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Lineckij M. I.

At the corner of Marazlievskaya Street and Nakhimova Lane a real masterpiece of early, as period concerns, and mature in Art Nouveau content rises. It was created by one of the best Art Nouveau architects of Odessa — Moisei Isakovich Linetskiy in co-authorship with Samuel Savelyevich Galperson. The apartment house of Lutskiy was not the only result of their cooperation, but became the peak.

Type of building: apartment house
Style: ornamental Art Nouveau
Architects: М. I. Linetskiy, S. S. Galperson
Date of construction: 1902-1903
Status: local architectural and historical monument

Facades

General view of the corner Facade on Marazlievskaya Street Facade in Nakhimova Lane

At the beginning of XX century a site on Marazlievskaya Street was not cheap, therefore the street was built up only by the wealthiest people. The vicinity of each of the newly constructed buildings on Marazlievskaya Street with exquisite neighboring mansions and apartment houses dictated somehow the scope and aesthetic level of a new building.

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In 1902-1903 on the site number 2 a real masterpiece of ornamental Art Nouveau, fashionable and expensive in design style in those days, raised. In the year of its construction beginning a new style just took first steps. The early Art Nouveau houses are dated to the same period. It is interesting that the house of Wolf on the corner of Kuznechnaya Street and Uspenskaya Street, built by architects V. Dombrovskisy and Y. M. Ponomarenko, is very similar to the house of Lutskoy in silhouette lines, proportions, shapes and style of decoration, as if the two houses were built by the same architect. There is no doubt that there was a certain exchange of experience between the architects.

Historical photographs of the house

Photograph from the guide of the beginning of the XX century

Building facade fragments in the photographs of Vladimir Georgievich Nikitenko, the  1970s Building facade fragments in the photographs of Vladimir Georgievich Nikitenko, the  1970s

The author of the project M. I. Linetskiy got a site for development at the corner of Marazlievskaya Street and Nakhimova Lane. According to the reference book «All Odessa» of 1903, the house was built on the site of A. Falz-Fein and P. Mavrokordato. In the register of cultural heritage buildings the house on 2, Marazlievskaya Street was listed as an apartment house of M. D. Lutskiy. Subsequently the building changed owners at least twice. In 1908, the house was purchased by a certain O. von Besser, and, according to the reference book «All Commerce and Industry of Odessa» of 1914, the house was assigned to G. E. Fukelman. Lutskiy was mentioned in the reference book «All Odessa» of 1903 in the section «Architecture», but there were gathered people of different professions related to the design and construction, so to establish details using the reference book is not possible.

According to Tatyana Zayarnaya, the author of «Along the Marazlievskaya ...», «... it was occupied by the» department of Noble and Peasants Bank in the house of Marazli located in Baryatinsky Lane with a facade facing Marazlievskaya Street. Peasant Land Bank later moved to the purpose-built on 34a, Marazlievskaya Street, but Noble Bank had been working in this house until the Revolution«.

Despite the fact that the concerned house was implemented in a „pure“ Art Nouveau, traces of the eclectic architecture are still present, although to a small extent. Those include forms of window openings, stair railings, casings of the ground floor windows, vases (borrowed from the Baroque era, once crowned the attic of the house, and now — lost), carved window frames and courtyard facades finishing. However, the above listed details simply drown in the spectacular Art Nouveau decoration of house facades.

Besides vases, the house has lost some really important details over time. A corner part of the building once was crowned with a massive attic- pedestal, served as the basis for a sculpture of a lying lion. Flanking corner part pylons were exquisitely and richly decorated, ending with large sculptures of eagles. Mascarones of the top floor from Marazlievskaya Street were lost completely, but were preserved from Nakhimov Lane side. Most of the balconies lost stone fences posts, however, forged elements were preserved for the most part. At the corner, on the ground floor there was a trading space and the house had a proper decision of the facade in that place, but now it is closed by an annex or destroyed.

Balconies fencing

Balcony of the third floor of the corner part of the house Balcony of the third floor of the corner part of the house, central section Balcony sections of the second floor of the corner part of the house Balcony in Nakhimov Lane, preserved an original fencing in the main Eclectic fence of the first floor balcony in Nakhimov Lane (probably made ​​earlier and carried from another house)

Lutskiy’s house has a rectangular in plan, elongated along the Nakhimov Lane shape, with a large courtyard and a cut corner at the intersection of the streets. Unlike the house on 54, Kuznechnaya Street the wings converge here at a classic right angle. In general both facades at the building lines of the streets are decorated identically, but there are differences. An entrance to the apartments in the wing on Marazlievskaya Street is directly from the street and properly decorated. The corners of the portal have a slight slope towards the central axis, and over the magnificent original door there is a spectacular cartouche with a monogram. The cartouche is skillfully drawn in details by Art Nouveau plastic lines and added on the top by symmetrical wings. The vertical axis of the portal is accentuated by an open bay window-balcony, flanking by common balconies on the second and third floors.

Entrance to the entrance hall on Marazlievskaya Street

Portal, general view Portal, general view Cartouche over the portal

Entrance door

Transom Transom detail Detail of the lower part of the leaf Fragment of the door leaf before the restoration

Bay window over the portal

A view upward Fence stone section Profile apertures

The walls of the ground floor are processed by belt rustic stone consisting of two broad profiles.

Ground floor finishing

Fragment of the facade wall in Nakhimov Lane Fragment of the facade wall in Nakhimov Lane Cannelures Cannelures Detail of the original window sash

On the first floor the rustic stone is more classic and austere; window openings have rounded top corners and keystones with moulded ornaments of floral motifs.

First floor finishing

Windows and rustic stone Keystone

The second-floor windows are topped by large fasciae, the part of which is supplemented with mascarons.A vertical windows rhythm is emphasized by the pilasters of smooth curved shapes with the ornament of Obrist in the piers. The windows of the top, the third floor, are the most richly ornamented. Over each of them there are mascarones, performed partly in the „Egyptian“ stylistics and depicting faces of various types and ages. As mentioned above, any of them were preserved from Marazlievskaya Street side.

Upper storeys finishing

Facade fragment in Nakhimov Lane Facade fragment on Marazlievskaya Street

Decorative details of the second floor

Fascia with a mascaron Fascia corbel Fascia corbel Windows with a double fascia Double fascia

Decorative details of the second floor

Windows (on Marazlievskaya Street) Moulded crowning detail Under window detail

Mascarons of the third floor

General view of compositional combination of windows and mascarones Mascaron Mascaron

Facade in Nakhimov Lane is more extensive than the facade on Marazlievskaya Street (14 to 9 window axes respectively). Symmetrically in the center (if ignore the extreme axis of the window adjacent to the corner of the building) there is a passage arch into the courtyard, and its axis is singled out by a risalit, gradually tapering upwards. The similar risalit is located from Marazlievskaya Street side (plays exclusively a composite role). Both risalits are decorated with plant crowning elements in niches over the windows of the third floor.

Risalits

Risalit in Nakhimov Lane, over the passage arch Passage arch, located in the risalit Risalit windows of the second(right) and the third floors on Marazlievskaya Street

Crowning details

Upper part of the risalit on Marazlievskaya Street Upper part of the risalit on Marazlievskaya Street Crowning detail on Marazlievskaya Street Crowning detail fragment on Marazlievskaya Street Crowning detail in Nakhimov Lane

It is worth mentioning one more interesting detail of the facade decoration on the third floor — ornamental belt, stretched out on piers over the entire facade, except for the corner part of it.

Ornament on the piers

The corner part of the facade is the most significant, the dominant element of the house that is emphasized by the pylons on each side and a huge mascaron in its central part above the windows of the third floor. The mascaron is interesting not only for its dimensions (probably it is the largest in the city) but for decoration. Twisted in fanciful design a rope around his neck has made Odessa local historians and art critics to puzzle over the meaning of its presence here for decades. An interesting fact is that the house of Lutskiy is not the only on Marazlievskaya Street where there is a mascaron with a rope around his neck on the facade. A similar sculpture image can be seen on the facades of apartment buildings of N. Kryzhanowskiy-Auderskiy on 54, Marazlievskaya Street (1900, architect. L. L. Vlodek) and N. Belikovich on 5, Marazlievskaya Street (1902, architect D. E. Mazirov). And on the facade of the latter there are two ones. No less interesting is another fact: in other streets of Odessa similar mascarones do not occur.

Corner part of the house

A view upward Windows of the third floor and the mascaron Windows of the third floor and the mascaron

Mascaron

Decoration of the third floor windows, general composition Decoration of the third floor windows, a fragment Decoration of the third floor windows, a fragment
Left-side pylon Right-ide pylon Remnants of the pedestal for an eagle sculpture

The passage arch to the courtyard is designed very simply and has flat vaults.

Passage arch to the courtyard

Inner view Inner view Window of a habitable room in the arch

A forged gate of eclectic pattern, adorned by images of leaves and snakes was preserved.

Gate

General view from the arch Right-side leaf Right-side leaf, a fragment Left-side leaf Lower part of the left-side leaf A leaf A leaf Scroll with a flower Scroll with a snake Crowning detail shaped like a cone

In the arch there are opposite to each other entrances to the entrance hall of a wing in Nakhimov Lane and a habitable room of the ground floor. One of its rooms some time was illuminated by a small round window overlooking the arch, now boarded up and not exploited.

Door of the habitable room in the arch

General view Upper part of the leaf Lower part of the leaf A fragment of the leaf lower part Carved detail Forged lattice Forged lattice fragment

Courtyard facades are made with the use of decorative shapes of the brick style and balconies fences are of an eclectic pattern that copies that of balconies fences in the courtyard of the next house of Ozmidov (number 4). The similarities do not end there.

Courtyard facades

Courtyard façade of the wing on Marazlievskaya Street Courtyard wings, a view from the wing on Marazlievskaya Street Courtyard wing, a big risalit Courtyard wing, a small risalit

Finishing of the windows piers

Window of the second floor Light window of the first floor landing in the entrance hall on Marazlievskaya Street (is not used for its intended purpose)

Balconies fencing

General composition General composition Detail Fencing of the third floor

The angles of the wing on Marazlievskaya Street, when coupled with the wings perpendicular to it, are marked out by spectacular risalits having a quarter of a circle in the plan. A similar risalit was applied by the architect Y. Dimitrenko in the above-mentioned next house.

Corner risalit

Original window sashes

Window of the entrance hall on Marazlievskaya Street Window of the entrance hall on Marazlievskaya Street Window of the entrance hall on Marazlievskaya Street Window of the entrance hall in the arch Window of the entrance hall in the arch, a fragment Window of the entrance hall in the arch

Despite the impressive dimensions, the house of Lutskiy has only two entrances and one back door, which can be reached from the courtyard. Facades finishing finds a logical continuation in the interior of the entrance hall on Marazlievskaya Street. ​​Even a framing of concrete mosaic landings is made in Art Nouveau style. (!) The most interesting of them is located at the foot of the stairs, in the lobby, and is reproduced in pattern nowhere.

Entrance hall on Marazlievskaya Street, concrete mosaics

Concrete mosaic landing at the foot of the stairs into the lobby Concrete mosaic landing of the first floor Concrete mosaic landing of the first floor, a fragment

On the left there is a nonfunctional door to the utility room covered by a subtle and refined carving. Over it there is a small fascia with a keystone and scrolls around the edges supported by corbels. Opposite it, in order to keep to the symmetry of the lobby a similar fascia is located, but there are no apertures under it. The walls of the lobby are finished with moulded frames in the best traditions of decorative Art Nouveau, supplemented by mascarons. The gap between the lobby and the staircase is decorated by a fanciful twist of narrow decorative bands.

Entrance hall on Marazlievskaya Street, the lobby

General view

Entrance hall on Marazlievskaya Street, the utility room door

General view Decoration in the upper part of the leaf Lower part of the leaf A fragment of the lower part of the leaf A fragment of the lower part of the leaf A fragment of the lower part of the leaf

Fascia over the door

Entrance hall on Marazlievskaya Street, decoration of the lobby

Vaults Vaults and the arch, leading to the staircase Finishing of the lobby over the entrance door Finishing detail
Finishing of the lobby door Finishing of the mascaron axis
Mascaron Mascaron
Vaults of the arch aperture Finishing of the arch Finishing of the arch, detail

Here Art Nouveau in stone ends and begins in wood. A staircase has marble steps and concrete mosaic landings. Railings of widespread sample are eclectic. The walls are covered with classic frames, found in a number of buildings of the late eclecticism. Only magnificent carved doors, window frames and framing of concrete mosaic landings are in Art Nouveau style here.

Entrance hall on Marazlievskaya Street, the staircase

Landing of the first floor Landing between the first and the second floors Landing between the second and the third floors Landing of the third floor

Entrance hall on Marazlievskaya Street, the doors

General view Top detail Top detail A detail of the middle part of the leaf Lower part of the leaf A detail of the lower part of the leaf Handle

Entrance hall on Marazlievskaya Street, the windows

Window between the first and the second floors Window between the first and the second floors Window between the second and the third floors Window between the second and the third floors

Entrance hall on Marazlievskaya Street, the handrails

Entrance flight of stairs Entrance flight of stairs Stair banister Stair banister General view of flights of stairs Horizontal variant Fastener Fastener

Entrance hall on Marazlievskaya Street, a frieze of the staircase

Frieze fragment Frieze fragment

Some of the apartments still carry traces of former magnificence in its design. On the third floor, for example, a niche with a statue of the ancient style and paired corbels with small mascarons supporting joists were preserved.

Entrance hall on Marazlievskaya Street, one of the apartments

General view of the vestibule Niche with a statue Corbels with mascarons

Similar corbels-mascarones are located in the entrance hall of the wing in Nakhimov Lane and keep the aperture beam between the lobby and the staircase. The lobby ceiling is decorated with moulded coving and rosette; handrails are similar to the rails in the entrance hall on Marazlievskaya Street.

Entrance hall of the wing in Nakhimov Lane, the lobby

Corbels over the beam Corbels over the beam Rosette Coving

Entrance hall in Nakhimov Lane

General view of two upper flights of stairs Stair banister Stair banister Detail Front banister A view from the landing of the first floor Horizontal variant Horizontal variant

The doors of eclectic style are plain.

Entrance hall of the wing in Nakhimov Lane

General view Carved detail Carved detail Handle Door plate

Window frames remain the only element of Art Nouveau style of the staircase, and their performance is different from the window frames of the first entrance hall.

Entrance hall of the wing in Nakhimov Lane, the doors

Window of the top landing between the floors A fragment of the window sash between the first and the second floors Handle-catch

Coving under the lap of the staircase

The staircase here is more cramped and less illuminated (indicating the location of simpler flats in the wing in Nakhimov Lane than the ones on Marazlievskaya Street). In the same entrance hall, on the landings, niches probably intended for floor vases or statues were preserved.

Niche

Entrance to the stairs of the back entrance is located at the corner of the courtyard, at the junction of courtyard wings. The stairs are made ​​of concrete mosaic and have inexpensive handrails without any decorative frills.

Stairs of the back entrance

The apartment house of Lutskiy can be called one of the key works of the architect M. I. Linetskiy. Many elements of its design were subsequently used in other buildings. For example corbels with mascarons similar to those described, decorate the stair lobby of the house on 66, Nezhinskaya Street and Egyptian stylizations were continued in the house on 14a, Marazlievskaya Street. Despite, however, such self-citations in projects, Linetskiy was able to achieve uniqueness in each of built houses. And despite the large number of similarities and parallels with other buildings (not just Linetskiy authorship), Lutskiy’s apartment house lost part of the facades decoration and badly decayed is, however, one of the most significant examples of early Art Nouveau ornamentation in Odessa.

The most significant chapter in the history of the house is now imprinted on a memorial plaque on the corner part of the building facade:

„In this house, in 1910-1911, a Russian writer Aleksandr Ivanovich Kuprin lived“.

A. I. Kuprin

Portrait bas-relief Memorial plaque Memorial plaque

Here it is also set a portrait bas-relief of the writer. His daughter, K. A. Kuprina in the essay „Kuprin — my father“, writes:

„My father traveled almost all of Middle Russia, liked many of its cities, districts, landscapes, but a special place in his heart occupied Odessa ... At the end of August 1909 we moved to Odessa, where soon rented an apartment with a view of the sea.“

In those years A. I. Kuprin wrote some great novels and short stories that in some way reflected life in Odessa. These are „Gambrinus“, „Garnet Bracelet“, „Listrigony“, „Lenochka“ and some others. About the city Kuprin later wrote:

„... looked everywhere for life smells. Among dockers in Odessa port, thieves, magicians and street musicians there were people with unexpected biographies — visionaries and dreamers with a wide and tender soul.“

It can be said that Kuprin self-forgetfully lived a life of Odessa. With the fishermen he went to sea to catch mackerel and plaice, dressed in a diving suit sank into the water near Hlebnaya harbor, yielding to the magic of the circus, participated in the French wrestling. From the territory of the present racecourse flew in a balloon, and later with the pilot Ivan Zaikin — by plane. This flight ended in crash, but Kuprin and  Zaikin got off, fortunately, only with injuries. In Odessa, the writer became close friends with I. Poddubny, S. Utochkin, an artist Nilus ... In Odessa, he began the second part of the story „The Pit“ ...

The house of Lutskiy is connected with another outstanding name. In 1925-36 in this house a scientist in the field of hydraulics prof. V. N. Pinega lived. Later a ship was called by his name.

 

 

References and Archives

Authors

Marzalievskaya Street is one of architectural conservation areas of Odessa center. Variety of styles here is plethoric and fantasy of an architect creates a real spectacular sight in stone. A big apartment house of М. О. Mendelevich is not an exception and demonstrates creative genius of its author in real.

Type of building: mansion, apartment house
Style: Art Nouveau, Neo-Renaissance, «Egyptian Revival»
Architect: M. I. Linetskiy
Date of construction: 1905
Status: local historical and architectural monument

General view of the facade
marazlievskaya-14a-44.jpg
marazlievskaya-14a-45.jpg

Magnificent two storied house, number 14a, is maybe the most ornate and imposing one among the creations of talented architect M. I. Linetskiy, whose creativity brightly and distinctively completed the list of Art Nouveau period houses. Moreover Linetskiy side by side with another great architect of those times — L. M. Chernigov boldly combined such styles like Art Nouveau (mainly decorative and ornamental ones) and Egyptian Revival (general stylization), having created truly expressive and recognizable idiom. From style point of view, house on 14a, Marazlievskaya Street is not an exception, though it is singled out among other buildings of the master.

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If we refer to archives sources and publications of those years, in a reference book All Odessa, year 1903 this place is marked as «vacant» and in the reference book, year 1910 the plot number 14 (present-day number 14a and 14b)had already belonged to M. O. Mendelevich. According to the reference book, year 1914 Mendelevich didn't possess the plot, by that time divided into two parts and passed to two different proprietors. In the same reference book former house of Menedelevich belonged to Vinokurov, and on the plot 14b, a big apartment house of Z. Naum had appeared a year earlier. However, decisive role in defining of historical belonging played only name of the first proprietor of the house, building developer. That is why in the list of local architectural monuments the building is registered as apartment house of N. A. Mendelevich. The date of construction is known for sure — 1905.

After a number of buildings designed in a more or less «academic» Art Nouveau, the architect again refers to eclecticism and stylization, not forgetting however the stylistic fashion. A number of earlier houses of Linetskiy are known as built in eclectic style. Therefore he had already had experience in this direction before the construction of Mendelevich’s house. As for the style the building combines renaissance, Art Nouveau and Egyptian stylizations. However obvious mix of the styles is observed only on the front facade. As for the facade from yard side and decoration of the interior — they are much closer to pure Art Nouveau. Coming back to the front facade, it is worth mentioning, that trace of Egyptian Revival is visible there quite obviously, and not only in ornament, but in some sculptures themes as well. In general, Egyptian architecture motifs were rarely applied in Russian Empire; however a considerable amount of such buildings were quite successful. The buildings implemented in Egyptian reminiscences are characterized by expressive wide mass of central part, which as a rule dominates in height, and applying of trapezoid forms. Stucco mouldings and rustication have straight clear lines and are cut out of monolithic stone. They also have cut edges which are not expressed clearly. Last wave of interest to Egyptian Revival appeared during epoch of Art Nouveau and was developing together side by side, mixing sometimes. Strict canons of this style never existed so the final result always depended on the architect's vision. Concerning Odessa, this style was expressed most of all in the works of Linetskiy. In the case of the describable house, the architect managed to combine naturally the monumentality of Egyptian Revival and the Renaissance. In addition to this, one can notice cold Scandinavian motifs in male mascarons and chimeras.

The house consists of the main wing and two side ones; the plan of the building is nearly symmetrical and represents by itself cyrillic «П» (Р). Probability that the main wing was planned as the mansion is very high. On its first floor there was only one apartment for the owner. Similar design decision is observed in the mansion of another Mendelevich (initials Е. Y.) on Маrazalievskaya, 28. The rooms of the ground floor could make the most splendid apartments in the house. A bit cheaper apartments could be found in three — storey yard wings.

The main facade has nine window axes on its width, seven of which are occupied by a wide, a bit prominent risalit. The ground floor of two storied house is decorated by rustication, which imitates the laying of sandstone and limestone (materials typical for Egypt).

Rustication finishing of the main facade on the ground floor
marazlievskaya-14a-46.jpg
marazlievskaya-14a-47.jpg
marazlievskaya-14a-110.jpg

Fragment of wall finishing of the ground floor
marazlievskaya-14a-123.jpg

The sections of balcony fences and semi-basement windows are different in measures, but made in the same compositional vein, and present a magnificent example of decorative Art Nouveau.

The fence of the balcony
marazlievskaya-14a-128.jpg
marazlievskaya-14a-130.jpg
marazlievskaya-14a-121.jpg
marazlievskaya-14a-124.jpg

The fence of semi-basement window
marazlievskaya-14a-125.jpg

The axes of the passway arch is not marked with traditional risalit, but in order to add a shade of solemnity, a big sculptural composition is placed in the vaulted niche above the arch. It is symmetrical, consists of shield and male mascaron and two sphinxes on each side. Such order of the elements associates with heraldry incarnated in the sculpture.

The passway arch, general view
marazlievskaya-14a-51.jpg

Sculptural composition above the passway arch
marazlievskaya-14a-108.jpg
marazlievskaya-14a-24.jpg

Fragments of facade
marazlievskaya-14a-52.jpg
marazlievskaya-14a-53.jpg

Solemn rhythm of big windows with large fascia occupies the first floor. The window of central axes is a bit wider than the others and framed on each side with splendid Art Nouveau medallions.

marazlievskaya-14a-26.jpg
Medallion

The fascia lies on two columns (fascia of the other windows is supported by corbels), and lucarnes are decorated with grotesque lion heads in Egyptian style.

marazlievskaya-14a-30.jpg
Image of the lion's head decorating the lucarne of the central window

On the rest of the windows the lions' heads are replaced by the images of the rolled snakes.

marazlievskaya-14a-29.jpg
Image of the snake

marazlievskaya-14a-25.jpg
Mascaron above the window on the first floor

marazlievskaya-14a-27.jpg
General view of decoration composition of the first floor window.

marazlievskaya-14a-122.jpg
Small bass-reliefs between the first floor windows.

marazlievskaya-14a-129.jpg
In the motifs of the bass-reliefs two symmetrically located sphinxes are used that resonates with the compositional sculpture above the arch.

The strongest impact of Art Nouveau both on the ground and the first floors has the framing of the window aperture of two end window axes.

Windows of end axes
marazlievskaya-14a-49.jpg Window of the ground floor
marazlievskaya-14a-50.jpg Window of the first floor

Above each of risalit windows the small triplex windows of entresol are located, and their rhythm additionally underlines the central part of the building.

marazlievskaya-14a-28.jpg
Decorative filling of the space between entresol windows

A massive balcony, circled by the balustrade on the first floor, completes the compositional wholeness of the facade. The balcony occupies three window axes edgewise and is located in the center just above the passway arch. The stony balustrade balusters are decorated simply, but plastically and made in pure Art Nouveau vein.

Balcony of the first floor
marazlievskaya-14a-48.jpg General view
marazlievskaya-14a-31.jpg Fragment of the balustrade
marazlievskaya-14a-33.jpg Corbels

Cornice
marazlievskaya-14a-32.jpg

Unfortunately no documental witness about the gates of the house was found, however the remaining fanlight restrained geometrical composition tells about their probable strictness in general. Afterwards, due to their dilapidation the leaves of the gates were disassembled and replaced by simple monolithic ones.

marazlievskaya-14a-109.jpg
Fanlight of the gates

The inside space of the arch consists of two bulks.

Passway arches
marazlievskaya-14a-16.jpg General view
marazlievskaya-14a-15.jpg General view

Directly attached to the street bulk is correspondingly main. It is gorgeously decorated and has a floor laid with small pieces of tile. (The floor was almost completely preserved and after restoring was cleaned from remains of the soviet time asphalt covering.)

Tilework of the arch floor
marazlievskaya-14a-111.jpg General composition of the pattern
marazlievskaya-14a-114.jpg
marazlievskaya-14a-116.jpg Fragment

Opposite the gates there is a window which was used for watching people arriving or leaving the house or the yard.

Window in the arch
marazlievskaya-14a-43.jpg General view
marazlievskaya-14a-21.jpg Keystone

The entrance is located on the left, in a small distance from the gates just enough for the opened leaf not to block the front door. Decoration is concentrated on the window and the walls on its level. Among the interesting elements it's worth to highlight the keystone of the window which is the same as the medallions on facade and not very high doubled half-columns, that are also taken from the ancient Egyptian architecture, where such half-columns symbolized bundles of reed. With the difference, of course, that the half-column measures are brought to the strongest miniaturization in comparison with the prototype.

marazlievskaya-14a-77.jpg
Fake pillars

Fragments of the arch decoration
marazlievskaya-14a-112.jpg
marazlievskaya-14a-78.jpg
marazlievskaya-14a-79.jpg
marazlievskaya-14a-115.jpg

General view of the arch from the window
marazlievskaya-14a-54.jpg

On the vaulting the decoration is represented by simple floral ornament. There is a probability that their big, free from decoration surfaces could be originally painted.

The vaulting of the arch
marazlievskaya-14a-14.jpg General view
marazlievskaya-14a-23.jpg Ornamental decoration
marazlievskaya-14a-22.jpg Ornamental decoration

The second arch leads down to the yard, decorative finish is almost absent. Here the doors to semi-basements are located.

The arch leading to the yard
marazlievskaya-14a-63.jpg View from the street side
marazlievskaya-14a-117.jpg View from the yard side
marazlievskaya-14a-113.jpg Door to the semi-basement. Its authenticity is doubtful, however it is made in balance with the whole house decoration.

The door which leads to the entrance is the exact copy of the original one, which was in absolutely catastrophic condition before the last restoration. As the restoration or making the same door would be expensive, the repair organizers preferred just to replace the door with the simplest one instead of restoring it. It resulted in loosing of one more authentic element. And nevertheless from the compositional point of view it can be related to the best examples of carpenter furniture of the Art Nouveau epoch houses.

The entrance door
marazlievskaya-14a-107.jpg General view
marazlievskaya-14a-106.jpg Upper part of leaf
marazlievskaya-14a-105.jpg Lower part of leaf

Inside the entrance hall there is the following order of space: stair sluices, the landing of the ground floor (here located a watching window for observing the gates), staircase. The decoration changes depending on the space.

Sluice
marazlievskaya-14a-10.jpg General view from the ground floor landing
marazlievskaya-14a-69.jpg Decorative niche
marazlievskaya-14a-70.jpg Keystone of the niche
marazlievskaya-14a-12.jpg General view of one of the walls decoration
marazlievskaya-14a-73.jpg Decoration of pilaster, ornament and Druid
marazlievskaya-14a-101.jpg Fragment of pilaster ornament
marazlievskaya-14a-67.jpg Fake balustrade
marazlievskaya-14a-72.jpg Fake balustrade
marazlievskaya-14a-68.jpg Detail
marazlievskaya-14a-71.jpg Detail

Under the lightening window of sluice there is a high decorative niche; walls are processed in relief with applying of pilasters and fake balustrade in between. In the space of each pilaster a “Druid” mascaron, which is located above the simple vertical floral ornament, is added,. The vaultings continue logically the compositional rhythm of walls decoration but in more strict geometrical style.

Vaulting of sluice
marazlievskaya-14a-11.jpg General view

Panels under the vaulting of sluice were originally painted. Painting presents picturesque paysages and even till the middle of 2000-s years it was in good condition, but in the second half of 2000-s years or later was completely destroyed (probably during the last repair).

marazlievskaya-14a-126.jpg
Lost picturesque panels (as of 2008)

The landing of the ground floor strongly contrasts with the sluice, the ceilings are simplified and look more schematic. From the sculpture one can find only doubled corbels, which support the girder. The corbels are decorated with floral ornament (similar can be found in other buildings of Linetskiy).

Corbels
marazlievskaya-14a-64.jpg
marazlievskaya-14a-66.jpg

The last door from the original ones on the ground floor was demounted (supposedly in 2011) during the restoration and replaced by the new one with decorative metallic plates, which style can be named free mix of Secession and Jugendstil, however the door doesn't fit with the stylistic of interiors.

Doors
marazlievskaya-14a-127.jpg Lost door
marazlievskaya-14a-65.jpg Door remake

The landing of the ground floor leads to the splendid vestibule staircase. Unlike the sluice, the vestibule is located along the central axes if the house and is a real culmination of architectural idea. Splendid wooden stairs with Art Nouveau handrails with simple geometrical pattern and ornamental panels used to lead to the owner’s room.

Staircase
marazlievskaya-14a-9.jpg Entrance stair flight
marazlievskaya-14a-76.jpg Ornamental panel
marazlievskaya-14a-100.jpg Ornamental panel
marazlievskaya-14a-75.jpg View of the staircase and entrance vestibule

Handrails
marazlievskaya-14a-97.jpg A variant of the stair flight
marazlievskaya-14a-91.jpg Horizontal variant

marazlievskaya-14a-74.jpg
Finishing of the vestibule walls on the ground floor at the places free from wooden panels.

On staircase landing a small glazed bulk facing the yard as the bay window ledge on the corbels is located. The window apertures of free plastic forms saved the original sashes in decorative Art Nouveau spirit. In the center of this small room a bass relief with another one «Druid» is located which used to be part of decorative fountain, which basin has not been saved till now. The balk of the aperture leading to the bay window area is supported by three half-column on each side with complicated in terms of configuration column caps, made on the meeting point of Art Nouveau and Egyptian Revival.

Interior of the bay window
marazlievskaya-14a-95.jpg General view
marazlievskaya-14a-4.jpg General view
marazlievskaya-14a-92.jpg Remains of decorative fountain
marazlievskaya-14a-94.jpg Windows
marazlievskaya-14a-93.jpg Element of window decoration
marazlievskaya-14a-87.jpg Column top
marazlievskaya-14a-88.jpg Column top
marazlievskaya-14a-89.jpg
marazlievskaya-14a-5.jpg A view from the bay window to the vestibule

Vestibule in the process of restoration
marazlievskaya-14a-17.jpg General view before the restoring
marazlievskaya-14a-56.jpg General view from the first floor platform in the process of restoring
marazlievskaya-14a-62.jpg General view from stairwell platform in the process of restoring

Vestibule after restoration (current condition)
marazlievskaya-14a-2.jpg General view from staircase landing
marazlievskaya-14a-3.jpg General view from staircase landing
marazlievskaya-14a-8.jpg General view from staircase landing
marazlievskaya-14a-7.jpg General view from staircase landing

Finishing of the walls in vestibule is much more splendid than the sluice's one. Here panels with symmetrical floral compositions appear and doubled pilasters crowned with cameo medallions with women's profile images. The turns of the profiles alternate, each cameo is put into the crown of stylized moulded «tree». The walls are separated from the vaulting by textured panels with floral ornament.

Floral ornament in vestibule
marazlievskaya-14a-60.jpg Floral ornament, wide variant
marazlievskaya-14a-59.jpg Floral ornament, narrow variant
marazlievskaya-14a-84.jpg
marazlievskaya-14a-83.jpg
marazlievskaya-14a-104.jpg
marazlievskaya-14a-85.jpg Floral ornament in the curve of the corner.

Pilasters
marazlievskaya-14a-98.jpg Pilasters and the wall surface in between
marazlievskaya-14a-99.jpg
marazlievskaya-14a-90.jpg
marazlievskaya-14a-81.jpg Decoration of the lower part of pilaster
marazlievskaya-14a-55.jpg Decoration of the lower part of pilaster
marazlievskaya-14a-86.jpg Decoration of the lower part of pilaster, detail

Cameos
marazlievskaya-14a-61.jpg
marazlievskaya-14a-57.jpg
marazlievskaya-14a-58.jpg
marazlievskaya-14a-82.jpg

Vaulting
marazlievskaya-14a-13.jpg
General view

The vaulting is alike the vaulting of sluice and arch in terms of composition. In the long axis of vestibule, in front of each other a big window with original sash is located (it is above the room described above in the bay window), and also there is a pompous richly decorated arch which marks the entrance to the apartment of Mendelevych, following a niche with three doors (one of the window aperture, central one, is closed).

Arch of the entrance in the first floor apartment
marazlievskaya-14a-6.jpg General view
marazlievskaya-14a-96.jpg
marazlievskaya-14a-80.jpg Cupola of the encased door aperture
marazlievskaya-14a-20.jpg
marazlievskaya-14a-19.jpg Floral ornament in the niche behind the arch
marazlievskaya-14a-102.jpg Door in the niche (some probability of authenticity exists)

marazlievskaya-14a-18.jpg
The window of the vestibule

marazlievskaya-14a-103.jpg
Parquet on the landing of the first floor

In vestibule original parquet is preserved, the walls of the ground floor are covered with wooden panels; the decoration of the walls and handrails were well preserved, and sculptural finishing was cleared from a big amount of paint from different times due to restoring. However on the background of it, the fact of losing the mentioned above doors and the paintings supposedly completed the decoration in the entrance hall as well as picturesque panels remains quite sad.

In comparison with interior decoration of the main wing, the ones inside the yard are decorated with restraint. During the examination of the entrance hall of the left side wing simple eclectic handrails with ordinary ornament were found.

marazlievskaya-14a-41.jpg
Handrails of left side wing

marazlievskaya-14a-120.jpg
Left side wing, fragment of facade

From the side of yard the wall finishing of a main wing is quite restrained too, however richer than in side ones. Moreover the main wing is more complicated than the others the central part is singularized by risalit, and on the level of the first floor the mentioned above bay window is located, its corbels are decorated with the floral ornament.

Yard facade
marazlievskaya-14a-34.jpg General view
marazlievskaya-14a-42.jpg A view from the wing window

Bay window
marazlievskaya-14a-36.jpg General view
marazlievskaya-14a-37.jpg General view
marazlievskaya-14a-40.jpg Corbels

marazlievskaya-14a-35.jpg
Authentic balcony handrails from the yard side

The bay window overhangs just above the arch of the passway, in front of which in the yard a small sculpture is located. It shows a boy who hugs the pike. Probably it used to be a fountain or a spring.

Fountain-sculpture
marazlievskaya-14a-39.jpg General view
marazlievskaya-14a-1.jpg
marazlievskaya-14a-118.jpg

Like in several previous buildings of Linetskiy, the corners between the wings are marked by the rounded risalit that makes impact on the shape of the rooms inside them. Both risalits are decorated on the level of the second floor with the classic streaming ornament, known as «Cyclamen» (Russian «Lash of the whip») Based on the well-known namesake embroidery of G. Obrist, this motif became in fact a calling card of Art Nouveau.

marazlievskaya-14a-119.jpg «Lash of the whip» between the windows of risalit

 

 

References and archives

  • «Architects of Odessa». V. Pilyavskiy
  • «Architecture of Odessa. Style and time». V. Pilyavskiy
  • «Buildings, construction, monuments of Odessa and their architects». V. Pilyavskiy
  • Article about the house in the blog Antique

Authors

 

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