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Vincenzo Brenna
Vincenzo Brenna (1747〔Lanceray, p. 37, states birth year as 1745. Contemporary historians (Dmitry Shvidkovsky) agree on 1747 (Shvidkovsky, p. 293)〕 – May 17, 1820) was an Italian architect and painter who was the house architect of Paul I of Russia. Brenna was hired by Paul and his spouse Maria Fyodorovna as interior decorator in 1781 and by the end of 1780s became the couple's leading architect. Brenna worked on Pavlovsk Palace and Gatchina palaces, rebuilt Saint Isaac's Cathedral, and most notably created Saint Michael's Castle in Saint Petersburg. Most of his architectural works were created concurrently during Paul's brief reign (November 1796 – March 1801). Soon after Paul was murdered in a palace coup Brenna, renowned for fraud and embezzlement barely tolerated by his late patron,〔 retired and left Russia for an uneventful life in Saxony.
Brenna never reached the level of his better known contemporaries Giacomo Quarenghi, Charles Cameron and Vasili Bazhenov and was soon surpassed by his own trainee Carlo Rossi.〔 Nevertheless, historians Igor Grabar,〔Lanceray, p. 207〕 Nikolay Lanceray〔 and Dmitry Shvidkovsky〔 praised him for sincere and unrestricted naturalism of his graphic work and considered him to be the watershed between the Age of Enlightenment and Romanticism in Russian architecture.
==Family roots and training==
Brenna belonged to an old Ticino family that had split into two branches, stonemasons (Brenno) and painters (Brenni) not later than the last quarter of the 17th century. Stonemasons and marbling experts Karl Antonio and Francesco Brenno worked in the 1680s in Salzburg. Karl Enrico Brenno (Brennus) carved elaborate tombs in Denmark and Hamburg, but was better known for his marbling artwork at Fredensborg, Christiansborg and Klausholm palaces. Giovanni Battista Brenno, stucco expert, worked in Bavaria.〔Lanceray, p. 36〕 The other branch produced three brothers Brenni (born in the 1730s), fresco painters.〔Lanceray, p. 37〕 Vincenzo Brenna, son of Francesco, was born in 1747〔 in Florence (19th-century sources list him as a native of Rome, perhaps due to his signature ''Del cavalier Brenna Romano'').〔 It is not clear whether Vincenzo Brenna belonged to ''Brenno'' or ''Brenni'' branch.〔
Since 1767 Brenna studied crafts in the Roman workshop of Stefano Pozzi together with his better known contemporary Giacomo Quarenghi. Quarenghi, who leaned to painting, converted to architecture under Brenna's influence and later even gave Brenna, who was three years younger than Quarenghi the credit for being "my first teacher in architecture".〔(ロシア語:"г. Бренна явился первым учителем моим в архитектуре") - Lanceray, p. 38, cites (in Russian) Quarenghi's 1785 letter to Luigi Marchesi, written in Italian and first published in the USSR in 1934.〕 Brenna himself did not have luck in tangible architecture; instead, commissioned by Lodovico Mirri〔Fejfer et al., p. 403〕〔Fejfer et al. date years of Brenna's employment in Warsaw 1780–1783; Lanceray dates 1781–1782.〕 under auspices of Pope Clement XIII, he surveyed the relics of Rome together with Franciszek Smuglewicz. Their drawings, engraved by Marco Carloni, were published in the late 1770s as ''Vestigia delle Terme di Tito''.〔(【引用サイトリンク】 title=Nero's Golden House. Exhibition organised to commemorate the 200th death anniversary of Franciszek Smuglewicz )〕 Another set of Brenna's drawings, created not later than 1781 and engraved by Giovanni Cassini, was published in three folios (380 sheets) from 1781 to 1788.〔 It is not known if Brenna had a chance to meet Charles Cameron, who also surveyed Rome in the 1770s, prior to Brenna's arrival in Russia. Brenna eventually "arrived at a more theatric conception of Antiquity than the Scot," and created architecture radically different from Cameron's.〔Shvidkovsky, p. 294〕
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