The first monuments in honor Great Victory appeared in our country already in 1944, when the Red Banner had not yet been installed over the Reichstag, when stubborn battles were still going on, but the enemy was retreating to the West ... On Victory Day, we recall the most striking monuments dedicated to the nationwide feat.

TRIUMPH OF VICTORY

A modest overpass on the Leningrad Highway in 1944 was designed as a multi-figure monument dedicated to the defenders of Moscow and Leningrad. Sculptor Nikolai Tomsky managed to create the most humane monument to the heroes of the war. A fighter in a cape, a traffic controller girl - ours, relatives, recognizable. The monument was erected in 1943, and was called the "Triumph of Victory". So great was the faith in the Victory ...

“You know when I was immensely happy? On the morning before the Victory Parade in 1945, I was walking along the bridge, and the troops were moving towards the center. The columns, seeing the bridge, switched from march to combat step, keeping alignment with the monuments of the soldiers - the defenders of Moscow, the commanders saluted the monument, and in the hatches of the tanks saluting crew commanders were visible. Imagine, here, on the Leningrad bridge, the winners greeted the Victory monuments!” - recalled the sculptor.

LIBERATION WARRIOR IN TREPTOW PARK

A victorious soldier stands on the wreckage of the swastika. He defended the freedom of the Motherland and liberated Europe. He did not come to Berlin to conquer Germany. The warrior presses a German girl to his chest. He is also her protector. Sculptor Yevgeny Vuchetich was inspired by the feat of soldier Nikolai Masalov, who saved a girl during the storming of Berlin on April 30, 1945.
the monument is full of legends. “Father then succumbed to general stupidity, as often happens: since there is a monument to Victory, then Stalin must stand. But by that time he already had a model of a soldier with a machine gun and a girl in his arms - he already had it! And he brought it to the meeting and put it on, covering it with a cloth. And when Stalin looked at the next Stalin by Vuchetich, then, according to one of the legends, he said: “Are you tired of the mustachioed monument?” - and asked to show what was wrapped up. And then his father showed him a soldier. Stalin looked and said: "The machine gun must be replaced with a sword - this is Russian". And the sword already needed a broken swastika. So, in fact, the sword became symbolic, which then the father carried through all his work, ”recalls the son of the sculptor Viktor Vuchetich.

MOTHER MOTHERLAND

In honor of the largest, turning point battle of the Great Patriotic War, a majestic memorial ensemble "To Heroes Battle of Stalingrad". In the center of the composition is the sculpture "The Motherland Calls!", which has become a symbol of the victorious power.

The construction of the monument began in May 1959 and was completed on October 15, 1967. The sculpture at the time of creation was the tallest sculpture in the world. The sculpture "Stand to the death" has also become a symbol of the Victory. In the guise of a warrior-hero, the features of Marshal Vasily Chuikov, the legendary commander of the 62nd Army, are guessed. Vuchetich managed to achieve high symbolism. The scale of the ensemble emphasizes the depth of our gratitude to the veterans.

TO THE DEFENDERS OF LENINGRAD

This wonderful monumental ensemble was opened in 1975. The monument to the heroic defenders of Leningrad was designed by architects Valentin Kamensky and Sergey Speransky and sculptor Mikhail Anikushin.

All of them are participants in the defense of Leningrad. There are several sculptural groups around the high granite obelisk. The tragedy and glory of Leningrad is always in our memory. The monument on Victory Square is one of our offerings to the people of Leningrad.

VICTORY MONUMENT IN MINSK

In Minsk, on Victory Square, there is an amazingly harmonious obelisk, memorable at first sight, which has become a symbol of the Belarusian capital, the glorious hero city. The project was developed by architects Georgy Zborovsky and Vladimir Korol. Bronze high reliefs were created by sculptors Andrei Beibel, Zair Azgur, Sergei Selikhanov and Alexei Glebov. Front-line soldiers worked on the monument ...

The monument was opened in 1954, on the tenth anniversary of the liberation of Minsk. In 1961, July 2, Hero Soviet Union, honorable Sir Minsk General Aleksey Burdeyny lit the Eternal Flame at the foot of the monument.

Construction General Alexey Prasolov, head of the United Russia faction in the State Council of the Udmurt Republic, was awarded the President of Udmurtia himself for his labor feat at the opening of the reconstructed facility. Regarding the lost sculpture, IA Susanin, close to the authorities, reported the following: The sculpture of workers from the roof of the theater will not be returned to its old place. It is not consistent with the new purpose of the building, the builders believe, appealing to the fact that the sculptures hold bayonets and indicate that the Palace of Culture belongs to a defense enterprise. Now it's a temple of culture”. Based on such a strange explanation, the Palace of Culture was not a “temple of culture” before the reset of patriotic symbols. Those who overthrew the three-meter statues of the heroes of the front and rear were too lazy to even look at the reinforced concrete giants. For military builders, apparently, there is no difference what crowns the historical building they are reconstructing. However, they carried out the order of the one who later awarded them and who liquidated the Department for the Protection of Historical and Cultural Monuments of the UR - the President of Udmurtia.

The overthrown sculptural composition depicted not at all terrible invaders attacking the "temple of culture" with "bayonets" at the ready, but the Liberator Warrior and Armourer, symbolizing the unbreakable union of the front and rear during the war years. The giants held a shield framed by the parade banners of Victory. There were emblems on the shield: two crossed machine guns, as well as two crossed artillery barrels, reminiscent of the relay-race historical affiliation of the Izhevsk Arms Plant to the Artillery Department. Which, in turn, corresponded to similar military emblems from the time of the war with Napoleon on the neighboring belfry tower of an old Empire factory.

On the sculptural symbol "Triumph of Victory" there were no political symbols of the bygone Soviet era. They were seized only at the bottom of the building - on the main entrance doors (numerous bronze sickles that shone with gold from the touch of hands too brightly) and inside the Palace of Culture (bas-reliefs in the form of Stalinist badges “Ready for labor and defense” on the front columns of the buffet, apparently, prevented someone from the new chewing public). At the same time, magnificent bronze floor lamps on the main staircases were removed in the style of escalator floor lamps on the first line of the Moscow metro (Sokolniki - Park Kultury). Architect of the Armourers' Palace of Culture V.P. Orlov, who turns 100 next year, told me in the 1980s that these floor lamps appeared in the palace as a memory of his admission to the first year of the Moscow Architectural Institute in the year when the metro was opened in Moscow.

But the annoying blunders of the military "rebuilders" of the Palace of Culture on its front facade are especially sharp. When comparing the reconstructed building with its photograph of 1952, it is obvious that the roofs are set obliquely along the edges and, as it were, falling down from the massive supporting pillars, the pedestals-pyramids. Without the central sculptural composition of the Soldier and Gunsmith, these concrete pyramids resemble the horns of some monster. Perhaps the most important “feature” of the Palace of Culture is completely absent - stained-glass frames of an unusual, as if taking off fan-shaped-stepped shape. They began to be replaced with standard square frames back in Soviet times, but the builders broke the last such unique window at the same time as the destruction of the concrete symbols of Victory on the roof. The openwork wings of the fan frames were architect Orlov's tribute to the old constructivist forms of the pre-war Palace of Culture with stepped windows laid along the edges of the main entrance. The fan frames were in perfect harmony with the silver figures of the Soldier and Armsmaster. Instead of airy frames taking off into the sky, which you will not find in other cities of our country, the builders put standard and square plastic frames, visually making the snake building heavier and knocking down the emotional rhythm of the Victory soaring upwards.

The double composition Triumph of Victory, which was dropped in Izhevsk, individually repeated the plots of other paired sculptural compositions of the war and post-war times, mainly in Moscow (on the famous Stalin skyscrapers, centered by spiers), the figurative source of which was the world-famous Mukhinskaya composition “Worker and Collective Farm Girl” of the pre-war period. The very first of such military compositions was opened on the Moscow Victory Bridge on Leningradsky Prospekt across the railway to the Baltic. The sculptural composition of the Victory Bridge was opened back in the military year of 1943 and depicts soldiers with Izhevsk weapons (a man and a woman) with a salutary rise of the hand to Soviet army striving for liberation besieged Leningrad and the Baltics occupied by the Nazis, as well as a heraldic composition: a shield with weapons surrounded by the banners of Victory.

After the war, similar sculptural compositions of the Victory appeared with twin figures of soldiers with machine guns and workers in overalls. Among them are the contemporary compositions of the Green Bridge in Vilnius (1952) and the sculptural completion of the front facade of the Izhmash Palace of Culture (1950). The sculptures of the only bridge with statues in the Baltics - the Green Bridge - are taken under protection by the government of independent Lithuania as historical and cultural monuments. In Izhevsk, after the republican authorities liquidated the local Department for the Protection of Historical and Cultural Monuments, the sculptural symbols of the Victory were deprived of state protection and ruthlessly broken.

It's a strange picture. On the one hand, the federal authorities are protesting against the transfer (not demolition) of the Bronze Soldier in Tallinn. Or against the Nazi painting of the Soviet sculptures of the Green Bridge in Vilnius by night hooligans. Or they are indignant at the explosion of the Victory Monument in Georgia on the orders of the President of that country. However, these same authorities disregard the barbaric explosion in Izhevsk (long before Georgia!) on the orders of the future president of the UR, a monument to the Great Patriotic War - an empire circus of 1943. And they indifferently look at the vandalism of local functionaries of the "party of power" in relation to the monuments to the soldiers-liberators in Russia itself.

« And where are our Nashis?- someone Sergei is outraged on a site dedicated to discussing the pogroms of historical and cultural monuments in Russia. - Why don't they protest, why don't they dance around the administration? In this shameful story - the whole of Russia. The Russian people can protest only by order from above. In this dirty story with the demolition of the monument - no one will be removed, no one will be punished". So what's our Nashis"? Out of patriotic motives, they call " don't shed tears"About the shameful demolition of the symbol of Victory in Izhevsk, but rejoice" long-awaited housewarming» theater, after all « if the descendants want, then in a hundred or two hundred years they will be able to"to restore the symbol of Victory that we desecrated ("Udmurtskaya Pravda", 08.11.11).

Without waiting for these one hundred or two hundred years, when not a single veteran of the Patriotic War will be alive, another Internet user - Ulyana from Novosibirsk - asks for forgiveness for our enlightened hypocrisy: “ Forgive us, warrior-liberators, fallen and alive! Forgive your descendants who have forgotten who we are and why we live on this earth! Shame on the vandals from power for ignorance and blasphemy, for lack of spirituality and hypocrisy!"Indeed, what else remains in this situation, except to at least ask for forgiveness ...

What are the bridges

Decorated with statues of men and women warriors, it became one of the very first monuments to the Victory in the Great Patriotic War in Moscow.

Do you know when I was immensely happy? On the morning before the Victory Parade in 1945, I was walking along the bridge, and the troops were moving towards the center. The columns, seeing the bridge, switched from march to combat step, keeping alignment with the monuments of the soldiers - the defenders of Moscow, the commanders saluted the monument, and in the hatches of the tanks saluting crew commanders were visible. Imagine, here, on the Leningrad bridge, the winners greeted the Victory monuments! This is where the symbolism was, this is where my author's pride and human joy lie.

In 1960-1961, the Victory Bridge was expanded. To do this, it actually had to be rebuilt. And although engineer I.Yu. Arshavsky and architect K.N. Yakovlev tried to preserve the original decor, but part of the sculptural design was lost.

June 24, 1945. This day went down in history as the crown of the triumph of the victory of the Soviet people and their glorious Armed Forces over the worst enemy of mankind - fascism and its army.

On this day, a grandiose military parade - the Victory Parade - took place on Red Square in Moscow. Its participants were people who forged victory on the battlefields with the Nazi hordes, soldiers of the army, aviation and navy, who, with their feats of arms, military deeds, shed blood, earned the right to represent the color of the Red Army - the winner on Red Square.

The morning of June 24 turned out to be cloudy and rainy. Participants of the parade, following to the Red Square in on foot, got pretty wet in the rain. However, this did not suppress that joyful feeling and mood that covered the souls and hearts of the famous warriors. They were in Moscow for about a month and were preparing for the parade. A month and a half ago, none of them could even think that he would soon be in Moscow. And not just in Moscow, but to participate in such historical event, which will remain in the memory of each of them for life along with the war and victory.

At the end of May - beginning of June 1945, echelons with victorious soldiers began to arrive in Moscow from all fronts. They were placed in military camps, where intensive drill preparations for the parade began.

Now they have left behind the difficult front roads, a life full of horrors, victims, anxieties, bombing and shelling with the death of close combat friends, the bitterness of defeats and the joy of victories. At the same time, they were well aware that this “behind” would forever remain their heroic past, before which descendants would bow and which they would carry with honor and dignity through their whole lives.

And now they had to endure another difficult test - to march victoriously along Red Square, in front of the whole world and show the valor, honor and glory of Soviet soldiers - the winners who crushed world fascism.

And as if by order, a few minutes before the start of the parade, the rain stopped and the bright summer sun came out from behind the clouds. It lit up the festive square, where consolidated regiments and battalions froze in formation.

Many parades and formations of troops took place on Red Square, but such an unusual parade was the first time. Only the parade that took place on November 7, 1941 could be compared with it in importance. It was a stern parade, calling for the last and decisive battle for the capital of our Motherland, in which the fate of not only Moscow, but the entire Soviet state was decided. In contrast, the parade on June 24, 1945 was powerful, bright, in the brilliance of many orders and medals, full dress uniforms of various branches of the Armed Forces and branches of the armed forces, red flags, standards and multi-colored ribbons. Despite the past rain, everyone was in a joyful summer mood and called to a distant peaceful future. All this inspired the atmosphere of the parade and the festive mood of its participants and guests present on Red Square. Solemnity, spiritual elation and beauty hovered over the square.

The arrows of the Kremlin chimes were approaching 10.00 am. Everything froze in the square, the soldiers froze in the ranks and ranks - the heroes of the recent monstrous battles and battles, the winners who defeated the powerful war machine of fascism and hoisted the Banner of Victory over the Reichstag.

From privates to marshals, everyone was in a kind of stupor, expecting something unexpected, supernatural. The stands at the Mausoleum and GUM froze. And in this silence that reigned suddenly, individual claps were heard in the stands, which soon turned into a storm of applause. The Supreme Commander of the Armed Forces of the USSR Marshal of the Soviet Union Iosif Vissarionovich Stalin climbed the Mausoleum of V.I. Lenin with his closest associates in the party and government. He greeted the guests from the podium of the Mausoleum. His slight greeting, a nod of thanks in their direction and a soft Georgian smile caused a new wave of applause.

JV Stalin was at the zenith of his glory. The victory, the end of the war, the enormous work and contribution he made to these events gave him every right to be proud of what he had achieved. However, modesty did not leave him even in such a historical time.

And suddenly everything was quiet again. The chimes began to beat ten strokes, and at that time the parade commander, Marshal of the Soviet Union K.K. Rokossovsky, was already giving commands to meet the host of the parade, Marshal of the Soviet Union G.K. Zhukov. There was a clatter of hooves of the horses of two marshals and their adjutants galloping towards each other. They, like knights, met in the middle of the square and stopped. Welcoming wave of checkers and report of Marshal Rokossovsky.

This was followed by a detour of the troops, greetings and congratulations from the parade participants on the Great Victory over Nazi Germany, and in response - a toast in honor of Marshal Zhukov and a loud “Hurrah!”, which sounded like the final chord of this Russian exclamation, with which Soviet soldiers for almost four years went to attacks on the fascist enemy.

The same ceremony continued for Manezhnaya Square and Gorky Street, where tank mechanized and artillery formations and units were lined up.

The ceremony of detour of the troops was over, and on the way back to the Mausoleum, the marshals were accompanied by an ever-increasing “Hurrah!”, which, together with the oncoming march of dozens of orchestras, rolled like a raging ocean wave.

Marshal of the Soviet Union G.K. Zhukov went up to the podium of the Mausoleum of V.I. Soviet military leaders and delivered a speech to the parade participants and guests.

His speech spoke of the world-historic victory of the Soviet people and their glorious Armed Forces over Nazi Germany, which brought freedom and independence to the peoples of the Soviet Union, Europe and the whole world. It was emphasized that in this war the Soviet soldier bore the brunt of it on his shoulders. The labor feat of the Soviet people in the rear was noted, giving all their strength to the victory over the enemy.

Having delivered a speech, Marshal Zhukov stood on the podium next to I.V. Stalin and other prominent Soviet commanders: S.M. Budyonny, K.E. Voroshilov, A.M. Vasilevsky, I.S. Konev, S.K. Timoshenko and others, as if symbolizing thereby their joint military work during the war years and now summing up its results in front of the entire Soviet people in the person of the guests and victorious soldiers present on the square.

And on the square, in the ranks of combined battalions and regiments, there were also wise and experienced warriors: privates, sergeants, officers, generals, admirals and marshals; young and old, beardless and whitened with gray hair, whose will, mind and strength achieved this incredibly difficult and expensive victory.

After the end of the speech, the triple “Hurrah!” and hit somewhere outside the walls of the Kremlin cannon salute. Fanfares sounded, and the Victory Parade began.

Everything was in motion at once. In front of the Mausoleum and the stands, the consolidated regiments of the fronts passed. Each front was designated by its standard, which was carried by a tall and strong warrior, able to bear his weight. Behind followed the commander of the front or his deputy, a member of the Military Council of the front and the standard bearers. Two ranks of twenty warriors each carried the banners of the most illustrious formations of the front. They were followed by consolidated battalions, consisting of two companies of 200 people each: infantrymen, tankers, artillerymen, cavalrymen, sappers, signalmen, representing formations and units of the front. It seemed that behind these columns was the strength and power of the entire army, its front-line strikes against the enemy during the war years, and at the same time the military prowess of Soviet soldiers - the defenders of the socialist Fatherland.

Chasing a step, the soldiers of the Karelian, Baltic, Belorussian, Ukrainian fronts marched in even rows and ranks in front of the Mausoleum. Stalin carefully peered into their faces, but from above they all seemed to him the same and in some elevated, solemn and at the same time tense state, as if they were going on the last attack. He involuntarily thought that with such soldiers we had the right to crush the fascist enemy.

Representatives of the Polish Army began to pass in front of the stands. Their form, drill step immediately distinguished them from the general parade system. The Poles were tall and strong guys. Iosif Vissarionovich noticed to himself here that the creation of Polish and Czechoslovak formations, their participation in battles on Soviet soil during the liberation of their countries and territories Nazi Germany played an important role in the liberation mission of the peoples of Europe.

He mentally imagined the development of events in the upcoming Potsdam conference heads of states of the anti-fascist coalition, which inspired optimism in a favorable outcome of the case in relation to the new Poland. Stalin confidently associated this optimism with the generation of Poles who participated in the Victory Parade. The long years of the life of an underground revolutionary, prisons, exile, the turbulent events of October and subsequent active work as a high party and state leader developed one very important and amazing feature in the mind of Joseph Vissarionovich - to associate people, objects, facts with events, time and space and give them an immediate assessment and even a definite forecast for the future. He used this method in his practical activities, in solving party and economic issues. And he hasn't let him down yet. And most importantly, he believed, everything needs a Marxist-Leninist, class, party approach and economic calculation.

And now, standing on the podium of the Mausoleum and looking at the solemn marching parade units of infantry, tank and mechanized troops, artillery, cavalry, he thought about the anxious days of the Battle of Moscow and Stalingrad, about the joy of victories and at the same time about the transfer of many military factories and enterprises on a peaceful footing, about raising cities and villages from the ruins of war-torn cities and villages, about reorganizing the Armed Forces and improving the food supply of the country's population. All this passed in his brain with the speed of light and turned into plans for future practical affairs.

When the cavalry units entered the square, Iosif Vissarionovich noted to himself that since civil war the cavalry has not lost its beauty. Horses trotting to the beat of music, riders prancing on them with drawn blades, the famous Rostov carts with machine guns, banners blazing with red lace, looked spectacular, but already archaic.

In his mind, Stalin figured and decided that it was time to abolish the cavalry, and the time had come for this, since the national economy needed horse stock. Without postponing the solution of this issue for a long future, he immediately invited Marshal of the Soviet Union S.M. Budyonny to his reception immediately after the parade to discuss an important issue.

And Red Square thundered with the music of numerous military bands. More and more consolidated regiments passed along it, military equipment and artillery. The pinnacle of the parade ceremony was the entry into the Red Square of the company Soviet soldiers with the banners and standards of the vaunted units and formations of the Nazi Wehrmacht, repulsed and captured during the hostilities. They approached the Mausoleum in separate ranks and threw them to its foot, symbolizing the collapse of fascism and its military machine, the triumph of socialism and its irresistible ideological and military strength.

In conclusion, the combined orchestra of the Moscow military garrison marched in orderly rows in front of the stands of the Mausoleum, announcing once again to the whole world about the Great Victory, the triumph of reason and further progress.

Moscow, December 13, 2011 Department cultural heritage of the city of Moscow announces the completion of restoration and preventive work on cultural heritage sites - monuments of monumental sculpture dedicated to the memory of the Great Patriotic War of 1941-1945. Seven objects have been restored: “Monument to the Defenders of Moscow” (“Hedgehogs”), “Triumph of Victory”, a bust monument to twice Hero of the Soviet Union V.I. Popkov, sculptural composition “Moscow Militia”, a monument to D.M. Karbyshev, a monument to “Students, teachers, employees of the Moscow Architectural Institute who fell during the Great Patriotic War” and a monument to Marshal F.I. Tolbukhin.

Monument to the defenders of Moscow (“Hedgehogs”), 1966, architect. A.A. Agafonov, I.P. Ermishin, A. Mikhe, engineer. K.I. Mikhailov; stone, iron, reinforced concrete, Leningrad highway, 23rd km.

The famous monument is located directly on the spot where the German offensive was stopped in the autumn of 1941. The main element of the ensemble are stylized anti-tank barriers - "hedgehogs" - about 10 meters high, made of stainless steel and painted with paint. The composition is complemented by granite steles and a podium decorated with a mosaic panel.

The complexity of the work on this object was due to both the scale of the composition and the variety of materials, the preservation of which requires an individual approach.

In the process of restoration and preventive work, the "hedgehogs" were cleaned of old paint, primed and repainted. Granite blocks, podium and mosaics are washed from surface contamination, open interblock seams are sealed.

It should be noted that in this case timely clearing plays a special role in the preservation of the object: the monument is located in the very center of the Leningrad highway. Atmospheric pollution, abundantly settling on its surface, are extremely aggressive (for example, CO2 in combination with atmospheric moisture turns into acid). Clearing from the destructive layer of soot and dirt is a complex technological process. After clearing, all surfaces of the monument were conserved.

"Triumph of Victory", 1943, sc. N.V. Tomsk, arch. D.N. Chechulin, Leningrad highway.

This monument, erected in 1943 as a sculptural and decorative decoration of the Leningrad overpass (now the Victory Bridge), is the oldest of the restored objects and one of the very first monuments in Moscow, dedicated to victory in the Great Patriotic War. Sculptures of a warrior and a female warrior, installed on high pedestals along the edges of the entrance to the bridge, met Soviet soldiers returning home.

The complexity of the object lies primarily in its location. The bridge is a strategic object, and traffic on it cannot be blocked. In addition, the sculptures are located on steep slopes. All this does not allow restorers to install the scaffolding necessary for the work. Also special treatment the material of the monument - cast iron - requires itself, as it easily corrodes.

The seams between the granite slabs facing the pedestals under the influence environment were completely depressurized and required clearing and sealing, which was carried out by the restorers in full.

The current maintenance of the monument, as a particularly complex work of monumental art, is entrusted to the State Budgetary Institution "Gormost" - an organization that has practical experience maintenance of buildings of this kind.

Monument-bust twice Hero of the Soviet Union V.I. Popkov, 1953, sc. L.E. Kerbel, arch. L.G. Golubovsky, bronze, granite, square on Samotechnaya Square.

The monument to Vitaly Ivanovich Popkov is a bronze bust in the official parade version with full portrait resemblance, mounted on a granite cylindrical pedestal. On the pedestal there is a commemorative plaque with information about Popkov's awarding the Second Gold Star medal for exemplary performance of the command's combat missions, giving the right to receive the title of Hero of the Soviet Union.

As part of preventive work on the monument, the lost bronze element was recreated - the blade of the propeller that adorns the pedestal of the monument.

Sculptural composition "Militias of Moscow", 1974, sc. O.S. Kiryukhin, architect. L.P. Ershov, bronze, granite, square at the intersection of Narodnogo Opolcheniya Street with Marshal Zhukov Avenue.

The sculptural composition "Militia of Moscow" was built in 1974, on the eve of the Victory Day, in honor of the divisions militia who fought for the freedom and independence of the Motherland and participated in the defeat fascist troops under Moscow. On a granite pedestal there are figures of volunteer soldiers cast in metal who go to battle with the enemy.

As part of the restoration work on the monument, the lost bayonet of the composition was recreated. It is worth noting that this object was repeatedly subjected to vandalism: a bayonet from a rifle disappears at least once a year.

The general scope of work on the following cultural heritage objects included a comprehensive cleaning of the surfaces of monuments (stone, metal): graffiti, inscriptions, rust spots were removed. Sealing of block joints was carried out, which were previously cleared of destroyed filling (cement, lead) and bioagents (mosses, grass). Upon completion, a conservation compound was applied to all surfaces to protect them from the aggressive effects of the polluted atmosphere of the metropolis. All works were carried out taking into account the individual technological features of the objects, which required a separate restoration approach to each of them.

Monument to D.M. Karbyshev, 1980, sc. V.E. Tsigal, arch. A.M. Polovnikov, bronze, granite, General Karbyshev Boulevard.

The monument is cast entirely of bronze, in the form of 8-meter-high forms directed upwards, symbolizing blocks of ice, on which a cube with a portrait of the hero is mounted. On the commemorative sign is carved: Dmitry Mikhailovich Karbyshev, Hero of the Soviet Union, Lieutenant General engineering troops, doctor of military sciences.

General D.M. Karbyshev was captured at the very beginning of the war. Contained in German concentration camps: Zamosc, Hammelburg, Flossenbürg, Majdanek, Auschwitz, Sachsenhausen and Mauthausen. Repeatedly refused offers of cooperation from the administration of the camps. Despite his age, he was one of the active leaders of the camp resistance movement. On the night of February 18, 1945, in the Mauthausen concentration camp (Austria), among other prisoners (about 500 people), he was doused with water in the cold and died. It became a symbol of unbending will and perseverance.

Monument "To students, teachers, employees of the Moscow Architectural Institute who fell during the Great Patriotic War", 1979, architect. EAT. Markovskaya, near the building of the Moscow Architectural Institute on Rozhdestvenka.

Monument to students, teachers, employees of the Moscow Architectural Institute (State Academy- MARCHI), who fell during the Great patriotic war was opened in 1979 near the building educational institution(in the park on Rozhdestvenka street, house 11).

The monument is a granite stele, consisting of 2 parts. On one part, 1941 is written, on the second - 1945, there is a commemorative inscription from the end of the stele. The stele is made of separate granite blocks located at different levels.

Monument to Marshal F.I. Tolbukhin, 1959, sc. L.E.Kerbel, architect. G.A.Zakharov; bronze, labradorite, Samotechny Boulevard.

Monument to Marshal Tolbukhin - a bronze figure on a pedestal of polished labradorite. There is a commemorative inscription on the pedestal: "Marshal of the Soviet Union Fyodor Ivanovich Tolbukhin 1894 - 1949". Despite the strict consistency and monumentality of the composition, the external stiffness of the pose characteristic of an official front monument, the image of the monument is devoid of any formal representativeness, full of dignity, masculinity, simplicity and is interpreted primarily as a portrait, with all the shades of individuality noticed by the author. Tolbukhin is depicted in sculpture in full growth, in military uniform, in a raincoat and with gloves in hands.

Fedor Ivanovich Tolbukhin was an outstanding commander of the Soviet Union. The troops led by him victoriously marched from the Volga to the Austrian Alps. Fedor Ivanovich ended the war as commander of the 3rd Ukrainian Front, was awarded many orders and medals. In 1965, the marshal was posthumously awarded the title of Hero of the Soviet Union.

Source - Press service of the Moscow Department of Cultural Heritage