Lost legacy kapitel: Uncharted: The Lost Legacy: Komplettlösung, Tipps und Tricks — Mitspielen — Vampire Live in München

Uncharted: The Lost Legacy: Komplettlösung, Tipps und Tricks

Es ist die Rückkehr aus dem Ruhestand, wenn ihr so wollt: Nachdem Nathan Drake sein Abenteurer-Dasein in Uncharted 4 endgültig gegen ein geregeltes Familienleben eingetauscht hat, schickt sich in The Lost Legacy nun seine frühere Weggefährtin Chloe Frazer an, das Zepter zu übernehmen. Die Wege der zwei Archäologen kreuzten sich bereits in Uncharted 2 und nun wird aus der sympathischen, taffen Nebendarstellerin die Protagonistin ihres eigenen Spiels — wir werden sehen, ob es sich hierbei um eine einmalige Sache oder womöglich gar die Zukunft der Uncharted-Marke handelt.

In ihrer schlitzohrigen Art ist Chloe ähnlich schlagfertig wie Nate und überhaupt sucht man spielerische Unterschiede zwischen den beiden Charakteren mit der Lupe: Beide klettern, rätseln und ballern sich wie junge Götter vorbei an atemberaubenden Panoramen. Anders als der breitschultrige Sprücheklopfer ist die zierliche Chloe in Nahkämpfen jedoch eine Spur zerbrechlicher; wuchtige Faustkämpfe wie in A Thief’s End werdet ihr auf dieser Reise nicht erleben. Dennoch: Die Abenteurerin ist nicht aus Zucker und weiß mit den verschiedensten Wummen umzugehen — an bleihaltigen Auseinandersetzungen hat Naughty Dog nicht gespart.

Mit gerade einmal neun Kapiteln und kaum mehr Spielstunden erwartet euch hier also ein vergleichsweise kurzes, aber sehr klassisches Uncharted-Erlebnis. Damit ihr die neue Heldin sicher ans Ziel ihrer Reise führen und währenddessen die zahlreichen Collectibles vom Wegesrand auflesen könnt, findet ihr in unserer Uncharted: The Lost Legacy Komplettlösung alles, was ihr wissen müsst.

Uncharted: The Lost Legacy: Komplettlösung — Inhaltsverzeichnis

Fundorte der Sammelgegenstände

Uncharted: The Lost Legacy: Alle Schätze und ihre Fundorte
Uncharted: The Lost Legacy: Alle Hoysala-Andenken und ihre Fundorte
Uncharted: The Lost Legacy: Alle Fotos und ihre Fundorte
Uncharted: The Lost Legacy: Alle optionalen Gespräche und wo ihr sie findet
Uncharted: The Lost Legacy: Alle Kisten und wo ihr sie findet

Hauptgeschichte

Uncharted: The Lost Legacy: Prolog, 1. Der Aufstand
Uncharted: The Lost Legacy: 2. Infiltration
Uncharted: The Lost Legacy: 3. Heimkehr
Uncharted: The Lost Legacy: 4. Die Westghats
Uncharted: The Lost Legacy: 5. Die große Schlacht
Uncharted: The Lost Legacy: 6. Der Torwächter
Uncharted: The Lost Legacy: 7. Das verlorene Vermächtnis
Uncharted: The Lost Legacy: 8. Partner
Uncharted: The Lost Legacy: 9. Endstation

Sonstiges

Uncharted: The Lost Legacy: Alle Trophäen und wie ihr sie bekommt

Uncharted: The Lost Legacy: Tipps und Tricks

Nun waren Uncharted-Spiele noch nie dafür bekannt, wahnsinnig anspruchsvolle Spiele zu sein, zugegeben. Die clevere Gegner-KI vermag euch aber speziell auf höheren Schwierigkeitsgraden ganz gut einzuheizen und auch sonst gibt es ein paar Dinge, die ihr im Hinterkopf behalten solltet.

Gegner markieren: Wenn ihr mit L2 in Richtung eines Feindes zielt, könnt ihr ihn mit einem Druck auf L3 markieren. Das ist gerade bei größeren Gruppen außerordentlich hilfreich, da ihr so die Gefahr minimiert, hinterrücks überrascht zu werden. Außerdem hat das Spiel eine sehr großzügig ausgelegte Vorstellung davon, wann ihr auf einen bestimmten Gegner zielt — es reicht, grob in eine Richtung zu schauen, in der ihr Soldaten vermutet, und auf L3 zu hämmern.
Schleichen > Ballern: Chloe ist um keine zünftige Schlägerei verlegen, testosterongeschwängerten Schränken aufgrund ihrer schlanken Erscheinung aber doch unterlegen. Spielt deshalb im Zweifel eher eine Spur weniger offensiv, als ihr es noch mit Nate getan habt, und bleibt stets so lange wie möglich unentdeckt. Solange Feinde keine Notiz von euch nehmen, könnt ihr ihre Reihen prima ausdünnen, indem ihr sie aus dem Verborgenen ausschaltet.
Achtet auf die Beschaffenheit einer Deckung: Wie es bei Deckungs-Shootern nun mal üblich ist, könnt ihr auch in The Lost Legacy hinter zahlreichen Objekten Schutz suchen. Diese Technik mag essentiell für euer Überleben sein, allerdings solltet ihr darauf achten, hinter welchen Deckungen ihr euch zusammenkauert. Holzkisten etwa halten nur wenigen Schusssalven stand, bevor sie in tausend Teile zerspringen und euch ungeschützt zurücklassen. Zieht deshalb stets massive Objekte vor.
Keine falsche Bescheidenheit am Steuer: In einigen Kapiteln werdet ihr am Steuer eines Jeeps durch die wunderschöne Landschaft brettern. Euer Fahrzeug kann dabei nicht zerstört werden, völlig unerheblich, was ihr damit anstellt. Nehmt also keine Rücksicht auf euren fahrbaren Untersatz.
Nutzt die Zielhilfe, falls nötig: Habt ihr Probleme damit, Feinde zu treffen, könnt ihr die optionale Zielhilfe in den Optionen aktivieren und ihr einen Wert zwischen 1 und 10 zuweisen — je niedriger die Zahl, desto verhaltener fällt die Korrektur eurer Waffenhaltung aus.
Solltet ihr euch in den Kopf gesetzt haben, alle versteckten Schätze finden zu wollen, gibt es neben unsere Übersicht aller Schätze und ihrer Fundorte eine weitere prima Hilfestellung, die sogar vom Spiel selbst kommt. In Kapitel 4: Die Westghats könnt ihr elf sogenannte Hoysala-Andenken einsammeln. Bringt ihr diese in einen bestimmten Tempel, erhaltet ihr als Belohnung den Rubin der Königin. Das Schmuckstück macht sich nicht nur prima an Chloes Handgelenk, sondern gibt zudem ein Geräusch von sich, sobald ihr euch in der Nähe eines Schatzes befindet. Das erleichtert die Suche nach den antiken Gegenständen enrom.

Uncharted Legacy of Thieves collection chapters | all missions listed

It is an exciting time to be a fan of the Uncharted franchise as the gaming series is about to make the risky leap to the big screen in the Tom Holland and Mark Wahlberg led Uncharted movie. If that wasn’t exciting enough, two games from the past are coming back snazzier than ever in the Uncharted: Legacy of Thieves Collection.

Uncharted 4 and The Lost Legacy have been given the remaster treatment and all the information we could possibly want is now out there for us to peruse — including the Uncharted: Legacy of Thieves Collection trophy list.

Like many other games, Uncharted divides its story and sections up into chapters and if you are wondering how many chapters there are in this collection, we have you covered below!

How many chapters in Uncharted 4: A Thief’s End and Lost Legacy?

Doing some very basic sums, the actual chapters in the Uncharted: Legacy of Thieves Collection tally up to 31.

Uncharted 4 has 22 chapters, while Lost Legacy has nine chapters — it was more of an expansion than a full game, which is why it is so much shorter.

But keep in mind that each of these games has a prologue and epilogue, so that actually boosts the overall chapter count up to 35 — basically, get ready for a lot of story and gameplay to make your way through.

List of Uncharted 4: A Thief’s End chapters

If you’re looking for a full list of all the Uncharted 4 chapters, look no further:

Prologue
Chapter 01: The Lure of Adventure
Chapter 02: Infernal Place
Chapter 03: The Malaysia Job
Chapter 04: A Normal Life
Chapter 05: Hector Alcazar
Chapter 06: Once a Thief
Chapter 07: Lights Out
Chapter 08: The Grave of Henry Avery
Chapter 09: Those Who Prove Worthy
Chapter 10: The Twelve Towers
Chapter 11: Hidden in Plain Sight
Chapter 12: At Sea
Chapter 13: Marooned
Chapter 14: Join Me in Paradise
Chapter 15: The Thieves of Libertalia
Chapter 16: The Brothers Drake
Chapter 17: For Better or Worse
Chapter 18: New Devon
Chapter 19: Avery’s Descent
Chapter 20: No Escape
Chapter 21: Brother’s Keeper
Chapter 22: A Thief’s End
Epilogue

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List of Uncharted: The Lost Legacy chapters

As for the Uncharted: The Lost Legacy chapters, these are story chunks you have to work through this time out:

Prologue
Chapter 1: The Insurgency
Chapter 2: Infiltration
Chapter 3: Homecoming
Chapter 4: The Western Ghats
Chapter 5: The Great Battle
Chapter 6: The Gatekeeper
Chapter 7: The Lost Legacy
Chapter 8: Partners
Chapter 9: End of the Line
Epilogue

While you wait for the game to release, have a read of our Uncharted: Legacy of Thieves Collection review to see what we thought about it.

Read more on Uncharted:

How to play the Uncharted games in order
Uncharted: Legacy of Thieves review — why your mileage may vary
Uncharted: Legacy of Thieves Collection trophies — full list
Who is Henry Avery? Uncharted 4’s opening quote explained
How to upgrade Uncharted: Legacy of Thieves Collection — transfer your PS4 save
How many hours it takes to beat Uncharted: Legacy of Thieves Collection
Uncharted movie release date

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Visit our video game release schedule for all upcoming games on consoles. Swing by our hubs for more Gaming and Technology news.

Mausoleum in Nikolo-Pogorely. A.M. Kharlamov

Foreword

Materials on the mausoleum in the estate of Nikolo-Pogoreloe in the collection of the State Research Museum of Architecture named after A.I. A.V. Shchuseva

The collection of the Museum of Architecture is vast and varied. Here you can find priceless author’s design graphics of the 18th-19th centuries and print and visual graphics, the largest specialized collection of photographic materials in the country and a large fund of measured drawings, fragments of decorative and sculptural decoration of buildings and samples of building materials of past years, furniture and objects of decorative and applied art.
All these collections are designed to present both a general picture of the history of Russian architecture, and the history of its study and the history of the life of individual architectural monuments, unique and ordinary. Particularly valuable are the pictorial and archival materials stored in the Museum relating to the lost buildings. Among them is the mausoleum in Nikolo-Pogorely, a work of the highest artistic level, one of the most bitter losses in the Russian architectural heritage.
Graphic materials relating to this monument refer to 1930-1950 years of the last XX century. Unfortunately, earlier drawings and written sources are not yet known. However, the belonging of the mausoleum to the hand of M.F. Kazakov has been a generally recognized fact since the 1930s.
The first who seriously studied this building in those years were the art historian M.A. Ilyin and architect L.I. Batalov. Today, the museum has unique, detailed photographs and negatives that Ilyin made before the destruction of the mausoleum and the most accurate measurement drawings, sketches by Batalov. It is to them that we owe the fact that we can visually restore this magnificent architectural image.
The appearance of these materials was not accidental. We should not forget that already at the beginning of the creation of the Museum of Architecture in 1934, special expeditions of the Museum staff and architects of the Academy of Architecture that existed at that time were regularly undertaken in order to fix the state of the most valuable structures subject to destruction. In those years, the Museum was also entrusted with the mission of protecting architectural monuments. It is no coincidence that the archive contains a letter from the Moscow Union of Architects, dated December 1938 years old with a request to draw attention to the mausoleum in Nikolo-Pogorely as «absolutely exceptional in architectural and artistic terms and beyond all categories.»
After the war, the architect-restorer A.M. Kharlamov (1913-1986), who devoted all her activities to the study of the monuments of classicism in the Russian provinces. She began her work as a restorer during the war years, when she participated in the rescue of frescoes and measurements on the dismantled monuments of the city of Kalyagin. In the future, she was engaged in fixing the destruction in Pavlovsk, and in 19In 51, she examined in detail the ruins of the mausoleum in Nikolo-Pogorely.
Kharlamova’s archive, stored in the Museum, presents rare photographs and drawings of the structures of the destroyed building, the plan of the old manor that was still preserved at that time. Based on field studies, working measurements and color sketches, Batalova Kharlamova in 1954-1955 completed drawings of the facade and section of the mausoleum.
It is impossible not to note the mastery of the graphic execution of classic blueprints with hillshade, which she perfectly mastered. Kharlamova’s works have always complemented the expositions and exhibitions of the Museum. Unfortunately, already fully prepared by her for publication at 19In 1955, the album about Nikolo-Pogorely (in the series «Monuments of Russian Architecture. Measurements and Research» produced by the Academy of Architecture and the Institute of History and Theory of Architecture) was not released. Materials with editorial corrections and selection of printed illustrations remained in the archive. Meanwhile, this is the only work where the elements of the compositional and constructive structure of the mausoleum, the features of its order language are considered in detail.
Graphic materials and photographs by A.M. Kharlamova from the album prepared for printing.
By printing this article, we pay tribute to the memory of A.M. Kharlamova and all those who tried to save and preserve the monuments of the Russian cultural heritage.

Zoya Valerievna Zolotnitskaya, employee of the Museum of Architecture.
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At the end of the 18th century, not far from Dorogobuzh, Smolensk region, a mausoleum-temple was built in the estate of Nikolo-Pogoreloye (1). It was erected at the expense of I.I. Baryshnikov, owner of the estate, in memory of his father I.S. Baryshnikov, who died in 1782 (2). Work on the construction of the mausoleum lasted eighteen years — from 1784 to 1802 (3)
The grandeur of the memorial building, the perfection and beauty of its forms put the mausoleum in Nikolo-Pogorely in one of the first places among the works of Russian classicism of the late 18th century and arouse a legitimate desire to know the essence of its design and the professional skill of its architect.
The mausoleum was a domed rotunda on a powerful podium, surrounded by an Ionic colonnade. The main two-flight staircase led to the terrace that surrounded the building and to the entrance to the temple. Between the marches at ground level there was a second entrance leading to the tomb.
The mausoleum was built at the entrance to the estate, in the bend of the Dnieper on a high, steep hill, near the old church. Its portico, traditionally oriented to the west, faced the road that led to the estate, once lined with rows of birches.
Although the mausoleum was built outside the territory of the estate, nevertheless it was closely connected with it. The general layout of the estate, typical for the 60-70s of the XVIII century, bore the features of a certain regularity. A two-story manor house, facing south, stood on the edge of a hill, rows of terraces descending to the Dnieper. The desire to include a water mirror in the ensemble, characteristic of the garden art of the 18th century, forced the architect to place a bunded pond on one of the terraces. On the other side of the house, from the side of the road and the main entrance, built under Baryshnikov with two symmetrically located outbuildings, an orchard was planted, and behind it a vast park began with geometrically regular alleys, ponds and pavilions.
The layout of the manor was united by the south-north axis, which was the axis of symmetry of the manor house. At a right angle to it and to the house, the mausoleum was erected. From the side of the house (across the ravine), it looked like a solid rotunda, most favorably lit and spectacularly rising on an artificially filled hill.
From a distance, amid the rural landscape of the wide floodplain of the river, the mausoleum attracted attention with the perfection and completeness of its centric form. When approaching the mausoleum, the portico with its pediment came to the fore against the background of the smooth curve of the dome. Up close, one could perceive the whole harmony of the order forms of the rotunda; smooth trunks of white-stone columns with a finely defined entasis, elastically carrying a ring of entablature. The columns were placed on pedestals so that for the viewer standing on the ground, their lower parts would not be covered by the protruding plinth of the rotunda. The white stone columns blended well with the pink color of the walls of the building.
The spacious loggia of the portico, covered with a duct vault, served as the entrance to the temple.
The strength of the impression from the round hall was created by its very architectural form, the abundance of light pouring from numerous windows, light colors and a subtle combination of the color of the artificial marble of the walls and the painting of the dome. Flat pilasters drew the eye upwards, where their line was continued by paired vertical coffered strips (made by painting) rising to the central rosette of the dome. The integrity of the interior space was not violated by a light wooden iconostasis. Its wide arch of white color, covered with golden carved ornament, brought solemnity into the interior decoration, while the canopy above the altar in the form of a rotundal pavilion, echoing the shape of the mausoleum itself, complemented the hall with a large-scale commensuration.
Sculptural bas-reliefs, located along the walls, gave the mausoleum softness and humanity, which were so valued in Russian classicism of the late 18th century. A monument was erected near the northern wall of the hall — the tombstone of I.O. Baryshnikov with a mournful figure crouching next to a medallion with a bas-relief of the deceased (4).
The building of the mausoleum was built of brick (28×12.5×7.5 cm) and plastered. Natural stone was used in places that required greater strength and thinness of the tesque. Thus, the columns, the entablature, individual details of the walls and the dome, as well as the lining of the basement of the building were made of dense limestone (5).
Some details of the decoration of the façade (capitals, rosettes, soffit architrave, as well as bas-reliefs) were made of plaster.
A large number of metal bonds left after the destruction of the monument indicates that the builders paid much attention to ensuring the durability of the building. The stone architrave was reinforced with metal ring ties. Three ring links of rods with a section of 9×6.5 cm were located in the lower part of the architrave and participated in the perception of expansion forces from the dome, also supporting the masonry of the architrave. The deflection of these rods in the middle of the span was compensated by vertical strands with a section of 4.5×2.5 cm. These strands, well anchored in the upper part, connected the architrave vertically into one common array. The overlying annular braces of the entablature had a smaller cross section: 4.5×2.5 and 7.5×1.4 cm. The role of the anchors of the middle rods was played by the axial vertical rods of the columns, 6.7 m long, with a section of 6.5×6.5 cm, which also ensured the organic connection of the columns with the entablature. The end rods were fastened with anchors, the size of which was close to the height of the entablature. The rods of the annular reinforcement of the walls, 5-6 m long and 4.5×2.5 cm in cross section, also ended in loops, but arranged in such a way that the tensile forces in the rods went along a common axis. They were fastened with short anchors.
The bases of the columns were made up of four white stone blocks, interconnected with iron brackets, and with overlying stones — dowels.
Until the 18th century, special buildings for burial like a mausoleum were not built in Russia. Even the burials of Russian tsars and higher clergy, placed in cathedrals, were marked only by a modest slab or a simple stone block — a tombstone.
The development of social views and aesthetics of Russian classicism, based on the assertion of the importance of the human person, was also embodied in memorial buildings. The mausoleum — a tomb, as a building designed to perpetuate the memory of a person, attracts considerable attention of Russian architects. In the creation of memorial structures, they used the architectural traditions of the masters of the past. So, A. Palladio believed that for the temple it is necessary to choose a form, “the most perfect and excellent, and such is the circle, because of all the figures it is the only one, the simplest, uniform, even, strong and roomy” (6).
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In Russian classicism, the structure of the rotunda was developed, where the dome rested directly on the wall with the colonnade together. Kazakov was especially interested in such a decision. So, already in the building of the Moscow Senate (1776-1789), he designs a dome with a diameter of 24 m, and the entablature of the inner and outer (from the side of the courtyard) colonnade are included in the powerful supporting ring of the dome. The seven-meter diameter dome of the Church of Philip the Metropolitan in Moscow (1777-1788) is placed directly on the entablature of the inner colonnade while being rigidly connected to the wall.
In Nikolo-Pogorely, the supporting ring of the dome with a diameter of 14.5 m rests on the wall and entablature of the outer colonnade. The transition from the entablature to the dome was made with the help of a ledge attic. This technique resembles a similar transition from the wall to the dome in the Roman Pantheon. However, the dome of the mausoleum in Nikolo-Pogorely is closed at the base at 13 of its height, while in the Pantheon the entire attic closes the dome at 34. where the clarity and simplicity of the Greek round peripter and the majestic monumentality of the Roman domed building were combined. The lightening of the walls of the mausoleum was achieved not by arranging niches or arches in the massif of the walls, as was the case in Roman domed buildings, but by transferring part of the load to the outer colonnade, the order of which at the same time is the main means of architectural expressiveness of the building.
Bazhenov gave the following definition of the nature of the orders: “Doric, Ionic and Corinthian: important, delicate and colorful, they have different sizes and arrangements, but all are brought into perfect rules …” (7)
If in portraiture and sculpture of the second half 18th century grace, harmony, light movement, etc. were especially valued, the architect of the Nikolo-Pogorely mausoleum was looking for the same qualities. Therefore, he chose the Ionic order, full of harmony and grace with the following proportions:

Mausoleum in Nikolo-Pogorely

9005 9000

055

2.71

Elem. orders

Dimensions in m.

Rel. to diam. Columns

In vitruvius

Order as a whole

12, 42

9000

2.3

2.25

The above dimensions and ratios indicate the proximity of the Order of the Mausoleum to the antique ionic order. The Roman-type capital used in the order of the mausoleum had pendants on the balusters and on the inside of the volutes. This detail gave the order a special elegance and grace, introducing some warmth into the dryish design of the order.
The architrave soffit had three small caissons with rosettes between the columns. They, together with capitals, created a rich ornamental strip under a smooth entablature devoid of ornamentation.
On the wall of the rotunda, pilasters answered the columns, plastically uniting them with the wall. Between the pilasters, alternating with windows, there were bas-reliefs, which further emphasized the plastic qualities of the wall.
Adjacent to the cylindrical volume of the rotunda of a portico rectangular in plan is a complex architectural task. In the mausoleum, the round colonnade and the portico were connected by means of insignificant sections of the walls. On the one hand, they ended the colonnade, on the other, they served as assembly walls of the portico — the loggia. In the portico between the ants were placed two columns. The dimensions of their intercolumns and other ratios were equal to the intercolumns and other dimensions of the rotunda columns. However, due to the depth and shape of the portico itself, the columns gave the impression of being thinner and their intercolumns wider.
The width of the portico was equal to 78 of the diameter of the hall, and the depth was 13 of its width, which corresponded to the provisions of Palladio. The latter argued that the portico of a round temple should be equal to the width of the cella or 78 of its diameter, but not shorter than 34. The depth of the portico should not be more than 13 of its width (8).
The architect emphasized the entrance to the mausoleum with the help of a portico. The arrangement of the loggia created a spatial transition to the domed hall of the temple. If the volume of the entire rotunda was vertically divided from the outside into 16 equal parts (including the portico), then inside the architect enlarged the divisions. The master here resorts to paired pilasters, which, alternating with door and window openings, divided the wall into 8 equal parts. In other words, the step of the paired pilasters corresponded to the double step of the outer colonnade.
Comparison of the dimensions of the architectural details of the hall with the exterior details of the mausoleum shows that, despite the general scale, much smaller details were used for the enclosed space of the hall. In addition, they were distinguished by great elegance and subtlety of modeling. This feature is clearly seen when comparing the sizes of the figures of the external and internal bas-reliefs, which, moreover, also testifies to the close collaboration between the architect and the sculptor.
Paired pilasters of the Corinthian order created the main vertical structure of the hall (9). The architrave was combined with the frieze. Its plane between the pilasters was occupied by bas-reliefs, while garlands made by painting were placed above the pilasters. No less freely, the architect placed windows, the slopes of which, as it were, were cut from below the architrave.
A smooth pilaster pedestal, typical for Russian architecture of that time, raised them 45 cm from the floor level.
The Corinthian order of the hall had the following dimensions: the order as a whole — 11.02, the entablature — 2.17, the cornice — 0.71, the frieze -1.46, the pilasters — 8.32, the gimp — 1.07, the base — 0, 40, pedestal — 0.55, attic — 1.25, distance between pilasters -3.1 — 0.76, width of pilasters — 0.88 (dimensions in meters).
The ratio of the height of the pilasters to their width was equal to 10.6, which exceeded the usual proportions of the Ionic order equal to 10, in other words, the pilasters were somewhat more elongated than usual, This achieved the impression of their lightness and harmony.
The architect used the natural lighting of the hall as a means of creating an artistic image of the interior. The windows illuminating the hall were arranged in three tiers. The lower four windows — high, rectangular — gave direct light. Windows of the second tier — arched — were located in each gap between the pilasters (with the exception of the western one, where at this level there was access to an internal balcony, a kind of choir). Their slopes directed beams of light downward. The slopes of eight oval windows — lucarnes — cut through the dome with a wide bell, directing the rays of light also down into the central space of the hall.
Sculpture was an integral part of the architectural composition of the mausoleum, both outside and inside the building.
Outside, at the level of windows of the second tier, 13 multi-figured bas-reliefs were placed, 7 of them were placed on the walls of the portico, and the rest alternated with windows and were equal in size. Above the lower windows were placed 7 more one-figure and flatter bas-reliefs.
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Inside, 15 multi-figured bas-reliefs were located on the architrave and walls of the hall.
In the bas-reliefs, the sculptor created deeply emotional scenes on biblical themes, combining the depth of their construction with a clear foreground, the plastic softness of the figures with the architectural and landscape background.
The gravestone of I.S. Baryshnikov. It had the character of a high relief and was raised on a pedestal with two steps, representing a relatively flat combination of an obelisk, a sarcophagus and a stele. The obelisk was carved from two pieces of wonderful gray-green marble with white veins. The sarcophagus also consisted of two pieces of the same marble. The central stele and pedestal were made of gray-pink marble with white veins of a finer pattern than the green marble.
When measuring the mausoleum in 1940 by architect L.I. Batalov discovered a fragment of the original painting of the dome. The iconostasis, rising above the base of the dome, contributed to the preservation of this painting. The original painting was in light, warm colors and illusoryly created a smooth surface of the dome, covered with white stucco ornamentation. Light curls of acanthus leaves, emerging from the vases and ending in the likeness of maple leaves, covered the planes between the coffered strips. Rosettes of the classical pattern were drawn in the illusory picturesque caissons on a blue background.
An inscription was found behind the iconostasis, saying that the painting of the hall was rewritten in 1905 by Moscow masters and gilders. The rough updated painting differed sharply from the fine painting of the late 18th century, but the general composition of the painting was preserved. Apparently, at the same time, the capitals and partly the profiles of the cornices were roughly painted, and the walls and pilasters, which were originally made in green and pink artificial marble, were painted with marbled oil paint.
The overall color of the hall was based on the contrasting combination of the colored background of the walls with light pilasters, white details and bas-reliefs. The profiles of the cornices under the ornament and the background of the bas-reliefs were painted pink. This technique, which enhanced the plasticity of the reliefs, was especially characteristic of the Moscow architecture of this period and, as a rule, was found in the works of Kazakov.
The construction of profiles, ornaments on the cornices, acanthus leaves on the capitals also had much in common with the Moscow architecture of this period. So, the horizontal belt dividing the wall of the hall under the windows of the second tier has a kind of “corrugation”. The brackets of the balconies were also covered with a similar ornament. In the Baryshnikov house in Moscow and in other Moscow houses of that time, such an ornament in various combinations can be found in abundance, while in St. Petersburg it is rare.
Of particular interest is the proportional structure of the mausoleum. In the construction of the entire volume of the building, the architect proceeded from the proportionality of the order — a technique that has been legalized since antiquity. Its characteristic feature was the requirement that the diameter of the cella be equal to the height of the column. However, with the height of the Ionic columns of the mausoleum 10.6, the diameter of its hall (cella) is 14. 5 m. The basis of this size is no longer a column, but the entire order as a whole (with a pedestal and an attic). The desire to achieve the maximum volume of the hall within a certain height of the order (the foundations of which — the diameter of the column and the width of the intercolumn — determined the circumference — the colonnade), was answered by the accepted structure of the building, in which the dome rested simultaneously on the wall and on the outer colonnade.
The height of the building in Nikolo-Pogorely was 20.7 m. close to 1.5 hall diameters. Thus, the proportions of the hall correspond to an architectural pattern, which indicates a relative increase in height with a decrease in the absolute dimensions of the hall (in the Roman pantheon 1:1, in Tempiero Bramante 1:2, etc.).
The volume of the central part of the rotunda with a dome fits into a cube, the sides of which are equal to the diameter of the building, together with the outer colonnade.
Documentary information about the name of the architect of the mausoleum in Nikolo-Pogorely has not yet been found. The archive of the estate disappeared at the end of the 19th century, when the estate passed into the administration of the Zemstvo, and the works of art preserved there were sold at auction (10) °. However, the study of the building leads to the conviction that only M.F. could be its author. Kazakov (11). The authorship of Kazakov is indicated by the general architectural and compositional design of the building, the principle of proportional construction and a number of details characteristic of his work, which was partly indicated above. In addition, it is known that Kazakov was the architect of other buildings of Baryshnikov. During the construction of the mausoleum, he built a house for him in Moscow on Myasnitskaya Street (now Kirov Street, 42) (12)
Particularly characteristic of Kazakov’s work is his favorite portico in ants (where the extreme columns of the portico are replaced by ant walls). Similar porticos, created by Kazakov, are in the houses of Baryshnikov, Gubin, and others. In Kazakov’s work, lucarnes that cut through the dome play an equally important role. A feature of their construction are wide slopes that contribute to excellent illumination of the interior. All this taken together makes it very likely that the famous Moscow master and builder M.F. Kazakov (13).
The features of Kazakov’s architectural creativity were reflected not only in certain architectural and compositional techniques and details, but also in the entire appearance of the building. The buildings of the Senate built by him in Moscow, the Church of Philip the Metropolitan, the manor house with. Petrovsky-Alabin and others speak with sufficient certainty about the direction of the master’s architectural searches. A long-term search resulted in the creation of a classical in form, majestic and monumental building in Nikolo-Pogorely, the whole appearance of which speaks of the social significance of the memorial structure and, thereby, of the significance of the person buried here.
The latter, however, was in conflict with the actual state of affairs. I.S. Baryshnikov was the most colorful figure of his time — an entrepreneur, merchant and serf landowner (14). Exaggeration of non-existent personal qualities and social significance (which was often encountered in the theory and practice of art of that time), apparently, forced his heir to place the following lines on his tombstone:

Neither pride nor vanity
The culprits of this
One thanks
Sons to him.
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Notes:

1. The mausoleum was destroyed during the Great Patriotic War, in 1941.
2. N. Savin. The unrest of the serfs in the estates of the Baryshnikovs, Dorogobuzh district, Smolensk province. Dorogobuzh, 1926, p. 8.
3. Clear sheets p. Nikolo-Pogoreloe, see M. Ilyin. The heritage of Palladio and Russian architecture of the late 18th century. «Architecture of the USSR», No. 10, 1938, p. 35.
4. The tomb itself, deepened into the ground by 1.6 m, was a system of vaulted rooms. In its center was a single-pillar hall surrounded by a bypass gallery, with which it was connected by radial passages.
5. Stone was brought from Staritsa, brick was produced locally.
6. A. Palladio. Four books on architecture. Book 4, chapter 2, M., 1939, p. 7.
7. V. Snegirev. Architect V.I. Bazhenov. M., 1937, p.184.
8. A. Palladio. Four books on architecture. M., 1936, p.10
9. There were no pilasters behind the iconostasis, as they were practically unnecessary, they are shown conditionally in the drawings.
10. Apparently, a portrait of I.I. Baryshnikov by Tropinin, located in the State Tretyakov Gallery. Baryshnikov is depicted against the backdrop of the estate of Nikolo-Pogorely, next to which the mausoleum is visible. See M. Ilyin. Mausoleum in Nikolo-Pogorely. Monuments of art destroyed by the German invaders in the USSR. M., 1948, p. 449.
11. The mausoleum was built with the participation of fortress architects Baryshnikov. Baryshnikov’s serf architects are known: E.I. Zhdanov and Ya.E. Zhdanov, D. and V. Polyakovs, and others. See N. Savin, decree, cit., pp. 3, 8, 19.
12. E. Beletskaya. Album of private buildings by M.F. Kazakov. M., 1955, p. 32.
13. The probable authorship of Kazakov was first pointed out in the above articles by M.A. Ilyin.
14. I.S. Baryshnikov was phenomenally rich. There is a legend about him, as if, being in the army of Field Marshal Apraksin, he appropriated his gold, mined during the Prussian War of 1757 (E.P. Karpovich. Remarkable wealth of private individuals in Russia. St. Petersburg, 1885). In 1770, already being a Vyazma merchant, I.S. Baryshnikov is buying up in the name of Count I.G. Orlov land holdings with peasants. At this time, he buys the estates of Aleksino, Nikolo-Pogorelovo and a number of others. In them I.S. Baryshnikov develops vigorous entrepreneurial activity. He starts a large-scale production of cloth and linen, builds a stationery factory, a glass and crystal factory, and a distillery. At the end of the 18th century, the Baryshnikovs were one of the richest people in Russia. Having received the nobility, they conducted a wide construction activity.

A.M. Kharlamova
Cultural traditions of the Safonov land: from the past to the present
(Collection of reports of the local history conference dedicated to the 50th anniversary of the city of Safonov, Smolensk region)

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