustrations

The top of the Alexander Column is being examined by a steeplejack.

The back of an angel is striking in the care of the coinage.

The Alexander Column is surrounded by metal scaffolding. Restoration is underway. Photo from 2002.

Scaffolding appeared on Palace Square in St. Petersburg. The restoration of the Alexander Column is underway. It was created in 1834 according to the design of the French sculptor Auguste Ricard Montferrand as a monument to Emperor Alexander I (on one of the faces of the pedestal there is an inscription: “To Alexander I - Grateful Russia”). Due to its artistic expressiveness, the column immediately began to be perceived as one of the most solemn triumphal structures in honor of the victories of the Russian army, in honor of the victories of the “eternal memory of 1812.”

The French architect Auguste Ricard Montferrand (1786-1858) managed to attract the attention of Alexander I by presenting him with his own “Album of various architectural projects dedicated to His Majesty the Emperor of All Russia Alexander I”. This happened immediately after Russian troops entered Paris in April 1814. Among the drawings were designs for an equestrian statue, a colossal obelisk, a Triumphal Arch to the Brave Russian Army and a Column in Honor of Universal Peace, which has a certain resemblance to the future design of the Alexander Column. In addition to the drawings themselves, a short list of the necessary building materials was given and the cost of the costs was indicated. Thus, Montferrand managed to show himself not only as an excellent draftsman, connoisseur and admirer of classical art, but also as a technically competent specialist. The architect received a kind, albeit official, invitation to come to St. Petersburg and was not afraid to take advantage of it. In 1816 he came to the northern capital, where he worked for more than 40 years, until his death.

Montferrand received the position of court architect and began work on rebuilding St. Isaac's Cathedral. He was already quite famous by the time he decided to take part in a competition to design a monument to Alexander I. The competition was announced in 1829 by Emperor Nicholas I in memory of his “unforgettable brother.” Montferrand presented a project for a colossal obelisk, quite rightly believing that any sculptural monument would be lost in the vastness of Palace Square. The emperor ordered the obelisk to be replaced with a column. And the architect proposes, taking as a basis a wonderful antique example - Trajan's Column in Rome, to create a work that surpasses this masterpiece.

The project is approved, and the work, which has no analogues in its painstaking and exhausting severity, begins. For the column, Montferrand decided to use a monolith that he discovered in granite scraps near Vyborg, in Puterlax, where the stone for the columns of St. Isaac's Cathedral was mined. The granite block was separated from the rock by hand over the course of two years. To deliver the stone to St. Petersburg, a special boat “St. Nicholas” was built, and on it the rough-hewn column was delivered first to Kronstadt, and then to St. Petersburg, to the Palace Pier. The most difficult stage lay ahead - installing the column on a pedestal that had been built earlier. They made scaffolding, as well as many blocks, winches and ropes, with the help of which they were going to lift the monolith.

On August 30, 1832, on Palace Square, in front of a huge crowd of people, the column was installed on a pedestal. The entire operation lasted 100 minutes. The Emperor, congratulating the architect, said: “Montferrand, you have immortalized yourself.” But the granite still had to be finally processed, numerous decorative and symbolic details, bas-reliefs and sculptural completion had to be cast in bronze.

There have been various proposals regarding the latter. The project of the sculptor B.I. Orlovsky was approved: “The figure of an Angel with a cross, which tramples on enmity and malice (snake) at the foot, depicts a striking thought - thereby conquer.” (The model also took into account the urgent desire of the imperial house “to give the angel a portrait resemblance to the face of Alexander I.”) The sculptural top, bas-reliefs depicting military armor, weapons and allegorical figures, and other decorative details were cast from bronze at the C. Berd factory.

And again on August 30, but already in 1834, the grand opening of the monument took place. Since the time of Peter I, August 30 (September 12, new style) has been celebrated as the day of the holy noble prince Alexander Nevsky, the heavenly protector of St. Petersburg. On this day, Peter I concluded “eternal peace with Sweden”; on this day the relics of Alexander Nevsky were transferred from Vladimir to St. Petersburg. That is why the angel crowning the Alexander Column has always been perceived, first of all, as a protector and as a guardian.

The angel protected and blessed. Together with him, the city experienced all historical conflicts: revolutions, wars, environmental adversities. In the post-revolutionary period, it was covered with a canvas cap, painted red, and camouflaged with balloons lowered from a hovering airship. A project was being prepared to install a huge statue of V.I. Lenin instead of an angel. But providence wanted the angel to survive. During the Great Patriotic War, the monument was covered only 2/3 of the height and the angel was injured: there was a shrapnel mark on one of the wings.

The safety of the sculpture was largely ensured by the reliability of the author's design solution. The figure of an angel with a cross and a snake is cast together with a platform, shaped like the completion of the dome. The dome, in turn, is crowned by a cylinder mounted on a rectangular platform - the abacus. Inside the bronze cylinder is the main supporting mass, consisting of multilayer masonry: granite, brick and two layers of granite at the base. A metal rod runs through the entire massif, which was supposed to support the sculpture. The most important condition for reliable fastening of the sculpture is the tightness of the casting and the absence of moisture inside the support cylinder.

The monument was constantly monitored, additional inspections and calculations of the stability margin were carried out. Unfortunately, harmful vibration loads increase over the years. The last time a complete restoration of the monument using scaffolding was carried out was in 1963. Since the late 1980s, the curators of the State Museum of Urban Sculpture had reasons to worry: whitish streams flowed from under the bronze capital of the column and tongues of moisture did not dry out even on the hottest days of summer. There could be only one reason: water getting inside the sculptural top and then into its base. Water, seeping through the brickwork, washes away the binding solution, and, in addition, in a humid environment, the process of corrosion of the support rod is actively underway.

In 1991, for the first time in the history of the St. Petersburg restoration school, a visual examination of the sculpture crowning the Alexander Column was carried out. Verkholazov raised the elevator of a special fire hydrant "Magirus Deutsch" to the angel. Having secured themselves with ropes, the steeplejacks made photo and video recordings of the sculpture. A significant number of cracks, leaks, and deterioration of sealing materials were discovered. But it took another 10 years of anxiety and a tireless search for funding to, having installed reliable stationary scaffolding, begin a professional and comprehensive survey of the monument.

In the summer of 2001, curators and restorers, having climbed a little over 150 steps of a metal staircase, went on their first date with the angel. Seeing it up close, you are shocked: it is huge and at the same time elegant. Extremely expressive and concise. The masterly thoroughness of the chasing and the plastic elaboration of every detail is striking: curly hair, parted and falling onto the shoulders, frames the beautiful face, the eyes are half-closed with eyelids, the gaze is directed downwards. He is so focused that it is impossible not to feel that the angel is looking inside himself. It is useless and unnecessary to look for any portrait resemblance. The angel looks just like himself! The gesture of the right hand raised to the sky in a blessing gesture is extremely expressive. The running of bare feet, visible from under the flowing clothes, is light and swift. The huge wings are airy, every feather is minted. In the open mouth of the defeated snake, teeth and a poisonous sting are visible.

Upon inspection, we saw, in addition to cracks, divergences of connecting seams that were once held together with lead. Lead is completely destructured. There are still hatches on the angel's head and shoulder, intended for removing molding earth and reinforcement. In the hem of the clothing there is a flange (flat ring) with bolts, partially lost. The flange was removed and the sculpture was examined from the inside using a special device - a fiber-optic endoscope. It turned out that both the sculpture and the cross did not have a supporting rod. The rod, passing through the internal masonry of the cylinder, rests with its upper end against the “sole” of the angel, that is, at the spherical end of the cylinder. The sculpture's wings, cast in three parts, are bolted together and attached to the back. A through hole measuring 70 x 22 mm was found on the angel's head.

The conclusion was disappointing: moisture gets inside the sculpture, which seeps into the cylinder and into the abacus. The cylinder is deformed, the walls are “bulging out,” and the connecting bolts are missing. By removing 54 copper screws, restorers partially exposed the bronze lining of the abacus. The interior brickwork was destroyed. There is no binding mortar between the bricks, and the whole thing is extremely saturated with moisture. During the inspection, samples were taken and relevant studies of bronze contamination and patina quality were carried out. In general, the condition of the bronze surface is satisfactory; the damage to the “bronze disease” is fragmentary.

The design of the abacus plays an important role in the stable condition of the pommel. The fastening system included “ribs” made of brick. Opening the sheets of bronze lining of the abacus revealed a completely depressing, emergency state of the internal supports: a complete absence of binder, the brick was destroyed (collected by restorers using a brush). The new supports are made of granite, eliminating concerns that the 16-tonne abacus could fall or tilt.

The attention of curators and restorers is focused not only on eliminating cracks and protecting the bronze surface, but, first of all, on drying the internal masonry. It should be strengthened with the latest solutions, as well as additional bolts and screws installed.

More than 110 traces of shell fragments were found on the reliefs of the monument's pedestal. The “armor” of Alexander Nevsky was also pierced by shrapnel.

Due to the interaction of various metals - bronze and cast iron, there is an active process of corrosion and destruction of bronze. Restorers face painstaking work to “heal the wounds of war.”

Ultrasonic examinations of the column are now being carried out to detect visible and invisible cracks on the surface and in the thickness of the granite. At the same time, the serious problem of restoring granite at the base is being solved. Under the influence of the weight of the column, the granite here is covered with cracks. This is exactly what Montferrand feared when he proposed enclosing the bottom of the column in a bronze rim, but the proposal was not implemented then.

The methodology for carrying out such large-scale and unparalleled restoration and conservation operations was developed by the specialists of Intarsia LLC carrying out the work. The restoration is financed by the Moscow association Hazer International Rus.

By the spring of 2003, the Alexander Column will be strengthened. The four floor lamps located nearby will also acquire their original appearance. Restorers intend to recreate the fence designed by Montferrand in 1836. And then the monument, conceived and implemented as a single artistic and architectural ensemble, will regain the solemn splendor of a triumphal monument - a true St. Petersburg miracle. Alexandria pillar The official, historical name of the monument to Alexander I on Palace Square in St. Petersburg is the Alexander Column. However, often, referring to the famous poem by A. S. Pushkin, the Alexander Column is called the “Alexandria Pillar”:

I erected a monument to myself
not made by hands,
It won't grow on him
folk trail,
He ascended higher with his head
rebellious
Alexandria
pillar

On the topic, this poem by A. S. Pushkin echoes the ode of the ancient Roman poet Horace (65-8 BC) “To Melpomene.” Epigraph to Pushkin's poem: Exegi monumentum (lat.) - I erected a monument - taken from Horace's ode.

Among the seven wonders of the world, the colossal lighthouse tower, erected in Alexandria at the end of the 3rd century, is famous. BC e. and had a height of 180 meters. (In architecture, a pillar is a tower, a tower-like structure.) Pushkin, an excellent expert in mythology, certainly knew about ancient monuments. It should be taken into account that the poem was written in 1836, when the Alexander Column had been towering over Palace Square for two years. And this monument could not leave the poet indifferent. Pushkin’s metaphor is multi-valued; it includes ancient monuments and at the same time is a response to the monument to Alexander I.

Pillar... pillar... pillar...
(C) people

A Alexandrovsky Pillar (Alexandrinsky) - a monument to Alexander I, the winner of Napoleon in the war of 1812-1814.
The column, designed by Auguste Montferrand, was installed on August 30, 1834. It is crowned with a figure of an Angel (similar in appearance to Emperor Alexander), made by the sculptor Boris Ivanovich Orlovsky.

The Alexandria Pillar is not only an architectural masterpiece in the Empire style, but also an outstanding achievement of engineering. The tallest column in the world, made of monolithic granite.

Its weight is 704 tons. The height of the monument is 47.5 meters, the granite monolith is 25.88 meters. It is taller than Pompey's Column in Alexandria, in Rome and, what is especially nice, the Vendôme Column in Paris - a monument to Napoleon (it exists)

I'll start with a brief history of its creation.

The idea of ​​​​building the monument was proposed by the famous architect Carl Rossi. When planning the space of Palace Square, he believed that a monument should be placed in the center of the square. From the side, the installation point of the column looks like the exact center of Palace Square. But in fact, it is located 100 meters from the Winter Palace and almost 140 meters from the arch of the General Staff building.

The construction of the monument was entrusted to Montferrand. He himself saw it a little differently, with a group of cavalry below and with many architectural details, but he was corrected)))

For the granite monolith - the main part of the column - the rock that the sculptor outlined during his previous trips to Finland was used. Mining and preliminary processing were carried out in 1830-1832 in the Pyuterlak quarry, which was located in the Vyborg province (the modern city of Pyterlahti, Finland).

These works were carried out according to the method of S.K. Sukhanov, the production was supervised by craftsmen S.V. Kolodkin and V.A. Yakovlev. It took half a year to trim the monolith. 250 people worked on this every day. Montferrand appointed mason master Eugene Pascal to lead the work.

After the stonemasons examined the rock and confirmed the suitability of the material, a prism was cut off from it, which was significantly larger in size than the future column. Giant devices were used: huge levers and gates to move the block from its place and tip it onto a soft and elastic bedding of spruce branches.

After separating the workpiece, huge stones were cut from the same rock for the foundation of the monument, the largest of which weighed about 25 thousand poods (more than 400 tons). Their delivery to St. Petersburg was carried out by water, for this purpose a barge of a special design was used.

The monolith was duped on site and prepared for transportation. Transportation issues were dealt with by naval engineer Colonel K.A. Glazyrin, who designed and built a special boat, named “Saint Nicholas”, with a carrying capacity of up to 65 thousand poods (almost 1065 tons).

During loading, an accident occurred - the weight of the column could not be supported by the beams along which it was supposed to roll onto the ship, and it almost collapsed into the water. The monolith was loaded by 600 soldiers, who completed a forced march of 36 miles from a neighboring fortress in four hours.

To carry out loading operations, a special pier was built. Loading was carried out from a wooden platform at its end, which coincided in height with the side of the ship.

Having overcome all difficulties, the column was loaded on board, and the monolith went to Kronstadt on a barge towed by two steamships, from there to go to the Palace Embankment of St. Petersburg.

The arrival of the central part of the column in St. Petersburg took place on July 1, 1832. The contractor, merchant son V. A. Yakovlev, was responsible for all of the above work.

Since 1829, work began on the preparation and construction of the foundation and pedestal of the column on Palace Square in St. Petersburg. The work was supervised by O. Montferrand.

First, a geological survey of the area was carried out, which resulted in the discovery of a suitable sandy continent near the center of the area at a depth of 17 feet (5.2 m).

The contract for the construction of the foundation was given to the merchant Vasily Yakovlev. By the end of 1829, the workers managed to dig a foundation pit. While strengthening the foundation for the Alexander Column, workers came across piles that had strengthened the ground back in the 1760s. It turned out that Montferrand repeated, after Rastrelli, the decision about the location for the monument, landing on the same point!

In December 1829, the location for the column was approved, and 1,250 six-meter pine piles were driven under the base. Then the piles were cut to fit the spirit level, forming a platform for the foundation, according to the original method: the bottom of the pit was filled with water, and the piles were cut to the level of the water table, which ensured that the site was horizontal. Previously, using a similar technology, the foundation of St. Isaac's Cathedral was laid.

The foundation of the monument was built from stone granite blocks half a meter thick. It was extended to the horizon of the square using planked masonry. In its center was placed a bronze box with 0 105 coins minted in honor of the victory of 1812. A platinum medal minted according to Montferrand’s design with the image of the Alexander Column and the date “1830” was also placed there, as well as a mortgage plaque with the following text:

""In the summer of Christ 1831, construction began on a monument erected to Emperor Alexander by grateful Russia on a granite foundation laid on the 19th day of November 1830. In St. Petersburg, Count Yu. Litta presided over the construction of this monument. The meeting was held by: Prince P. Volkonsky, A. Olenin, Count P. Kutaisov, I. Gladkov, L. Carbonier, A. Vasilchikov. The construction was carried out according to the drawings of the same architect Augustin de Montferand."

The work was completed in October 1830.

After laying the foundation, a huge four-hundred-ton monolith, brought from the Pyuterlak quarry, was erected on it, which serves as the base of the pedestal.

The engineering problem of installing such a large monolith was solved by O. Montferrand as follows: the monolith was rolled on rollers through an inclined plane onto a platform built close to the foundation. And the stone was dumped on a pile of sand, previously poured next to the platform.

"At the same time, the earth shook so much that eyewitnesses - passers-by who were in the square at that moment, felt as if an underground shock". Then they moved it on rollers.

Later O. Montferrand recalled; “Since the work was carried out in winter, I ordered cement and vodka to be mixed and a tenth of soap added. Due to the fact that the stone initially sat incorrectly, it had to be moved several times, which was done with the help of only two capstans and with particular ease, of course , thanks to the soap that I ordered to be mixed into the solution..."

Album with drawings by Montferrand.

By July 1832, the monolith of the column was on its way, and the pedestal had already been completed. It's time to begin the most difficult task - installing the column on the pedestal.

Based on the developments of Lieutenant General A. A. Betancourt for the installation of columns of St. Isaac's Cathedral in December 1830, an original lifting system was designed. It included: scaffolding 22 fathoms (47 meters) high, 60 capstans and a system of blocks.

On August 30, 1832, masses of people gathered to watch this event: they occupied the entire square, and besides this, the windows and roof of the General Staff Building were occupied by spectators. The sovereign and the entire imperial family came to the raising.

To bring the column into a vertical position on Palace Square, it was necessary to attract the forces of 2,000 soldiers and 400 workers, who installed the monolith in 1 hour and 45 minutes.

After installation, people shouted "Hurray!" And the delighted emperor said: “Montferrand, you have immortalized yourself!”

The granite pillar and the bronze angel standing on it are held together solely by their own weight. If you come very close to the column and, raising your head, look up, it will take your breath away - it seems that the column is swaying.

This is a real work of art.

After installing the column, all that remained was to attach the bas-relief slabs and decorative elements to the pedestal, as well as to complete the final processing and polishing of the column.

The column was surmounted by a bronze capital of the Doric order with a rectangular abacus made of brickwork with bronze facing. A bronze cylindrical pedestal with a hemispherical top was installed on it.

In parallel with the construction of the column, in September 1830, O. Montferrand worked on a statue intended to be placed above it and, according to the wishes of Nicholas I, facing the Winter Palace. In the original design, the column was completed by a cross entwined with a snake to decorate the fasteners. In addition, the sculptors of the Academy of Arts offered several options for compositions of figures of angels and virtues with a cross. There was an option to install the figure of Saint Prince Alexander Nevsky, but the first option that was approved was a cross on a ball without an angel, in this form the column is even present in some old engravings..

But in the end, the figure of an angel with a cross was accepted for execution, made by the sculptor B.I. Orlovsky with expressive and understandable symbolism - “By this victory!”

Orlovsky had to redo the sculpture of the Angel several times before Nicholas I liked it. The Emperor wanted the Angel’s face to be given a resemblance to Alexander I, and the face of the snake trampled by the Angel’s cross must certainly resemble Napoleon’s face. If it reminds you, it’s distantly.

Initially, the Alexander Column was framed by a temporary wooden fence with lamps in the form of antique tripods and plaster lion masks. The carpentry work for the fence was carried out by “carved master” Vasily Zakharov. Instead of a temporary fence, at the end of 1834 it was decided to install a permanent metal one “with three-headed eagles under the lanterns,” the design of which was drawn up by Montferrand in advance.

Parade at the opening of the Alexander Column in 1834. From a painting by Ladurneur. The painting is in

To accommodate the guests of honor, Montferrand built a special platform in front of the Winter Palace in the form of a three-span arch. It was decorated in such a way as to architecturally connect with the Winter Palace.

A parade of troops took place in front of the podium and the column.

It must be said that the monument, which now seems perfect, sometimes aroused criticism from contemporaries. Montferrand, for example, was reproached for allegedly using the marble intended for the column to build his own house, and using cheap granite for the monument. The figure of the Angel reminded the people of St. Petersburg of a sentry and inspired the poet to write the following mocking lines:

“Everything in Russia breathes military craft:
And the Angel puts a cross on guard.”

But the rumor did not spare the emperor himself. Imitating his grandmother, Catherine II, who inscribed “Peter I - Catherine II” on the pedestal of the Bronze Horseman, Nikolai Pavlovich in official papers called the new monument “Pillar of Nicholas I to Alexander I,” which immediately gave birth to a pun: "Pillar to post" .

In honor of this event, a commemorative coin was minted in denominations of 1 ruble and one and a half rubles

The grandiose structure inspired admiration and awe in St. Petersburg residents from the moment of its foundation, but our ancestors were seriously afraid that the Alexander Column would collapse and tried to avoid it.

To dispel philistine fears, the architect Auguste Montferrand, fortunately living nearby, on the Moika, began to exercise daily around his brainchild, demonstrating complete confidence in his own safety and the correctness of his calculations. Years have passed, wars and revolutions have passed, the column still stands, the architect was not mistaken.

On December 15, 1889, an almost mystical story happened - Foreign Minister Lamsdorff reported in his diary that with the onset of darkness, when the lanterns are lit, a luminous letter “N” appears on the monument.

Rumors began to spread around St. Petersburg that this was an omen of a new reign in the new year, but the next day the count figured out the reasons for the phenomenon. The name of their manufacturer was etched on the glass of the lanterns: "Simens". When the lamps were working, this letter was reflected on the column from the side.

There are many tales and legends associated with the column))) stories about how it was accidentally excavated by builders led by Montferrand or versions about aliens from Alpha Centauri, I will immediately drop... under the plinth. This goodness will be enough in the comments)))

In 1925, it was decided that the presence of an angel figure on the main square of Leningrad was inappropriate. An attempt was made to cover it with a cap, which attracted a fairly large number of passers-by to Palace Square. A hot air balloon hung above the column. However, when he flew up to the required distance, the wind immediately blew and drove the ball away. By evening, attempts to hide the angel stopped.

There is a legend that at that time, instead of the angel, they seriously planned to erect a monument to Lenin. It would have looked something like this))) Lenin was not appointed because they could not decide in which direction to extend their hand to Ilyich...

The column is beautiful both in winter and summer. And it fits perfectly into Palace Square.

There is another interesting legend. This happened on April 12, 1961, after a solemn TASS message about the launch of the first manned spacecraft was heard on the radio. There is general rejoicing on the streets, real euphoria on a national scale!
Palace Square of St. Petersburg

Basic information (C) Wiki, walkspb.ru and other Internet. Old photos and engravings (C) albums of Montferrand (State Public Library) and the Internet. Modern photos are partly mine, partly from the internet.

Continuation of the Seven Wonders of the World.
Just yesterday I sat down and finally wrote about the Russian Seven Wonders of the World, and then I immediately came across an article about the Alexander Column, so I continue first about the column.

Alesanri Column 2006. Palace Square. I filmed straight away in black and white.
The square is formed by historical monuments: the Winter Palace, the Guards Corps Headquarters Building, the General Staff Building with the Triumphal Arch, the Alexander Column. Dimensions The area measures about 8 hectares, for comparison - Red Square in Moscow has an area of ​​only 2.3 hectares

1988 Leningrad. Postcard.

Enluminure de Ch. Beggrow, Saint Petersburg. Alexandrian Column.
You'll never know what year it is here. The arch of the General Staff building is not even in sight yet, but the column is already standing. But according to the officially accepted version, the Column was placed only after the Arch and the main headquarters, and this is clearly visible from Montferrand’s drawings. Although he drew them so many times, this was apparently all he was doing, proving that this was exactly what he did and in what exact way he raised this column. So that everyone can officially and clearly see that the French supposedly have at least some connection with St. Petersburg. In the background of all these engravings, it is the Arch of the General Staff Building that peeks out everywhere.
Here's another masterpiece!

Auguste Montferrand. View of the Alexander Column from Millionnaya Street. 1830
Yes, yes, exactly 1830, and for some reason St. Isaac's Cathedral is already standing in the background, although officially it is only 1856, and the column is still standing, although they will begin to draw the rise of the column only in 1832 and finish in 1833, when two dozen men raised it in 2 hours!
The column on Vosstaniya Square had to be cut, because they couldn’t lift it with any crane or move it from its place with any equipment. I'll see how they take it apart.

62 sheet of exculpatory notes of the French graphic artist Montferand. We see that St. Isaac's Cathedral stood well before him, and he only painted it here, the most important word of French.

“The Raising of the Alexander Column in 1832”, of which two pieces had previously been loaded onto a barge at once... this is 1600 tons of polished granite, each. By Bichebois Louis Pierre Alphonse, Baillot Adolphe Jean Baptiste.

And this is Montferrand depicting how two diggers are chipping away and the column is immediately round! By myself, without a CNC machine. By the way, he draws so well, and is also called an Architect.
And the more he proves all sorts of crap, the less you believe in his fairy tales.

Making a refutation will now be much more difficult than lying to them. And everyone, without even thinking, believed it! And the further they lied, the more pictures they had to draw, proving the most incredible event: two diggers broke off a round column from a rock and dragged it on barges. At least they agreed on the time already, otherwise there is such a scatter.

Chernetsov G.G. - Part of the panorama of Palace Square, taken from the scaffolding of the Alexander Column. Can you imagine the height?


By the way, pay attention, it’s already worth mentioning, this can be thrown into the previous topic, they also lied there that there is no Exchange and only the Frenchman Thomas de Thomon came up with it.

The Alexandria Lighthouse really shone in St. Petersburg - the oldest city of stone in the Northern Palmyra, to all ships going to St. Petersburg from a height of 50 meters and was visible far in the fairway of the Neva and the Gulf of Finland, I think back then with emerald water.
I don’t know what they were shining with, but the energy was definitely then accumulated through the column from sunny places and transferred to the Winter Palace, because there were no ceilings smoked from candles there. It was not for nothing that there was a ban on building buildings higher than the Winter Palace, and the Column is visible from everywhere because of the Winter Palace, even if you sit on the bank of the Peter and Paul Fortress.

"I erected a monument to myself, not made by hands,
The people's path to him will not be overgrown,
He ascended higher with his rebellious head
Pillar of Alexandria." A. S. Pushkin

And by the Column of Alexandria, Pushkin meant precisely ours, the largest monolithic column in the World on Palace Square, and not the column of the Pharos Lighthouse in the harbor of Egyptian Alexandria - one of the wonders of the world, the tallest building of the ancient world, it is our column that we are talking about, everyone knows what is here In St. Petersburg, super new technologies were used that we have not yet reached.

The Pharos lighthouse, placed at the entrance to the port of Alexandria, has competed in glory with the pyramids of the Valley of the Kings since ancient times. Possessing a daring design for its time, according to some evidence, it was taller than the Cheops pyramid, into which the third ray of the Admiralty trident from St. Petersburg's Navel strangely rests. But this is not what Pushkin admires.

Pompey's Column in Alexandria is also not small and is also dedicated to the handsome Alexander the Great.
View_of_Pompey"s_Pillar_with_Alexandria_ in_the_background_in_c.1850
But with the Jews everything is not like with people - that’s why they sound like this: “For a long time considered a monument to Alexander the Great, the column seems to have no relation to either Alexander or Pompey and today is recognized as a monument to the victories of Diocletian.” - Wikipedia.
Yes Yes....

And what's that??? Columns like in Baalbek built by the Russians.
After all, it is Russia that is the heir of the Holy Roman Empire, and before the Revolution it was called the Great Greco-Russian Eastern Empire, the heir of Byzantium and the Three-Falled Eagles around the Alexandrian Column.

1830 Watercolor by Sadovnikov. The column has been standing for another 3 years before its official creation and rise, and apparently has been standing for a long time, if they managed to coordinate everything in the ensemble flawlessly and fit the Arch to the column.
Moreover, the Alexandrinsky Column was erected in St. Petersburg, the new capital of Rome, precisely in honor of Alexander the Great or Alexander Nevsky, even before the global flood in Atlantis. Hence the 2 meters of reclaimed soil and that is why the height of 2 meters for all buildings is so lacking. Flooded Atlantis is St. Petersburg and it is our Atlanteans who hold the sky on the Stone Hands.

Atlanteans can no longer withstand such a load and underground explosions near St. Petersburg - the ammunition is being completely destroyed, apparently for the War.

Ruins of Northern Palmyra - Northern Venice, St. Petersburg, the city of stone.

And the sand from the destroyed city still makes the Gulf of Finland shallow and impassable and creates problems for the passage of ships along the Neva, truly a “snowy river” - hence the name given by Alexander, nicknamed Nevsky by us - and the passage of ships in the canals became difficult after the cold snap and the change of poles and later in Northern Venice, built on the foundations of Northern Palmyra, canals were buried and the Spit of Vasilievsky Island and Rozhdestvenskie streets were formed, but that’s another story

Wikipedia: “The identification of the “Alexandrian Pillar” with the Alexander Column in St. Petersburg, which is a cultural fact and apparently dates back no later than the first publication of the “Monument” (1841), from the late 30s of the XX century has been scientifically criticized as untenable." Wiki - I’m no longer surprised - how will we now be able to rewrite our History completely? I can’t imagine - how to create a new Wikipedia?

After all, even Nabokov had no doubt that the “Pillar of Alexandria” comes from the name Alexander.” (see Nabokov V.V. Op. cit. P. 278.)
Pushkin, with his lines, without fear of censorship, clearly showed everyone the value of the column and emphasized the lies of the French about the novelty of the column, when they tried to call the already finished, old column standing in the square the creation of the Frenchman Montferrand, and attribute St. Isaac's Cathedral to him, hiding the true, Ancient History of the column. Well, who would draw so many fake

Of course, Pushkin knew our Ancient History very well and was interested in its details. It was not for nothing that he wrote the Poem “The Bronze Horseman” and under this pretext of collecting materials, he received access to the Archives of Peter’s time and wrote The Captain’s Daughter in prose. Without the Internet then it was much more difficult for them to understand what was going on and what happened before and there weren’t so many pictures at hand. And “The Iron Mask” about the twin brother of Peter the Great has not yet been born... it’s not for nothing that we have a twin of Versailles near St. Petersburg - Petrodvorts. Although they claim that Versailles is earlier, we don’t even need to turn off the fountains. they beat all night without any mechanism for raising the water, like in Versailles. Of course, we built them earlier.

Saving the Country from the invasion of the French, after the victory over Napoleon, turned out to be much more difficult than the destroyed fleet in the Sevastopol Bay in the Crimean War after the assassination of Pushkin. Although who knows.....

A. S. Pushkin "TO THE SEA"

Farewell, free elements!
For the last time before me
You're rolling blue waves
And you shine with proud beauty.

Like a friend's mournful murmur,
Like his call at the farewell hour,
Your sad noise
your noise is inviting
I heard it for the last time.

Why last time? Regarding the next closure of the Black Sea to the Russians, this was after the Crimean War! The Black Sea was closed to us for 13 years so that we would not go to America. Or did he actually survive and receive treatment in Crimea?

It seems that he was saying goodbye to the country - maybe Pushkin really is Alexandre Dumas in the future and it was he who wrote The Three Musketeers, it’s not for nothing that it’s great to read avidly, like the fairy tales of Pushkin himself and Ershov handed in the manuscript of “The Little Humpbacked Horse” for him, otherwise it would did everyone find out that he was alive and didn’t write poetry anymore?


Well, where is the column, don’t you see? - The arch is already standing, but there is no column yet and people are walking... and everyone will believe in this nonsense that it actually happened!


Another paid photo bank, clearly an enemy one - there is no column either! Artists don't even need Photoshop.

And why the hell does the carriage turn left around the pillar and not go to the main entrance to the palace?

Palace Square 1800 Benjamin Patersen. And they didn’t have time to paint over the white corners 216 years ago??? Previously, watercolors were stretched onto a stretcher with flour glue ;-)

In short, the British also tried to destroy the column. How come they all want to destroy everything beautiful about us or are they jealous?

The Germans in the photo bank also carefully cover the old Russian Flag, which is now the official flag of Holland - Red-white-blue, and in Russia we have now adopted the trade Flag of Russia - it is now customary to trade with the Motherland if they are afraid to return their Great History. They dance to their tune like clowns.
And New Holland or New Admiralty - the ancient port of Northern Palmyra was now given to the Dutch to bury and make grass there and planted trees..... instead of putting ship models there under a glass dome!

Not only the Decembrists died a brave death - everyone understood what was going on.... it was not for nothing that Tsar Alexander himself disappeared out of sight and hid in the Tobolsk Monastery and only stuck his nose out in 1836, and in 1837 Pushkin was no longer alive.

“Fell slandered by rumors, with his proud head bowed” Lermontov M.

But Pushkin managed to leave us to our descendants, and Lukomorye really is in Siberia and Tsar Saltan - Constantinople, probably foreseeing that we will still unwind this tangle of History, cunningly woven by spiteful critics, according to his fairy tales.
Low bow to the Great Pushkin!
Therefore, Pushkin certainly did not write about this to Alexander.

And on the Alexander Column there really was a Torch! And this was definitely the Lighthouse of the Great Alexander, who, after the Empire was torn apart, was called Alexander Nevsky by the Russians, and Alexander the Great in the West.

Even Google defines the photo of this column exactly as the Alexandria Column on Palace Square in St. Petersburg, so so be it.


If Isaakievsky stood before Montferand, then the column easily stood there earlier.


With the first Russian telegraph in the world, which was laid precisely in St. Petersburg, and the first radio, which was invented by the Russian engineer Popov, the best maps and directions in the world no longer needed such high lighthouses, it became easier for ships to navigate and they could actually remake the monument according to others considerations, but the fact is that these columns stand in all the central squares of capitals around the World.

And the largest, most perfect column is located here in St. Petersburg, the Capital of the Empire, the Capital of Europe and the World in St. Petersburg, the Third Rome, which of course pleases our pride, but brings eternal misfortune to our Country, against which everyone is up in arms. and how from Russia the Mother of all Russian cities, the eternal donor, how from the mother they want to snatch their Pie and come in hordes. Even now they will not calm down and their troops are only 100 km from St. Petersburg.

It’s good that there are people who know the True price of this city, as the Siege survivors who remained in the City understood it and the whole Country knew, if Leningrad stands, then we will win this War. There is something to fight for.

It’s good that people understand our real Great true History of the Country Returning from the War and believe me, everything will be fine with us if as many people as possible learn about the true History of the City and the Power from ocean to ocean and the angels spare our city in WWIII.

The eternal shackles will fall and freedom will greet us joyfully at the entrance and the brothers will give us the sword...
It’s somehow different there, but that’s not the point. We must unite all Russians, save this beauty and prevent war.

I’ll do a complete repost of Sandra Rimskaya further about the Alexander Column, and then decide for yourself what was in the angel’s hand - a Sword or a Torch? I save all the material Sandra dug up, as it is on the same page with my text.

Original taken from sandra_rimskaya in the Alexander Column and everything, everything, everything.

According to legend, 1854, photograph of Bianchi. But this is according to the legend of the Prussian Jewish Red Army soldiers Elston and the Holstein-Gottorp group.

Because in 1873, the monument to the First Prince Michael Angel Carus “Tsar Rus” still stood on the Alexander Column.

02

The cross is painted with retouching. That is, in reality, the statue of the Girl did not have the Cross in her hands.

Photo from 1895. The cross is again very difficult to see.
http://kolonna.e812.ru/foto/pamyatnik.html

Also a photograph, but the Cross is clearly visible.
03

Photo from 1900.

And the cross is actually finished!

1. Pay attention to the cross in the photo from 1900, it is clearly retouched.

2. On the top is not an angel, but a woman, and in her hands is not a cross, but the Earth’s axis, the cross was installed during the “restoration” process. The sphere on which a woman stands is the Earthly sphere, and snakes are the beginning of all paths. She is depicted on the coat of arms of the Republic of Ingushetia, but is called Gabriel.

It can be seen that the “Cross” has been added. The Alexander Column is ancient and has already cracked. Custine was in St. Petersburg captured by the Reds in 1879 and wrote that the column was already in cracks.

In 1873, the column was not yet visible; it was not yet “open”, it was inside some building.

Everything is according to legend: the Alexander Column stands “closed”, inside some ancient building and in the woods.

Then the Prussian Jewish Red Army soldiers will “open” it: they will destroy the ancient building, remove their scaffolding around the column and say that they built it themselves and installed a brand new one.

Gagarin's drawing was made in 1874. And in 1879, the “brand new” Alexander Column had already cracked within five years?

That is, in 1879 the Alexander Column was ancient. According to Custine and the Prussian Jewish Red Army censors, St. Michael's Castle was also ancient in 1879.

And the question immediately arises: why did the Prussian Jewish soldiers of Elston, the old Red (Prussian) Guard, put scaffolding around the Alexander Column?

The Germans did not restore it. Restored by the Royal Family, "Tsars". And they erected a new monument. This is according to the stories of historians and old residents of the City.

It turns out that in 1874 the Red Prussian Jewish soldiers of Elston, “Nicholas”, removed the statue of the First Prince Michael Angel Carus of the First Emperor Diocletian from the Alexander Column?

I’d like to find out from whom: in what year in the second half of the 19th century did the Jews in Odessa end up with the statue of “Duke”, which was on the Alexander Column?

And this is the 2002 restoration. Alexander's Column in the woods, for comparison.

According to legend, the column was restored in 1861. We add the Romanov 40 years and get the date of restoration of the column: 1861 + 40 = 1901.

The decorative lanterns near the column were made 40 years after the opening - in 1876 by the architect K. K. Rachau.
Which also fits into our Chronology: in 1874 there was a “discovery” of the Alexander Column from scaffolding and an ancient building, and in 1876 decorative lanterns were installed.
In 1861, Alexander II established the “Committee for the Study of Damage to the Alexander Column,” which included scientists and architects. Scaffolding was erected for inspection, as a result of which the committee came to the conclusion that, indeed, there were cracks on the column, originally characteristic of the monolith, but fear was expressed that an increase in the number and size of them “could lead to the collapse of the column.”
There have been discussions about the materials that should be used to seal these caverns. The Russian “grandfather of chemistry” A. A. Voskresensky proposed a composition “which was supposed to impart a closing mass” and “thanks to which the crack in the Alexander Column was stopped and closed with complete success” (D. I. Mendeleev).
For regular inspection of the column, four chains were attached to the abacus of the capital - fasteners for lifting the cradle; in addition, the craftsmen had to periodically “climb” the monument to clean the stone from stains, which was not an easy task, given the large height of the column.
During the entire period from the moment of its discovery until the end of the 20th century, the column was subjected to restoration work five times, which was more of a cosmetic nature.
The restoration was carried out in 1963 (foreman N.N. Reshetov, the head of the work was restorer I.G. Black).
In 1977, restoration work was carried out on Palace Square: historical lanterns were restored around the column, the asphalt surface was replaced with granite and diabase paving stones.
At the end of the 20th century, after a certain time had passed since the previous restoration, the need for serious restoration work and, first of all, a detailed study of the monument began to be felt more and more acutely. The prologue to the start of work was the exploration of the column. They were forced to produce them on the recommendation of specialists from the Museum of Urban Sculpture. The experts were alarmed by large cracks at the top of the column, visible through binoculars. The inspection was carried out from helicopters and climbers, who in 1991, for the first time in the history of the St. Petersburg restoration school, landed a research “landing party” on the top of the column using a special fire hydrant “Magirus Deutz”.

Having secured themselves at the top, the climbers took photographs and videos of the sculpture. It was concluded that restoration work was urgently needed.

Restorations took place in 1901, 1963 and 2001-2003.
1901 - 1874 = 27 years difference. 1963 - 1901 = 62 years difference. 2001 - 1963 = 38 years.

It is clear that the Girl had something in her hand. They say that there was a Torch (Sword “Argument”), among the Jews it is called: “The Grail Cup from which God drank.” But these are again the legends of the Prussian Jewish Red Army soldiers Elston Nikolai, the occupiers. They say that this Torch (Sword “Argument”, Holy Grail) disappeared under Nicholas, that is, Elston, even before the Holstein-Gottorp group of Christian 9 (Alexandra 2) 1903-1917.

Statue of the Goddess of Liberty in the USA, Bringing Light to the American (Army?) Peoples. Gift from the Czartoryski-Conde: Corporation of General Staff Officers Bella Arm Air Carus to the peoples of America (Armycarus?) after the lost Civil War for American Independence from the Nikolaev Jewish soldiers of the old red (Prussian) guard of Elston Nicholas in 1853-1871.

And Prussia changed its name to Germany, and our Nikolaev Jewish soldiers of the old red (Prussian) guard of Elston-Sumarokov: Gray slave war crimes changed their name and became Germans and Jews, Nikolaev Jewish soldiers of the old red (German) army of Elston-Sumarokov 1853-1953

Archangel Michael is known primarily as a great commander, archangel. He is the conqueror of Satan himself, he is the great prince who stands for the sons of the Jewish people. According to legend, he saves Abraham from the fiery furnace, and Isaac from Abraham's knife. It is he who leads the people through the desert to the promised land, and he who gives Moses the tablets of the Law. He is called the keeper of the magical words with which heaven and earth were created. He was seen at the gates of heaven with a fiery sword, and it was he who carried the body of the deceased Mother of God to heaven.

Several holidays are dedicated to Archangel Michael. The main and oldest of them is celebrated on November 21. It was established in 363 by the Council of Laodicea, which recognized the doctrine of angels as creators and rulers of the world as heresy, but preserved their cult. Officially, the holiday is called the Council of the Archangel Michael and other disembodied Heavenly powers. That is, angels. Therefore, to begin with, it is worth saying a few words about who angels are.

John of Damascus defines: “An angel is an entity endowed with intelligence, always moving, possessing free will, incorporeal, serving God, and by grace having received immortality for its nature.” The angelic doctor Thomas Aquinas elaborates: “God rules the corporeal world through angels.” “They differ from Divine energies,” explains Alexey Losev, “in that they are created, that is, substantially other-existent, while Divine energies are substantially inseparable from God himself and therefore are God himself. Ethereal forces, as the idea of ​​all further otherness, comprehend and shape all otherness, and therefore the doctrine of the Guardian Angel is a completely elementary dialectical necessity. Not only man, but everything that exists in the world, every smallest grain of sand has its own guardian angel.”

Angel is the living meaning of things. He himself is incorporeal, living outside of space and time. But it can appear in our corporeal world, as, for example, the same Michael appeared to the priest Archippus in Khonech and, with a blow of his rod, diverted the seething stream from his temple.

The angel comes into contact with a given place solely through its power. Therefore, the angel’s movements come down to the sequential application of his force to different points.” And he clarifies: “The angel moves in discontinuous time. He can appear here and there, and there will be no time gap between these points. The beginning and end of an angel’s movement cannot be called two moments, between which there is a time interval; in the same way, it cannot be said that the beginning of the movement covers a period of time ending with the instant of the end of the movement. The beginning is one moment, and the end is another. There is no time between them at all. You can say that an angel moves in time, but not in the same way as a body moves.”

Michael the Archangel Patron of High Energy Physics

The author of the theory of morphogenic fields, Rupert Sheldrake, believes that Thomas's idea of ​​\u200b\u200bthe movement of angels refers to quantum physics: “The photon is in one place at the moment when, for example, light comes from the Sun, and in another place at the moment when sunlight comes into contact with anything on Earth. The time interval between these moments is about eight minutes. Thus, we can attribute speed to light. But according to the theory of relativity - and this was one of Einstein's starting points - from the point of view of the photon itself there is no time expenditure. There is an instantaneous connection between the light coming from the sun and the light coming into contact with an earthly object. The photon does not age” (more details here).

As we see, modern ideas about the movement of quantum particles have the same mental roots as the Thomist idea of ​​​​the movement of angels. In modern science fiction this seems to be called "null transport". Be that as it may, angels, who are often described by spirit seers as beings of light, may well be of a wave-particle nature. They are incorporeal, like waves propagating in some angelic field, and they are corporeal, since they appear to man in the material world. But this is just a special physicality. Perhaps it is best to call it virtual. And turn on the TV. The plots with which it is filled, of course, were created by angels placed in the service of propaganda. Media is one of the most visible areas of their activity today. The point is not that some Konstantin Ernst is an angel. But who will argue with the fact that there is a reliable guardian angel behind him?

Archangel Michael - Patron of the Russian Land

Archangel Michael is the archangel (in Greek - the supreme military leader), the commander of the angels faithful to God, the victorious enemy of Satan, the conqueror of evil. He is considered the patron saint of warriors fighting for a just cause.

The very name Michael means in Hebrew “who is like God.” And this alone already says how highly he is revered by the Holy Church. He cast down the devil and all fallen spirits from Heaven. Archangel Michael did not deprive us and our Fatherland of his intercession when he saved Novgorod the Great from the Tatar Khan Batu in 1239. It is no coincidence that on many military banners in Rus' Michael was depicted as the archangel of God’s army. For more than a thousand years, Archangel Michael has been the patron saint of the Russian land.
Archangel Michael in Scripture is called “prince”, “leader of the army of the Lord”
In the spirit of Holy Scripture, some Church Fathers see Archangel Michael as a participant in other important events in the life of the people of God, where, however, he is not called by name.
HOLY ARCHISTRATIG OF GOD MICHAEL VOIEVODA
Michael is mentioned three times in the Revelation of Daniel. The “man” who appeared to Daniel (judging by the description, Jesus Christ Himself as God) talks about His struggle against the “Prince of Persia”: “Behold, Michael, one of the first princes, came to help me” (Dan. 10:13); “There is no one who will support Me in this except Michael your prince” (Dan. 10:21). This clearly refers to the unnamed patron angel of Persia and Michael as the patron angel of Israel.

However, the next mention of Michael in Daniel's prophecy makes us think of him as an earthly man. In connection with the description of the campaigns of the “despicable” king (in the Revelation of John he corresponds to the image of the “beast from the abyss”), Daniel says:

“And at that time Michael will arise, the great prince who stands for the children of your people.” Dan. 12:1.
ARCHANGEL MICHAEL ANGEL OF THE APOCALYPSE

10 Mikhail in armored armor with aerodynamic wings

Scepter and Power - Archangel Michael of Byzantium Caesar Carus First Emperor Diocletian from the Pillar of Alexandria in his Constantinople - Imperial New-Gorod, the Capital of the Russian Tsars.

All with weapons in their hands. And there is only one - the most important Angel in the Empire of the Army of Angels of Michael the Archangel, his Deputy. standing along the Alexander Column without a weapon in his hands. Nicholas stole the Sword of Argument (the Holy Grail). The Germans throughout Germany were looking for this Sword: the “Argument” (the Holy Grail) in order to return it to its place in the hands of the Angel on the Alexander Column.

When I was little, I had a conversation with an older man about the empty hand of “Mikhail”, because in Leningrad everyone was sure that Michael, the First Prince of Russia was standing there: Master of the City and Founder of the State, former God of Russia: “Savior” , Father of the Russian Army, First Commander-in-Chief of the Russian Army and its Creator.

And I felt so offended for the Prince, and I asked:

And he was also disarmed? How are we in SALT-2? So how will he protect his people if he doesn't have a weapon in his hands? What? Will his bandits just listen to him?

Yuri Mikhailovich grinned slyly into his mustache and said:

Who? Mikhail? Don’t worry: Mikhail is dangerous even without a weapon!

This is what I remember for the rest of my life: “Mikhail will protect. He can do anything. He’s dangerous even without a weapon!”

09 Alexander Column with a monument to Duke.

10 Duke. Odessa residents say that Duke was brought to them from St. Petersburg in the 19th century, and before that he stood on the Alexander Column.

Paris, May 1871. Prussian Jewish Red Army soldiers of Elston threw down the monument to the First Prince Michael Angel Carus “Tsar Rus” from the Vendôme Column. Statue of the First Emperor Diocletian Michael Angel Carus "Tsar Rus" in Paris, a copy of the St. Petersburg-Odessa "Duke".

It seems that in 1874 the monument to the First Prince Caesar Methus Carus, whom our Prussian Jewish Red Army soldiers of Elston renamed Michael the Archangel Diocletian, the First Emperor, still stood on the Alexander Column.

Because in 1871, the Prussian Jewish Red Army soldiers just captured Paris and destroyed the Vendôme column with the monument to Caesar Meph Carus, knightly name Chart Rus, the First Prince.

And I think that monuments were erected in the USA and Russia at the same time. Set by the Army. And the Cossacks of Elston became Jews for us, Red Army soldiers of Elston: Gray slave war crimes, persons who betrayed the Oath. Now they’ve been running around with the entire Red Army since 1853, and they still can’t come to an agreement with each other: what should they be called now? Either they are Prussian Jews, then they are Russian Jews, then they are German occupiers, then they are Soviet occupiers, then they are Slavs, then they are Christians, then Soviet peasants of the Hohenzollern, Holstein, Bronstein and Blank, lads: Germans and Jews with weapons in their hands from 1853 -1953 Traitors.

If you steal someone else's History, live in other people's houses and cities, in a foreign state, impersonate Russians (Army), ban the human language and force everyone to learn the language of your monkey, then probably your children and grandchildren will be loved in the Russia you have captured.

When did the Jews create Yiddish for themselves? In the 1910s? Well, here are all the fairy tales about Jews. We have other Jews: the Cossacks of Elston: Gray slave war crimes, persons who betrayed the Oath, the entire Red Army of Elston-Sumarokov and the Holstein-Gottorp group.

Who would believe that some poor, worn-out Jews were capable of seizing power over the Cossacks? There would be no price for Jews then. Just if the Cossacks themselves were those Jewish soldiers of Elston: Gray slave war crimes, persons who betrayed the Oath.
We recently learned that the Romanovs were Jews. Officially, the Romanovs were Germans, but they called themselves Slavs.
And the Slavs proved to us that they were Russian, only for some reason they were Soviet Jews-Christians with German bayonets from 1853-1953. They were Elston bandits, but became Stalinist bandits. And the gang is the same: Dimacresi Social Commune Party Intelgents. In the CPSU, Lenin ennobled it in 1917, contrary to Trotsky’s ban.

And the Cross was erected by Jewish Soviet soldiers with German bayonets during the restoration of 1901. But they say that it was in 1903. The Cossacks have been walking as they please for thousands of years. What's it been like for two years? The Cossacks' biography in 1352 does not agree with the General Staff of the Russian Army. State and National.

In the 19th century, construction technology in Europe was not very different from that of ancient Egypt. Thousand-ton blocks were lifted by hand.

Original taken from ikuv in Raising the Alexander Column in 1832

Leafing through an old magazine, I found an article about how our ancestors, who lived about 200 years ago, without any Komatsu, Hitachi, Ivanovtsev and other caterpillars, successfully solved an engineering task that is still difficult today - they delivered the blank of the Alexander Column to St. Petersburg, processed it, lifted and installed vertically. And it still stands. Vertical.

Prof. N. N. Luknatsky (Leningrad), magazine "Construction Industry" No. 13 (September) 1936, pp. 31-34

The Alexander Column, standing on Uritsky Square (formerly Dvortsovaya) in Leningrad, with a total height of 47 m (154 ft) from the top of the foundation to the top point, consists of a pedestal (2.8 m) and a column core (25.6 m).
The pedestal, like the core of the column, is made of red coarse-grained granite, mined in the Pitterlak quarry (Finland).
Pitterlack granite, especially polished, is very beautiful; however, due to its coarse grain size, it is easily subject to destruction under the influence of atmospheric influences.
Gray Serdobolsky fine-grained granite is more durable. Arch. Montferand wanted to make a pedestal from this granite, but, despite intensive searches, he did not find a stone without cracks of the required size.
When extracting columns for St. Isaac's Cathedral in the Pitterlak quarry, Montferand discovered a piece of rock without cracks, measuring up to 35 m in length and up to 7 m in thickness, and left it untouched just in case, and when the question arose about the delivery of the monument to Alexander the First, he, having In view of this very stone, a project was drawn up for the monument in the form of a column made from a single piece of granite. The extraction of stones for the pedestal and column core was entrusted to the contractor Yakovlev, who already had experience in the extraction and delivery of columns for St. Isaac's Cathedral.

1.Work in a quarry

The method of quarrying both stones was approximately the same; first of all, the rock was cleared from the top of the covering layer to make sure that there were no cracks in it; then the front part of the granite mass was leveled to the required height and cuts were made at the ends of the granite mass; They were made by drilling so many holes in a row that they almost connected with each other.

Pitterlax Quarry (Puterlakse)

While one group of workmen was working on the slits at the ends of the mass, others were engaged in cutting the stone below to prepare for its fall; on the upper part of the massif, a groove 12 cm wide and 30 cm deep was punched along its entire length, after which, from its bottom, wells were drilled by hand through the entire thickness of the massif at a distance of 25-30 cm from each other; then a furrow, completely along the entire length, was laid with 45 cm iron wedges, and between them and the edge of the stone, iron sheets for better advancement of the wedges and to protect the edge of the stone from breakage. The workers were arranged so that there were from two to three wedges in front of each of them; on a signal, all the workers simultaneously hit them and soon cracks became noticeable at the ends of the massif, which gradually, slowly increasing, separated the stone from the general mass of rock; these cracks did not deviate from the direction outlined by numerous wells.
The stone was finally separated and tipped over with levers and capstans onto a prepared bed of branches thrown onto an inclined log grillage in a layer of 3.6 m.

Tilting an array for a column rod in a quarry

A total of 10 birch levers, each 10.5 m long, and 2 shorter iron ones were installed; At their ends there are ropes for which the workers pulled; in addition, 9 capstans with pulleys were installed, the blocks of which were firmly attached to iron pins embedded in the upper surface of the massif. The stone was turned over in 7 minutes, while work on its extraction and preparation for separation from the general rock mass lasted almost two years; the weight of the stone is about 4000 tons.

2. Pedestal for column

First, the stone for the pedestal weighing about 400 tons (24,960 pounds) was delivered; besides this, several more stones were loaded onto the ship, and the total weight of the entire loading was about 670 tons (40,181 pounds); under this weight the ship bent somewhat, but it was decided to install it between two steamships and tow it to its destination: despite the stormy autumn weather, it arrived safely on November 3, 1831.

Delivery of blocks for the pedestal of the Alexander Column

Two hours later, the stone was already unloaded onto the shore using 10 capstans, of which 9 were installed on the embankment, and the tenth was fixed on the stone itself and worked through a return block fixed on the embankment.

Moving the block for the pedestal of the Alexander Column from the embankment

The stone for the pedestal was placed 75 m from the foundations of the column, covered with a canopy, and until January 1832, 40 stonemasons were hewing it from five sides.

The future pedestal under the canopy

Of interest are the measures taken by the builders to trim the surface of the sixth lower face of the stone and install it on the prepared foundation. In order to turn the stone upside down with its lower unhewn edge, they built a long inclined wooden plane, the end of which, forming a vertical ledge, rose 4 m above ground level; under it, on the ground, a layer of sand was poured, on which the stone was supposed to lie when falling from the end of the inclined plane; On February 3, 1832, the stone was pulled by nine capstans to the end of the inclined plane and here, after hesitating for a few seconds in balance, it fell on one edge onto the sand, and was then easily turned over. After trimming the sixth face, the stone had to be placed on rollers and pulled onto the foundation, and then the rollers were removed; To do this, 24 racks, about 60 cm high, were brought under the stone, then the sand was removed from under it, after which 24 carpenters, working very coordinated, simultaneously hewed the racks to a small height at the very bottom surface of the stone, gradually thinning them; when the thickness of the racks reached approximately 1/4 of the normal thickness, a strong cracking sound began, and the carpenters stepped aside; the remaining uncut part of the racks broke under the weight of the stone, and it sank several centimeters; this operation was repeated several times until the stone finally sat on the rollers. To install the stone on the foundation, a wooden inclined plane was again arranged, along which it was raised with nine capstans to a height of 90 cm, first lifting it with eight large levers (wags) and pulling rollers out from under it; the space formed underneath made it possible to lay a layer of mortar; since the work was carried out in winter, at temperatures ranging from -12° to -18°, Montferand mixed cement with vodka, adding one twelfth part of soap; the cement formed a thin and fluid dough and on it, with two capstans, it was easy to turn the stone, slightly lifting it with eight large waggons, in order to quite accurately install it horizontally on the upper plane of the foundation; the work of accurately installing the stone lasted two hours.

Installation of the pedestal on the foundation

The foundation was built in advance. The foundation for it consisted of 1250 wooden piles, driven from a level of 5.1 m below the level of the square and to a depth of 11.4 m; 2 piles are driven on each square meter; they were driven with a mechanical piledriver, made according to the design of the famous engineer Betancourt; The female copra weighed 5/6 tons (50 poods) and was lifted by a horse-drawn collar.
The heads of all the piles were cut to one level, determined by the fact that before it, water was pumped out of the pit and marks were made on all the piles at once; A layer of gravel was laid and compacted between the tops of the piles exposed by 60 cm, and on the site leveled in this way, a foundation 5 m high was erected from 16 rows of granite stones.

3. Delivery of monolithic column rod

In the early summer of 1832, they began loading and delivering the column monolith; loading this monolith, which had a huge weight (670 tons), onto a barge was a more difficult operation than loading the stone for the pedestal; To transport it, a special vessel was built with a length of 45 m, a width along the mid-beam of 12 m, a height of 4 m and a carrying capacity of about 1100 tons (65 thousand poods).
At the beginning of June 1832, the ship arrived at the Pitterlax quarry, and the contractor Yakovlev with 400 workers immediately began loading stone; near the shore of the quarry, a pier 32 m long and 24 m wide was made in advance on piles from log frames filled with stone, and in front of it in the sea there was a wooden avant-pier of the same length and design as the pier; a passage (port) 13 m wide was formed between the pier and the pier; The log boxes of the pier and pier were connected to each other by long logs, covered with boards on top, forming the bottom of the port. The road from the place where the stone was broken to the pier was cleared, and the protruding parts of the rock were blown up, then logs were laid close to each other along the entire length (about 90 m); the movement of the column was carried out by eight capstans, of which 6 dragged the stone forward, and 2 located behind held the column during its dimensional movement due to the difference in the diameters of its ends; to level the direction of movement of the column, iron wedges were placed at a distance of 3.6 m from the lower base; after 15 days of work, the column was at the pier.
28 logs, 10.5 m long and 60 cm thick, were laid on the pier and the ship; along them it was necessary to drag the column onto the ship with ten capstans located on the avant-mole; In addition to the workers, 60 people were placed on capstans in front and behind the column. to monitor the ropes going to the capstans, and those with which the ship was secured to the pier. At 4 o'clock in the morning on June 19, Montferand gave the signal for loading: the column moved easily along the tracks and was almost loaded when an incident occurred that almost caused a disaster; due to the slight tilt of the side closest to the pier, all 28 logs rose and immediately broke under the weight of the stone; the ship tilted, but did not capsize, as it rested against the bottom of the port and the wall of the pier; the stone slid towards the lowered side, but stopped at the wall of the pier.

Loading the column rod onto a barge

People managed to run away, and there were no misfortunes; the contractor Yakovlev was not at a loss and immediately organized the straightening of the ship and the lifting of the stone. A military team of 600 people was called in to help the workers; Having marched 38 km in a forced march, the soldiers arrived at the quarry 4 hours later; after 48 hours After continuous work without rest or sleep, the ship was straightened, the monolith on it was firmly strengthened, and by July 1, 2 steamships delivered it to the bay. Palace embankment.

Portrait of workers delivering the convoy

In order to avoid a similar failure that occurred when loading the stone, Montferand paid special attention to the arrangement of devices for unloading. The river bottom was cleared of the piles remaining from the lintel after the construction of the embankment wall; using a very strong wooden structure, they leveled the inclined granite wall to a vertical plane so that the ship with the column could approach the embankment completely close, without any gap; the connection between the cargo barge and the embankment was made of 35 thick logs laid close to each other; 11 of them passed under the column and rested on the deck of another heavily loaded vessel, located on the river side of the barge and serving as a counterweight; in addition, at the ends of the barge, 6 more thicker logs were laid and strengthened, the ends of which on one side were firmly tied to the auxiliary vessel, and the opposite ends extended 2 m onto the embankment; The barge was firmly pulled to the embankment with the help of 12 ropes encircling it. To lower the monolith to the shore, 20 capstans worked, of which 14 pulled the stone, and 6 held the barge; The descent went very well within 10 minutes.
In order to further move and raise the monolith, they built solid wooden scaffolding, which consisted of an inclined plane, an overpass going to it at a right angle and a large platform that occupied almost the entire area surrounding the installation site and rose 10.5 m above its level.
In the center of the platform, on a sandstone massif, scaffolding was built, 47 m high, consisting of 30 four-beam racks, reinforced with 28 struts and horizontal ties; The 10 central posts were higher than the others and at the top, in pairs, were connected by trusses on which lay 5 double oak beams, with pulley blocks suspended from them; Montferand made a model of the scaffolding in 1/12 life-size and subjected it to the examination of the most knowledgeable people: this model greatly facilitated the work of the carpenters.
Lifting the monolith along an inclined plane was carried out in the same way as moving it in a quarry, along continuously laid beams with capstans.

Movements of the finished column: from the embankment to the overpass

At the beginning of the overpass

At the end of the overpass

On the overpass

On the overpass

At the top, on the overpass, he was pulled onto a special wooden cart that moved along the rollers. Montferand did not use cast iron rollers, fearing that they would be pressed into the flooring boards of the platform, and he also abandoned balls - the method used by Count Carbury to move the stone under the monument to Peter the Great, considering that preparing them and other devices would take a lot of time. The cart, divided into two parts 3.45 m wide and 25 m long, consisted of 9 side beams, laid close to each other, and reinforced with clamps and bolts with thirteen transverse beams, on which the monolith was laid. It was installed and strengthened on a trestle near an inclined plane and the array was pulled in with the same capstans that pulled it upward along this plane.

4. Raising the column

The column was raised by sixty capstans installed on scaffolding in a circle in two rows in a checkerboard pattern and reinforced with ropes to piles driven into the ground; each capstan consisted of two cast-iron drums mounted in a wooden frame and driven by four horizontal handles through a vertical shaft and horizontal gears (Fig. 4); From the capstans, ropes went through guide blocks, firmly fixed at the bottom of the scaffolding, to pulley blocks, the upper blocks of which were suspended from the double oak crossbars mentioned above, and the lower ones were attached to the column rod with slings and continuous rope harnesses (Fig. 3); the ropes consisted of 522 heels of the best hemp, which withstood a load of 75 kg each during testing, and the entire rope - 38.5 tons; the total weight of the monolith with all accessories was 757 tons, which, with 60 ropes, gave about 13 tons of load for each, i.e., their safety factor was assumed to be threefold.
The raising of the stone was scheduled for August 30; to work on capstans, teams from all guards units were equipped in the amount of 1,700 privates with 75 non-commissioned officers; The very important work of lifting the stone was organized very thoughtfully, the workers were arranged in the following strict order.
On each capstan, under the command of a non-commissioned officer, 16 people worked. and, in addition, 8 people. was in reserve to relieve tired people; the senior member of the team ensured that the workers walked at an even pace, slowing down or speeding up depending on the tension of the rope; for every 6 capstans there was 1 foreman, located between the first row of capstans and the central scaffolding; he monitored the tension of the ropes and conveyed orders to the senior members of the team; every 15 capstans constituted one of 4 squads, led by four assistants of Montferand, standing at each of the four corners of the high scaffolding, on which there were 100 sailors, watching the blocks and ropes and straightening them; 60 dexterous and strong workers stood on the column itself between the ropes and held the polypaste blocks in the correct position; 50 carpenters were in different places in the forests just in case; 60 stonemasons stood at the bottom of the scaffolding near the guide blocks with the order not to let anyone near them; 30 other workers guided the rollers and removed them from under the cart as the column was raised; 10 masons were at the pedestal to pour cement mortar onto the top row of granite on which the column would stand; 1 foreman stood at the front of the scaffolding, at a height of 6 m, to give a signal with a bell to start lifting; 1 boatswain was at the highest point of the scaffolding at the pole to raise the flag as soon as the column was in place; 1 surgeon was below the scaffolding to provide first aid and, in addition, there was a team of workers with tools and materials in reserve.
All operations were managed by Montferand himself, who, two days beforehand, made a test of raising the monolith to a height of 6 m, and before starting the lifting, he personally verified the strength of the piles holding the capstans, and also inspected the direction of the ropes and scaffolding.
The raising of the stone, at the signal given by Montferand, began exactly at 2 o'clock in the afternoon and proceeded quite successfully.

Beginning of the column lifting

The column moved horizontally with the cart and at the same time gradually rose upward; at the moment of its separation from the cart, 3 capstans, almost simultaneously, stopped due to the confusion of several blocks; at this critical moment one of the upper blocks burst and fell from the height of the scaffolding into the middle of a group of people standing below, which caused some confusion among the workers surrounding Montferand; Fortunately, the teams working on the nearby capstans continued to walk at an even pace - this quickly brought calm, and everyone returned to their places.
Soon the column hung in the air above the pedestal, stopping its upward movement and aligning it strictly vertically and along the axis with the help of several capstans, they gave a new signal: everyone working on the capstans made a 180° turn and began to rotate their handles in the opposite direction, lowering the ropes and slowly lowering the column exactly into place.

Raising the column lasted 40 minutes; the next day Menferand checked the correctness of its installation, after which he ordered the scaffolding to be removed. Work on finishing the column and installing decorations continued for another two years and it was finally ready in 1834.

Bishebois, L. P. -A. Bayo A. J. -B. Grand opening of the Alexander Column (August 30, 1834)

All operations for the extraction, delivery and installation of the column must be considered very well organized; however, one cannot help but note some shortcomings when compared with the organization of work on moving the stone for the monument to Peter the Great, carried out under the leadership of Count Carbury 70 years earlier; these shortcomings are as follows:
1. When loading the stone, Caburi flooded the barge, and it settled on the hard bottom of the river, so there was no danger of capsizing; Meanwhile, when loading the monolith for the Alexander Column, they did not do this, and the barge tilted, and the whole operation almost ended in complete failure.
2. Carburi used screw jacks to lift and lower, while Montferand lowered the stone in a rather primitive and somewhat dangerous way for workers, cutting off the posts on which it lay.
3. Carbury, using an ingenious method of moving the stone on brass balls, significantly reduced friction and made do with a small number of capstans and workers; Monferand's statement that he did not use this method due to lack of time is incomprehensible, since the extraction of the stone lasted almost two years and during this time all the necessary devices could have been made.
4. The number of workers when lifting the stone was large; however, it must be taken into account that the operation lasted very short and that the workers were mostly ordinary military units, dressed up for the raising as if for a ceremonial parade.
Despite these shortcomings, the entire operation of raising the column is an instructive example of a well-thought-out organization with a strict and clear establishment of the work schedule, the placement of workers and the determination of each actor's duties.

1. It is customary to write Montferand, however, the architect himself wrote his last name in Russian - Montferand.
2. “Construction industry” No. 4 1935.

Thanks to Sergei Gaev for providing the magazine for scanning.

Those who have normal logic will fully understand me that out of a desire not to answer the same questions in the comments every time, I post this understandable material by another author from another site. In a word - copy-paste, ladies and gentlemen: o)

“The Alexander Column is another monument in St. Petersburg that makes delusionalists who don’t know the hardware quietly faint at the number of “distortions” of the history of the monument.

And the backstory is this: when extracting columns for St. Isaac's Cathedral in the Putterlak quarry, Montferrand discovered a suitable piece of rock without cracks, measuring up to 35 meters in length and 7 meters in thickness, leaving this area untouched, and when the question arose about the delivery of a monument to Alexander I in honor of the victory above Napoleon, he, having this particular stone in mind, drew up a design for a monument in the form of a column made of a single piece of granite, which to this day is the largest monolithic granite column in the world.

Work in the quarry to extract a workpiece weighing 4000 tons from the rock and processing it roughly lasted about two years, after which the Column, like the Thunder Stone, was loaded onto a boat specially built for this purpose and sent by water to St. Petersburg to Palace Square, where The lifting and finishing work of the Column took place.

As a rule, the “alarm bell of mistrust” in the history of the creation of the monument sounds in the heads of paranoids, firmly convinced that they are “brilliant technicians” and certainly smarter than the despicable “humanities” historians (smiley)

Below are the main questions and claims of the so-called “alternative historians” regarding the history of the Thunder Stone and the answers to them.

Alternatives insist:

1. The entire history of the creation of the Alexander Column (AK) is the invention of historians. For example, the official version says that to separate the AK blank from the rock, workers drilled holes. What kind of drills are these that can be used to manually drill 7 meters of granite?! And how can you hit such a crowbar with a sledgehammer from above?! Jump or climb on a stepladder?!

View of the Pyuterlak quarry

The conspiracy mongers have no idea, but in this kind of work a set of drills of various lengths was always used - from 0.7 to 9.5 meters with hard steel tips welded on the end. As the hole deepened, the drill was changed, and a longer one was inserted instead. Drilling was carried out manually: one worker held the drill, the other hit it with a heavy hammer. After each blow is applied, the drill (jammer) is rotated around its axis. Drilling debris, the so-called “sludge”, rock crushed by drilling, was removed from the hole with a special cleaner, a spoon.

Shown on the right is a hard rock drill.

A started hole in the same quarry

Dartmoor, 1930. Worker using the so-called. The “punch” makes holes in the granite for the wedges.

2. It’s not at all clear why the back edge of the workpiece is already flat? Before the block was moved away from the rock! Moreover, not only the back edge of the monolith is smooth, but also the corresponding part of the remaining rock. If the block was chopped off with crowbars and sledgehammers, and not with a giant circular saw, then the chipped edge will be crooked. This is why the block is moved away in order to level the back edge. And she’s already smooth!

Amateurish kaschenism. This is why the holes (holes) were drilled at a distance of 25-30 cm from each other in order to break off the workpiece evenly. With such a small distance between the holes, the crack runs in a straight line along all the numerous holes, which ensures the evenness of the separated face of the monolith and, accordingly, the same evenness of the “reciprocal” part of the rock.

Tipping the workpiece

3. When loading the column onto the ship (Kungurov calls this moment the other way around - “unloading”) the logs (beams) broke, the column “hung in the air” and was kept from sinking for 2 days by the forces of 300 people! Lies!!! How can this be?!!

Ordinary tales of illiterate pseudo-historians. In fact, after the logs broke, the ship tilted, but did not capsize, as it rested against the bottom of the port and the wall of the pier; the stone slid towards the lowered side, but lingered at the wall of the pier, after which, 4 hours later, a military team of 600 people arrived to help the workers, and after 48 hours of continuous work without rest or sleep, the ship was straightened, the monolith on it was firmly strengthened, and On July 1, two steamships delivered him to Palace Embankment.

Column loading failure

4. There is no mention of the column during the years of its manufacture and installation, although the event was grandiose!

There are plenty of references. For example, excerpts from the St. Petersburg press of that time, which covered the process of production and opening of the column. For example, in the newspaper “Northern Bee”.

"Northern Bee", issue No. 149, 1832

"Northern Bee", issue No. 151, 1832

5. The column was made by the “Otlantes”, and it stood on Dvortsovaya long before Montferrand, hidden inside a certain temple - Prince Gagarin depicted the dismantling of this building and the “opening” of the column in his drawing!

There was no temple in the center of Palace Square, as evidenced by a bunch of drawings and engravings before 1832. And Gagarin depicted a column with a platform around it that had already been almost completely dismantled, in the center of which, as expected, the brickwork remained, reinforcing the structure of the scaffolding and surrounding the site of the column’s construction on 3 sides.

Montferrand drawing: brick supports under a wooden platform

(and I’ll add “five kopecks” :o) the structure also served as a greenhouse for work in the winter, because the work on constructing the foundation and pedestal until the installation of the column itself required a lot of time. This structure can be seen in the figure below)

6. Montferrand did not create the AK, because there is an engraving from 1820 in which the column already stands on Palace Square!

And again an epic fail! The engraving clearly shows the “Chariot of Glory” - a copper composition above the arch of the General Staff, which was installed only in 1828, which means the dating of the engraving is nothing more than a banal stupid bullshit. In addition, this engraving is essentially a sketch of one of the variants of the AK project - this is evidenced by the top of the column in the form of a cross: this version of the top was also considered, but in the end the Angel with the Cross “won the tender”.

View of the General Staff Arch from a similar angle

First approved AK variant

More options for AK pommel

7. In Montferrand's drawings, some details do not match the details in his other drawings! Probably, in this way he is giving us a “sign” that he is being forced to falsify history!

It is important to understand that a lithograph, and even more so a miniature, is not a photograph, and therefore there may be inaccuracies in them. And in general, the artist is a creative person and not burdened by rules. In addition, in addition to personal drawings and drawings, the “graphic heritage of Montferrand” contains many sheets signed by him, but executed by his students and assistants: Sadovnikov, Sabat, Kolman, Richter, Moldavsky, Chernetsov and other artists who performed work for the architect. This fact easily explains the “discrepancies” that are so disturbing to patients.

Lulz, intrigue and just interesting facts:

The preliminary project for installing the monument in St. Petersburg was developed by Montferrand back in 1814. The idea to install the monument specifically on Palace Square belongs to K. Rossi, who already in 1819, on the design plan for the construction of the second building of the General Staff Building, outlined the base of the monument.

When installing the pedestal, natural vodka was mixed with cement instead of water to better set the solution. The workers wept as they watched the precious

the product is used in such a graceless way.

The finishing and polishing of the column took place after its installation and lasted for two whole years. Manually, of course.

5 days before the opening of the monument, A. S. Pushkin quickly pulled out of St. Petersburg, which he wrote about in his diary:

“I didn’t write anything down for three months. I was away - I left St. Petersburg 5 days before the opening of the Alexander Column, so as not to be present at the ceremony along with the chamber cadets - my comrades - I was in Moscow for several hours ..." http://rvb.ru/pushkin/01text/08history/03memoires/1160.htm

The residents of St. Petersburg knew that the gigantic column was installed without any additional fortifications and was supported only by its own weight, so the new monument aroused wariness and even fear among the townspeople for quite a long time - people trembled to walk past the column, fearing that it might fall. Then Montferrand made it a habit to walk around the column every morning with his dog. Over time, his walks had an effect, and St. Petersburg residents stopped being afraid of the monument’s fall.

Montferrand accomplished the lifting of the AK not with zero experience and skill in such a matter, but having thoroughly improved his skill in lifting weights on the construction of 114-ton columns of St. Isaac's Cathedral, four years earlier.

At that time, explosives were used in granite breaking, but the monoliths for the Alexander Column and for the Isaac Columns were mined manually, without the use of gunpowder, for fear of damaging the stone, because “bang-bang!!!” does not have a positive effect on the quality of the stone. “It’s better to be safe than sorry” - this is probably what the contractor V.A. Yakovlev also thought, since in the event of any failure, he was contractually obligated to obtain another blank, but at his own expense. In addition, at his own expense, Yakovlev had to build a pier and a pier located opposite it, and also, having built a raft, use iron buckets to deepen the fairway by more than half a meter, since there was a danger that, having accepted such a load, the ship would land on the ground.

Nicholas I ordered “to use the gates of the guards soldiers for action”: this contained a deep symbolic meaning - the soldiers of the guards regiments, ... (beeped by me) the descendants of D'Artagnan and his friends who won the Patriotic War and Foreign campaigns, had to erect themselves monument in honor of the victorious emperor.

And failure was close: despite the successful rehearsal of raising the column to test the strength of the scaffolding and mechanisms, as well as to practice the coordinated actions of hundreds of people, which went off without a hitch, literally two days later, during the “official” raising of the column a dangerous situation arose:.. "

Go to "I Cried" there is more for you :o)

On this topic:

https://cont.ws/post/248860 about drawings by Montferrand and others

About the installation of an obelisk in the Vatican

Architecture and mechanics. Betancourt.

Article by Denis Didroev about drawings and drawings of the construction of the Alexander Column