Constructor wooden architecture beautiful name

Chapel on Pozhnyakh, early 18th century.
Der. Zhitnukhino, Vologda region.

Reading my review of the exhibition about Russian wooden architecture, you probably noticed that most of the models were made by one person, V.I.Sadovnikov. Even from the photographs you can see how detailed and high quality these models were made. Without knowing, you might not even guess that this is a model, and not a real temple.

Varvara Church XVII-XVIII centuries on Yandomozero.

A friend of V.I.Sadovnikov, Arkady Volodin, kindly sent me more photos of V.I.Sadovnikov's models for the site. The photographs are unique in that they were taken by the layout designer himself. The photographs are incredibly charismatic and artistically integral - the composition, background, angles are captured in such a way that the images seem to come to life.

Travel tower, XVII century
(Nikolo-Karelian monastery, Arkhangelsk region)

Unfortunately, Vadim Ivanovich Sadovnikov left earthly life, leaving behind no advice, no notes, no recommendations for making models of Russian wooden architecture. But the models themselves, both live and in photographs, do not leave the viewer indifferent and remain in memory for a long time.

Canopy cross 1763 from the village of Chuinavolok.

Also Arkady Volodin kindly sent a biography of the layout designer. Further, an excerpt from the article by S. Kiselev "" New Russians "whom we have lost" (Voskresenskaya regional newspaper "Novoe Slovo" April 2, 2002, No. 34).

Vadim I. Sadovnikov

V. I. Sadovnikov comes from the once famous and respected family of peasant entrepreneurs Sadovnikovs in the village of Marchugi. The dynasty was founded in the second half of the 19th century by Gavrila Semyonovich Shatskov. He served as a gardener in the Spasskoye estate with Princess Lieven, and therefore he himself and his descendants began to be called Sadovnikovs.

Taking the calculation from the princess, Gavrila Semyonovich took up the timber trade. I went to the Volga myself, bought timber, picking it by logs. Sometimes I had to stand up to my waist in the water, inspecting the raft planned for purchase. Receiving a good profit, Sadovnikov lived by no means in luxury, living in an ordinary peasant hut. Money was invested in the development of production: a steam sawmill appeared in Marchugi, and a brick factory on the Otra River. In general, that generation of “new Russians”, unlike the current one, did not privatize the ready-made, but created the real sector of the economy by their own labor.

The son of Gavrila Semyonovich, Mikhail Sadovnikov, already had a chance to enjoy the fruits of wealth. He built a magnificent house in Marchugi: the first floor is stone, the second is wooden, there are 7 windows on the facade; cornice, platbands, fence and gates are decorated with luxurious wood carvings. Nearby were stone barns, a cowshed, a poultry house, a stable, and a coach house.

Mikhail Gavrilovich had 7 children. The third daughter, Anna, married the deacon of one of the Moscow churches, Pavel Domninsky. An interesting detail: all the men in the Domninsky family are named Paul.

The Sadovnikov family turned out to be rich in talents. Anna's brother, Alexey Mikhailovich, who taught in primary school the village of Voskresensky, graduated from the theater studio of Yu. Zavadsky and played on the stage of the Chamber Theater. Another brother, Ivan Mikhailovich, despite his non-proletarian origin, became the head of the huge Dalles association. A very dramatic fate befell his son - Vadim Ivanovich ...

Epiphany Church XVI-XVIII centuries in the village of Chelmuzhi.

A disabled person who had been moving around on crutches from the age of 8, Vadim in 1943 received a term for ... "organizing an armed uprising"! After going through the camps and exile, in 1959 he was fully rehabilitated "for lack of corpus delicti." Having settled in Moscow, Vadim Ivanovich began to create models of little-known masterpieces of Russian wooden architecture.

Assumption Church, XVII century.
with. Varzuga, Tersky district, Murmansk region.

To see the churches that served as models for him, one has to travel around the most remote corners of the Russian North, and other monuments have already been wiped off the face of the earth (V.I.Sadovnikov created models from photographs and drawings). 36 of his works were purchased by the State Museum of Architecture. Shchusev, 2 more - Trinity-Sergius Lavra. There were also models at foreign exhibitions.

Gravestone of V.I.Sadovnikov's ancestors

Now in Marchugi there is almost no trace of the peasant family of the Sadovnikovs. Only in the church fence is a monument on the grave of the founder of the dynasty Gavrila Semyonovich and his wife Matrona Nikiforovna. It seems that, in 1917, the well-known events would not have forced thousands and thousands of such talented (and therefore wealthy) families to leave their homes, and the question of restoring destroyed churches and estates would not have arisen now, and there would have been less problems with culture. And there is nothing to say about the economy.

Sadovnikov's wife V.I. Tamara

And according to the wife of Sadovnikov V.I. Tamars about him (written down by A. Volodin): Vadim Ivanovich Sadovnikov was born in Kolomna, after which his parents moved to the village of Marchugi, near Serpukhov, where Vadim spent his childhood, and where he graduated from 7 classes.

Florus and Lavra Church, 1775.
Rostov parish, Shenkursky district, Arkhangelsk region.

In the 30s, the family moved to Moscow and settled on the old Arbat, it seems, in one of its side streets. There Sadovnikov graduated from accounting courses and worked in Torgsin. There was such an office, in those years, where they bought gold and jewelry from the population.

Trinity Church, 1727.

Before the war, Vadim Ivanovich was engaged in mock-up of German and Soviet aircraft, and later they were taught to use them to find vulnerabilities for conducting air combat.

Vadim Ivanovich as a child (on crutches).

Vadim's health was poor, bone tuberculosis - from the age of 8, Vadim Ivanovich walked on crutches. His father was a worker, his mother, I don't remember. His mother's father was a merchant of the first guild; the family had their own two-story house. It seems to be in Kolomna.

Trinity Church, 1727.
with. Nyonoksa, Primorsky district, Arkhangelsk region.
Back view.

In 1943, Vadim was repressed by the authorities for "preparing an armed uprising" with a group of three people. Six months of solitary confinement in Butyrka prison and 10 years in labor camps. There was "Volgolag", in which he served 6 years, there was "Karagandaugol" - a camp with a high security regime.

Transfiguration Church, XVII century.
with. Spas-Vezhi, Kostroma region.

The term has ended, and V.I. moved to live in the town of Balkhash, Kazakh SSR, where he stayed for 6 years. There he made models of the Balkhash Metallurgical Combine and led a circle “ Skillful hands". At the end of 1959 he returned to Moscow and was rehabilitated. In a model workshop he made models of nuclear and thermal power plants.

Transfiguration Church, fragment of the layout.

In 1968, in one of the books I saw the church of St. Lazarus, made it and since then became interested in Russian wooden architecture. Once he offered his job to the Shchusev Museum of Architecture and since then began to cooperate with them. 36 models of Vadim Ivanovich are in the funds of this museum. Two models ordered by Patriarch Pimen are kept in the Trinity-Sergius Lavra. And that's not counting small layouts - gifts to friends.

Bell tower, XVI century.
S. Kuliga (Drakovinovo), Arkhangelsk region.

When his health no longer allowed him to do what he loved, he got carried away by reading books about the Second World War. His wife Tamara Georgievna, whom he met on a cruise ship on the Volga, contributed to the fact that he enjoyed listening to classical music in the evenings. He was fond of weaving and collecting books on art and Russian wooden architecture. I bought old books from second-hand booksellers.

Church of Clement, 1501 (burned down in 1892).
with. Una, Primorsky district, Arkhangelsk region.

The Solzhenitsyn Foundation supported him in the difficult 90s. On April 22, 2004, Vadim Ivanovich Sadovnikov passed away. For 60 years of painstaking and hard work, camps and exile, he was not awarded a single state award. Vadim Ivanovich is undeservedly forgotten by the state and his contemporaries. His only exhibition of works was at the Shchusev Museum in 1980 during the Summer Olympics. Who knows the Master and his unique works that are in the storage rooms of the Shchusev Museum of Architecture? There are no monographs about his work, no photo albums.

Chapel of the Three Saints

Special thanks to Arkady Volodin for scanned and sent photographs of models and biography of V.I.Sadovnikov!

Post windmill, XVII century.
with. Shchelkovo, Kirillovsky district, Vologda region.

Chapel of Saint George, XVII century.
S. Srednepogostskoe, Cherevkovsky district, Arkhangelsk region.

Tower from the village of Torgovishche in the Khokhlovka museum.

Assumption Church

Assumption Church, 1774, Kondopoga, Karelia.
Fragment of the layout.

Chapel of the Three Saints XVIII-XIX centuries from the village of Kavgora.
Photo by A. Volodin.

Narina Gora is the highest point of the Kizhi island. It offers a picturesque view of the surroundings, the Kizhi ensemble, the villages of Yamka and Vasilyevo on the Kizhi island, the Pudozh sector in the northern part of the island, as well as villages located across the strait on the mainland, are perfectly visible. Previously, there was a chapel in the name of the Holy Spirit. This "native" chapel of the village of Yamka burned down during a fire in 1944. In 1968, its place was taken by the chapel of the Savior of the Image not made by hands, which was transported from the village of Vigovo. In the same year, the monument of wooden architecture was restored with the reconstruction of its original appearance according to the project of the famous Russian architect Alexander Opolovnikov.

The chapel dates back to the turn of the 17th-18th centuries. It is a traditional type of Kletsk temple. Initially, the chapel was two-part with different-sized roofs. At the end of the 18th century, the building was reconstructed with an extension of the vestibule, above which a hipped-roof belfry was erected on an octagon. Above the eastern cage, on a small neck, a cupola is installed. From the south, a one-march porch with a gable canopy on pillars is attached to the entrance to the chapel. The chapel itself is covered by the "sky". The icon-painting decoration of the monument has been preserved: icons of the "sky" dating from the second half of the 17th century and a two-tiered iconostasis related to XVIII century... 21 icons of "heaven" are kept in the funds of the Kizhi Museum-Reserve, and the iconostasis is in the funds of the Karelian State Museum of Fine Arts.

In this article I will try to describe in detail all the stages of building this model "for beginners" from scratch, and of course I will show what I ended up with. Those who have already worked with wood more than once will hardly find much useful for themselves in the article, I myself do not consider myself an experienced "wooden", but suddenly ...

The set of "SV Model" company, which was the second in the series "Russian wooden architecture", which will be discussed later, fell into my hands already in the second version. The first issue did not contain a few details - mica, etching and carvings. Who knows, maybe there will be other improvements in the future?

I will briefly describe what the set consists of. The first thing we see is the documentation. An excellent eighteen-page manual describes all the stages of assembly in great detail. All plans of parts and subassemblies in it are given on a 1: 1 scale for the model. Separately, on a sheet coated paper plans of roof parts are printed, which can be cut to make it easier to fit the wooden roof to the frame. Another sheet shows a projection (template) of the position of the logs of the first (flashing) crown of a log house (the crown is one row of a log house).

The contents of the kit can (and should) be checked against the picking list. There are logs in six packages. The package numbering matches the stage number in the instructions. I will repeat what is written by the manufacturer in general recommendations- do not open several packages at once, do not mix their contents, otherwise you will be tortured to figure out which way. In a separate package there are poppies and their necks, in two more - plowshares (scales) to cover them.

A certain number of parts will need to be made according to the drawings ourselves, from a variety of rails. Most of them have a tag with their cross section, some do not, but using a ruler to find out their size is not difficult.

For the glazing of the chapel, a piece of natural mica has been added to the set, and for the manufacture of hardware - hinges and handles - a strip of metal photo-etched parts.
Before you start, it is worth deciding how you will process the wood to simulate aging. Or you won't. The tree can be impregnated with wood stain, painted with paint or colorless varnish. In the process of this construction, I will use diluted bitumen varnish, which will you choose?

You will need some tool to assemble the model. Let's go through the order. First of all, a knife. A very sharp knife. This is perhaps the most important tool. A linoleum knife or table knife will not work here. Also, do not use a razor, there will be little sense, and the likelihood of cutting yourself is above average. I recommend looking for design (for artwork) knives with replaceable blades OLFA or Excel. An entry-level knife can be found for 150 rubles, and it will cut as well as a professional one. In the photo you can see my OLFA knife, in which the handle has been changed for convenience with the help of epoxy putty (but it looks like plasticine, right?).

It will not work with a knife on the weight, you need a special cutting mat. The smallest one that you can find is suitable for our tasks. In principle, you can do without a rug and cut on thick cardboard, but the knife blade will dull much faster.
To process wood, we also need a file and sandpaper of different grain sizes.
Any scissors for paper will also come in handy, but here no comment.

For gluing wooden parts together, PVA glue is used. I highly recommend finding a Moment Express Carpentry Glue, made by Henkel. This thick PVA sets in just a couple of minutes. Cheap and cheerful.

The set contains several photo-etched brass parts, for fixing them to the wood you need a super-glue (based on cyanoacrylate), preferably a gel (it allows you to change the position of the part to be glued in a short time).

Brass parts require either painting or blackening with a special compound. Any paint can be applied to a metal surface. But now we will not paint, but armed with a school chemistry course and cheap ingredients that are easily found in stores, we will make the simplest composition for blackening brass. And in stores we will look for the following:

in the pharmacy - ammonia solution (they don't sell more than 10%, but that's enough for us).
in the grocery - soda (but probably in your kitchen).
in a shop for gardeners - a bag of copper sulfate.

A couple of flasks and a piece of gauze will also come in handy for practicing this black magic, that is, chemistry. How to use it - I will not write, but.

For toning and aging wood, in addition to bituminous varnish, I will need White Spirit and a jar for dilution. Well, don't forget about the brush.
You also need to find the most common white (but in fact - translucent) masking tape. On it we will assemble structures from boards - doors and roofs.
Now everything is ready for assembly and you can start.
I will assemble the layout according to the instructions, with minimal deviations from it.
So, let's begin.

Stage 1

First, prepare the parts. Let's open the package at number 1 and examine the details. The first priority is to clean the parts from scoring. To do this, you can use what you like best. I cleaned it with sandpaper, and in some places with a knife. The main thing is that there are no chips left in the cups of the log house - any debris left in them will deform the entire assembly. Next, you need to arrange the parts in order, as shown in the diagram. Details in it are sorted by increasing length, be careful! In subsequent stages, there are parts of the same type that differ in length by literally one millimeter.

Now you can modify the parts indicated on the first sheet to the assembly state - cut the edges of the logs and make grooves for the steps. The first is convenient to do with a wide file or sandpaper, the second - with a knife. On the logs of the last, at this stage of the crown, it is necessary to make cuts for the logs (boards on which, in the second stage, you will lay floorboards). I cut them out with a knife, but this can be done with the edge of a flat file. When making these grooves, check whether the 2 * 3.5mm rail will fit into them.

After cleaning and processing, soak all the parts with a ready-made bitumen varnish solution and wait until it dries.

Just don't leave details on open place if a beast lives at home. I found one broken and bitten part two days later under the bed, and two cats smiled at me maliciously (mine can;)). It's good that the set includes logs for self-made lost parts.

At the first stage, we also need four steps to the porch stairs - cut them from the rail with a knife according to the size given in the instructions - all the drawings of the parts, as I said, are given on a 1: 1 scale, which is very convenient - the ruler is not needed at all.

By the way, I advise you to treat all the slats that are in the box with varnish or stain at once, so that later you will not remember about it.
Now start assembling the blockhouse. Lay out the wreath on the template. Do not glue the details of this crown yet! This is done so that the blockhouse does not warp. After the first crown is laid, lay out the second one, but already gluing it. After one or two glued crowns, we return to the very first one and glue it.

To get a smooth and beautiful model, follow a few rules:
After laying each crown, check the walls for verticality with a square or at least by eye. If this is not done, then the blockhouse will be assembled, but it will literally be crooked. I've forgotten about it a little, and the chapel slightly led.

Putting all the crowns you wanted on this moment, install a couple of logs of the next crown without glue to make sure everything is glued together correctly. If these parts are in another package, get them out in advance. If this is not done, then returning to the layout the next day, you will be surprised to find that the log does not lie in the right place, and you must either cut the cups or break the already glued parts.

When gluing wooden parts, try to fix them firmly enough, and do not apply too much glue to the joints in order to avoid stains on the finished model. Remove all PVA smudges immediately, for example with a cotton swab.

Well, constantly looking back at the instructions, we put crown after crown. Do not forget to lay long logs on the last crown without gluing (parts 6 and 29).

Stage 2

There are few logs here, only three pieces. The main work is flooring. The sequence of actions is simple. First of all, we glue the logs from the 2 * 3.5mm rail (and small ones from the 2 * 2 rail) into the last crown. Next, we install the logs, and only after that we lay the floorboards from thin strips. The last two points can be reversed, but then unwanted gaps may appear, or vice versa, the floorboards will interfere with the installation of the logs in place. Lay the boards in front of the threshold of the porch door last.

Stage 3

There is a lot of work here. At the beginning, you need to lay out nine crowns.
At the same time, I would like to draw your attention to two points.

There are many details, and some of them are very similar to each other. Be sure to sort them as shown on the fifth page of the instructions. Parts 43 and 42 can only be distinguished from each other by placing them end-to-end against some straight surface, such as a ruler!

The saying about "measure seven times - cut one" is as relevant as possible in terms of processing cutouts for doors and windows. Before surgery, check whether you attached the part to the drawing with that end, whether the distance from the edge of the log to the cup (round log cutout) is correct.

When assembling, do not forget to attach the square to the walls of the resulting log house!

While the glued blockhouse is drying (did you forget to put a couple of parts # 9 from package # 4 on the last crown?), You can take care of the windows and doors.

We will use masking tape to assemble the windows. We glue the details of the window frame directly on it. To create a binding, you need to cut a groove in the center of the parts with a depth of only half a millimeter, glue them crosswise and glue them into the finished frame.

The outer frame is ready, you can do the inner one. It is assembled in exactly the same way, except for the bindings. Now glue the parts of the window block box (85 and 86) at a right angle, and immediately, until the glue has dried, glue the outer frame into the resulting structure, as shown in the photo.
It's time to insert the mica, but you still need to cut it off. The problem is that with any strong pressure, it flakes and becomes cloudy. I tried cutting it with knives and a razor, but in my opinion, the best result is achieved with small, well-sharpened nail scissors. If the mica still delaminates, try simply peeling off the excess layers with tweezers. Place the resulting "glass" on the outer frame and fix it by gluing the inner one on it.

Now you can glue the remaining parts of the window block box and the window is ready! Check that there is no glue left on the front part, if there is, sharpen it with a file or cut it off with a knife. It remains to repeat this process four more times.

Done - the resulting windows can be installed in the frame. If the window does not fit into the space allotted for it, squander the logs. Install windows so that its outer edge coincides with the edge of the log, i.e. do not recessed the window inside the frame. This is necessary to install the platbands, which will close all the cracks around the window. I advise you not to cut all the platbands at once. Cut out one plank first and try it on to the installed window, for example, vertically - the edges of the window frames should close, but the frame parts should not. If all is well, cut off another one of the same, and glue them both in parallel - one opposite the other. Now cut out two more platbands, but make them a little longer, literally by a millimeter, and then, attaching them to the already glued ones, adjust the corners. When you fit - glue. Nothing complicated, but you have to tinker. Platbands, probably, can be assembled into a square on adhesive tape, or glued to the finished window until it is installed in the wall, but these methods did not seem convenient to me.

The door assembly technology is outrageously simple. Cut off a small piece of masking tape, glue on it four pieces from a 1 * 4mm rail and glue two pieces from a 0.6 * 3 rail across them. After 5 minutes, the door can be removed from the tape and with a file to slightly align the top and bottom edges. For assembly, you will need two such doors.

Now let's move on to the photo-etched parts (etched). In fact, it is just a thin sheet of brass on which parts are formed with the help of acid. Before working with etching, burn this leaf in an open fire - this is necessary to increase plasticity and remove the varnish with which the brass is coated. Only for a short time - a couple of seconds. Now you can remove the parts with a knife, just try to cut them as close to the part itself as possible. If, after removal, burrs remain on the part, process it with a file.
The hardest part is to bend the etch correctly. With the handles, I think, there will be no special problems, but the hinges and the lock will certainly cause difficulties.

Each hinge consists of three parts - a large part with folds, a small part and a pin. I bent the loops like this: at the beginning, I bent the very edge of the parts by about 1mm with tweezers, and then, placing a wire in the resulting corner, with the same tweezers, I tried to "wind" the parts onto it. To be honest, it didn’t work right away, but it did. I tried to photograph the process, I hope it will be clear.

The heck is much more complicated. Its overhead part will have to be bent with pliers and the same tweezers. If it does not work out, you can simply not install it on the door.
It is necessary to paint or blacken the parts before gluing them to the tree. If you blacken by using the article, the link to which indicated, keep in mind one point that I missed. Do not keep parts in solution for more than 10-15 minutes. Regardless of the outcome. Otherwise, they will simply oxidize through and through and fall apart. Unfortunately, I missed the door handles so much - I had to restore them from improvised means.
All the etching is glued (only with superglue) on the door leafs. I assembled the doors according to the following scheme (slightly different from the one suggested in the instructions):

The resulting structure is glued in the middle of the door frame (item 62).
In the same way, part 67 must be glued to the opposite rack of the box.
We glue the door frames into the openings
Platbands are made in the same way as for windows.

Stage 4

Nothing complicated awaits you at this step. Is that a ladder, which is extremely easy to assemble again on scotch tape, and carefully grind the pillars on four sides. I advise you to first grind on the pillars on sandpaper from two opposite sides, and only then the remaining ones - it will turn out much better.

I recommend the following assembly sequence:

Reinstall post 58 with parts 78, 79 and 80

Install pillar 59

We form two subassemblies from parts 83 and 84 and glue them between pillars 57.

We install the rafters pre-assembled from parts 60 and 61 on the subassembly of the front porch wall and the pillars already installed on the porch.

Installing the subassembly on the porch

We complete the sewing of the porch with parts 40, 81 and 82

We install logs, put logs and lay the floorboards of the belfry platform
We glue the stairs (however, in my photographs this has already been done before).

Stage 5

The installation of the last crowns of the quadrangle (the main, four-walled part) of the log house should not cause any complications. I will only recommend one thing, until the parts 109, 110 and 111 are processed from the ends. The roof will be laid on these sloped surfaces in the future. But detail 108 - process it.
Install logs on the blockhouse up to part 109 inclusive, i.e. up to octagon (eight-wall).
The octagon itself is best assembled separately, and then installed on the frame. Set the two parts 106 aside for now, glue them last. Start with one piece 108 and three 107, then another 108 and two 107. Well, continue on in a circle until you run out of logs (107). After connecting the ring - be sure to try it on to the frame. When assembling the eight-wall, I started with parts 107, and glued 108 at the end, so the photos are a bit different. Glue the previously set aside parts 106 and try again how the octal fits into place. Before finally installing it, use a pencil on part 109 to mark the places where the edges 108 of part are pumped, and then grind off these two walls so that you end up with a solid plane for installing the roof. Do not grind the remaining two walls yet.

Stage 6

At this point, I propose to deviate from the instructions in terms of the sequence of actions. Pay attention to the continuation of the figure eight - it begins to expand upward - this is called a fall. If you assemble it now, then the roof slope cannot be put in place in one piece - you will have to disassemble it into two parts. In principle, it's okay, I did it myself, but I think that first you need to put the slopes, and then return to the figure-eight. So, install all the remaining four logs and all the poles (all thin poles with a diameter of 3 mm). In my set, the root slug (the one that is the top one) was made with an error. Before fixing it, check that its end facing outward is in the same plane with the ends of the rest of the legs. If this is not the case, you yourself will have to cut the cups for details 118 in new places. This is not difficult, especially since the cups on this slug are very small. After the glue dries, grind the ends of the logs flush with the surface of the boards.

Roof slopes must be installed from the porch. But before doing this, install the decor elements (104 and 105) and the porch gable (subassembly H). Part 105 I got up without question between the pillars, but 104 "hung in the air". Therefore, a longer board was cut from a thin strip 3x0.6 and glued between the posts, and 104 was glued to it. The pediment is glued end-to-end from several boards, and then cut according to a template.

Roofs are made very simply - just like doors. The cut boards are glued close to each other on masking tape, and then glued with transverse strips. Pay attention to the fact that these slats on one side do not coincide with the edge of the roof - this is necessary to install the mooring - carved boards that protect the end parts of the roof and come down from moisture. Do not rush to cut grooves for logs in the slopes. First, cut out the stencils of both steps of the porch roof from a sheet of cardboard, and attach it to the log house. If everything is in place and the ramps converge at the top, place these stencils on the finished wooden ramp sets and cut the slots. After installing the slopes of the porch, install the cooler (part 174, its drawing on the penultimate page).
The main roof slopes are made in exactly the same way. It is better to put a chump on this roof after the assembly of the octagon fell.

With the collection of the floor of the belfry and the second staircase, no questions should arise, but they can arise with the assembly of the ring (subassembly K). It is very difficult to assemble a regular octagon from racks by weight, or even on a table, primarily because it is impossible to correctly remove an angle of 22.5 degrees without a special tool. Therefore, we make the details according to the instructions, cutting them directly according to the drawing. Next, place a piece of masking tape with the adhesive side up directly on the instruction template, bending its edges and pressing them against a sheet of paper to fix the rings around the circuit. First, we try on the details from the rails without glue, if you don’t like the size or angle, we cut them right in place, and then glue them with excess glue. It takes longer to dry this structure before removing it from the masking tape.

Stage 7
The installation of the pillars and fencing of the belfry platform is well reflected in the instructions, but I will still write how I would do it the second time, since I did not really like the first one. So, firstly, we put the pillars under the tent, and immediately install the carved valances (detail 137), this will slightly interfere with the installation of the fence, but it will fix the pillars on top, which is more important. Secondly, before gluing the balusters in subassembly J, cut off the 1x7mm rail a little more than in the drawing, and grind off both ends at a slight angle so that they are more tightly adjacent to the posts. Try on the detail in place, and if everything suits you, glue the balusters and glue it on the belfry. We install the railings when all the railings are already installed. Part 136 is also cut off with a small allowance - about 1mm, and then we process its ends with a round file so that they clasp the pillars, of course, trying on the part in place.

When gluing the frame of the tent, I also advise you to use masking tape to keep the octagon correct, and I inserted a five-millimeter log into the center of the tent without gluing it. When sheathed the ceiling of the belfry, I cut the slats right in place, by weight - this is more convenient and faster.

Finally, we got to the police, that is, to the shallow parts of the roof, which diverted rainwater away from the tent and the octagonal logs, and at the same time were an architectural decoration. Since the tent has not yet been installed, you will first make the top row of policemen (subassemblies "O"). The assembly of all the elements of the police is one of the most difficult moments in the entire model, because no matter how hard you tried, you did not succeed in the perfect octagon (yes, in fact, as in a real structure), and the subassembly drawing will be relevant only under this condition. But there is nothing wrong with that. Make eight blanks for the stingrays. Pay attention to the fact that the manufacturer proposes to narrow down the roofing boards (3x0.6mm) for decorative purposes. This can be done after assembling the police with a knife, but it is more convenient and faster to prepare the parts even before gluing with nail clippers, and they come with varying degrees of rounding - the stronger, the better - it looks more beautiful. The two photos provided by the manufacturer show how the ramp looks like.

True, I went a little further, and tried to cut out the release with a knife as it actually looks, but this is very slow. How the police will look on your model is up to you.

The final processing of the police consists precisely in cutting off all that is superfluous from the workpiece. Don't cut all eight parts at once - start with four. The ends of the policemen, with which they will be in contact with each other, should be slightly grinded inward, so that an ugly gap does not form later. Now stick these four polices with a cross - opposite each other on the tent.

After the glue dries, take the slope template cut out of cardboard and try on any of the remaining free places. If the template fits perfectly, process the wooden part in accordance with it and try it on in place, if not, measure it with a ruler or mark the correct dimensions on the part with a pencil. The main rule here is one - it is better to cut off less than more - you will always have time to grind off the excess. If, in the process of assembling the roof, small gaps nevertheless form, then you do not need to disassemble everything. It is enough to cut a wedge of a suitable size and glue it into the gap. After assembly, treat the entire roof surface with fine sandpaper to smooth out the joints of the police. The police of the lower tier and the slopes of the tent are made in the same way, after which the tent can be glued to the pillars of the belfry.

It remains only to put the poppies, their necks, as well as decorations. When processing the neck of the poppy, which will be installed on the roof, do not be lazy to try it on again in place, there should be no gaps between it and the slopes. Check that the second collar fits into the tent without problems. Before starting to glue the ploughshare (scales), be sure to fit the top to the neck, or even glue them right away, since I had to re-drill the hole in the neck for the top. The procedure for gluing with a ploughshare is well outlined in the instructions. The ploughshare is placed on a drop of glue applied to the top / neck, then each part is pushed onto the needle or the tip of the knife, only the needle must be sharp and thin, otherwise the flake will split and press on the place prepared for it. It turns out very quickly ...

Two identical crosses are assembled very simply, the only thing I would advise is to make a thorn on the cross, and drill a mounting hole on the dome for it.

The last steps will be to install the berths and towels (a carved detail that protects the berth joint).
That's all done. I got something like this:

And you?

Architectural model of the Transfiguration Church in Kizhi.

This craft is from the category of exclusive works applied arts... Made with a high degree of professionalism and deep penetration into the theme of the world-famous legendary church "without a single nail", the Church of the Transfiguration, which is located in Kizhi as an exhibit of the museum of ancient Russian wooden architecture in the open air.

The model of the church exactly repeats all the design features of the original.

How was this architectural model created? What materials were used in the construction? What set of tools did the master use to achieve such an impressive result?

And finally, how long did it take to make this craft?

We will try to answer all these questions within the framework of this article.

Before starting work, it was necessary to decide the issue of choosing a suitable material. The main problem was that the church has many small details in its constructive content that needed to be reflected when building the model.

And since the scale was chosen 1: 75, it immediately became clear that ordinary wood would not work, a very strong, hard and at the same time plastic material was needed so that the wood would withstand fine processing, did not crumble or crack under the chisel. Of course, a lot depended on the tool, which should be double-edged and easily cut the workpiece without pressure. And then the most delicate and graceful details, such as the quilts and valances of the church porch, will be successfully carved.

After numerous experiments, the choice was made in favor of mahogany mahogany. It should be noted that this material is of different quality. In the production of furniture, the first and second grade are used. The highest grade of mahogany is used to make sculptures based on African motives. We have seen miniature mahogany handicrafts, they are unusually hard and polished to a shine. It was this sort of mahogany that the master chose for the construction of the model of the Transfiguration Church in Kizhi.

The set of tools was selected and the work began.

The base was made first. Moreover, the foundation of an architectural model of such a level as the church in Kizhi cannot be just a board of suitable size. It is crafted in a subtle decoration style. A mosaic of square pieces of material, in this case mahogany, is laid out on the plane. The parquet mosaic of the base of the model is visible in the photo.

The next stage in the construction of the model was the work on cutting the material for the manufacture of crowns. Of these, the building of the church was assembled. A real crown is essentially a hewn pine log, at the ends of which special grooves are chosen for the transverse laying of the next crown. In our case, the crowns are round sticks as thick as a pencil, of different lengths, with grooves at the ends. They can be laid like real crowns. This arrangement of the crowns is called "in oblo". There is also a paw-laying method and a cut-to-cut method.

After the walls were built, work began on making interior decoration churches. The iconostasis is in the full width of the refectory with miniature icons in four tiers. Each icon is about the size of a small postage stamp. Holy subjects and icon-painting hallmarks are drawn in exact accordance with the real original icons in the Transfiguration Church.

Domes with drums and barrels are covered with special toothed plates called “ploughshare”. The real Transfiguration Church is covered with a ploughshare made of aspen. Our model of the church will also be covered with a ploughshare made of the same mahogany. On the original church in Kizhi there are about 30 thousand serrated carvings, and on the model 25 thousand, not much less.

The construction of the architectural model is completed by the production and installation of crosses.

But there are still purely mechanical tasks, this is the possibility of opening and closing the model, so that there is access to the inspection of the spiritual life of the church, its interior decoration.

The master coped with this task brilliantly.

A semi-automatic drive was installed at the base of the model. One move of the lever and the church opened.

The process of unfolding the walls of the model is accompanied by a quiet bell ringing, several miniature bells are suspended inside the church and hammers are beating on them.

And the last thing. The architectural model of the Transfiguration Church was built in almost six months. That's a decent amount of time spent on such an exclusive piece.