Shekhtel’s own mansion on Bolshaya Sadovaya, meeting with honorary restorer G.V. Mudrov
The Zamyatin-Tretyakov estate is an estate in Moscow at Gogolevsky Boulevard, building 6, building 1. A cultural heritage site of federal significance
Manor at the end of the 19th century, the outbuilding and the passage between the buildings are visible on the right
The main house of the estate dates back to the second half of the 18th century, when its owner was Prince Pyotr Alexandrovich Menshikov. Under the next owner, Colonel Andrei Egorovich Zamyatin, in 1806 two extensions were symmetrically added to the house. The house was damaged during the Moscow fire of 1812; during restoration it was expanded and rebuilt in the Empire style. The main facade of the renovated building facing the boulevard was decorated with a six-column portico with a pediment, characteristic of the architecture of that period.
Grave of Dmitry Mikhailovich
Then the estate belonged to the military and statesman Dmitry Mikhailovich Lvov, then it was owned by an honorary citizen, merchant Olga Andreevna Mazurina. In 1854, next to the estate, an almshouse was built at the Church of Our Lady of Rzhev with Mazurina’s money. After the death of the owner in 1871, the estate, according to the will, went to the church
Sergei Mikhailovich Tretyakov (January 19, 1834, Moscow - July 25, 1892, Peterhof)[ - Russian entrepreneur, philanthropist, collector, active state councilor. Younger brother of Pavel Mikhailovich Tretyakov. One of the founders of the Tretyakov Gallery.
In the same year, the merchant Sergei Mikhailovich Tretyakov acquired the estate, and the church kept the site with the almshouse for itself. The architect Alexander Stepanovich Kaminsky, who was Tretyakov’s son-in-law, became the author of the project for rebuilding the estate, which was completed in 1873. The decor of the facades was made in the Russian-Byzantine style.
Sergei Mikhailovich was born into the family of Mikhail Zakharovich and Alexandra Danilovna Tretyakov. Mikhail Zakharovich ran small shops in Gostiny Dvor and owned a paper-dying and finishing factory. At the age of 30, merchant Tretyakov married the daughter of businessman Danila Ivanovich Borisov, Alexandra Danilovna, who gave birth to twelve children over eighteen years of married life. Pavel became the firstborn, and a year later Sergei was born.
The eldest sons received their education with the help of home teachers; they were invited by Mikhail Zakharovich, who himself tried to attend the classes. When the boys grew up, their father began to involve them in work in his shops: Pavel and Sergei followed the orders of the clerk, called in customers, and did the cleaning. The similar brothers were very friendly, despite the difference in characters and temperaments: the taciturn, focused Pavel rarely showed his feelings, Sergei usually looked “more frivolous”, “liked to push himself”
Sergei Mikhailovich’s collecting preferences were not immediately apparent. According to Pavel Mikhailovich, in the early 1870s his brother showed great attention to Russian painting. However, in the future, Sergei Tretyakov focused mainly on the works of foreign artists - in particular, German and French. This “division of spheres of activity” was associated with a reluctance to compete with his older brother. The collection of Tretyakov Jr., according to art historians, was distinguished by exceptional thoroughness of selection; The philanthropist was primarily interested in representatives of the “Barbizon school” and academic painting.
For Kramskoy’s painting “Moonlit Night,” S. M. Tretyakov’s second wife, Elena Andreevna, posed for the artist.
In the 1870s, having married a second time, Sergei Mikhailovich moved to an estate located on Prechistensky Boulevard, 6. The paintings in this house were united by a common romantic mood: they were based on “poetic landscapes”, which were not acquired for the purpose of showing to the public but for my own pleasure. Although not considering himself a professional collector, Tretyakov nevertheless helped his brother form his gallery. Thus, when he was in the capital or abroad, he informed Pavel Mikhailovich about new works, the activities of painters, and general artistic trends. It was Sergei who insisted that the composer Anton Rubinstein, whom the Tretyakovs had known since childhood, agreed to pose for Repin; he also recommended that his brother not buy Andrei Matveev’s painting “The Battle of Kulikovo”
Pavel Mikhailovich Tretyakov (December 15, 1832, Moscow - December 4, 1898, Moscow) - Russian entrepreneur, philanthropist, collector of works of Russian fine art, founder of the Tretyakov Gallery.
The composition of the front facade of the building is symmetrical, along it there is a row of evenly spaced large windows with semicircular arches, the edges of the building are distinguished by tower-like risalits, which are crowned with a roof in the shape of tents. The cornice is made in the form of a strip of small arches; the architect used even more elements of ancient Russian architecture when decorating the risalits: columns with cube-shaped capitals, egg pods, inserts with a curb resting on consoles, kokoshniks. The main rooms of the house were decorated in different historical styles: Gothic, Rocaille and classical.
To house the art collection of the owner of the estate, Kaminsky erected a two-story outbuilding. The building stands slightly indented from the main house and is connected to it by two gallery passages.
Sergei Mikhailovich died during a trip to St. Petersburg in the summer of 1892. His body was transported to Moscow, having performed a lithium along the way, and was buried on July 30 in the necropolis of the Danilov Monastery. For Pavel Mikhailovich, his brother’s departure was sudden; a year later he turned to Repin with a request to paint a portrait of Sergei from a photograph.
At the same time, it was necessary to resolve the issue of the future fate of Tretyakov Jr.’s collection. In his will, he indicated that he was ready to leave paintings, large capital and part of the house in Lavrushinsky Lane as a gift to the city. According to an inventory made a year earlier, the cost of the collection, which included more than a hundred works, exceeded 500,000 rubles. Handing over his collection to his brother, Sergei Mikhailovich noted.
“From the works of art located in my house on Prechistensky Boulevard, I ask my brother Pavel Mikhailovich Tretyakov to take to add to his collection... everything that he finds necessary, so that the works of art he takes receive the same purpose as he will give to his collection. »
Fulfilling the will of his brother, Pavel Mikhailovich decided to add his museum to his collection, donating the common gallery along with the mansion to Moscow. At the end of August 1892, a corresponding statement was sent to the city duma; in mid-September the Duma decided to “accept the gift of the Tretyakov brothers and thank Pavel Mikhailovich.” As the oldest curator of the Tretyakov Gallery N.A. Mudrogel recalled, after some time the exhibits located in the Prechistensky house of Sergei Mikhailovich began to move to Lavrushinsky Lane. In August 1893, the opening of a museum called the “Moscow City Gallery named after the brothers Pavel and Sergei Tretyakov” took place.
Tretyakov died and after which his house was sold to entrepreneur Pavel Pavlovich Ryabushinsky, who owned it until the 1917 revolution. With the advent of the new government, the estate was nationalized. Initially, in 1917, the building was occupied by the Revolutionary Tribunal, then the Military Prosecutor's Office was located here, and after the Great Patriotic War - the department of external relations of the USSR Ministry of Defense.
Pavel Pavlovich Ryabushinsky (June 17, 1871, Moscow - July 19, 1924, Cambo-les-Bains, French Third Republic) - Russian entrepreneur, banker, Old Believer, representative of the Ryabushinsky dynasty.
In 1987, the house came under the jurisdiction of the newly created Soviet Cultural Fund. In February 1994, the building was heavily damaged by fire. During the restoration work of 1994-96, the stucco decoration and painting of the ceiling lamps of the second floor and elements of the staircase railings were restored.
An attic was built in the central part of the house on the courtyard side. The restoration also affected the outbuilding; the rafter structures and the masonry of the walls of the passage between it and the main house were repaired. The work project was carried out by the Spetsproektrestavratsiya institute (scientific director N.I. Safontseva, author of the project T.V. Bashkina) and was awarded a diploma as the best restoration object for 1997 in Moscow. The former estate houses the Russian Cultural Foundation, the legal successor of the Soviet foundation
In 2014, the object was recognized as a laureate of the Moscow Government competition "Moscow Restoration - 2014". Currently, the Russian Cultural Foundation is located here under the leadership of actor and director Nikita Mikhalkov. I invite you to admire the interiors of this amazing estate.
We continue to look at the beginning of Gogolevsky Boulevard.
Until the 1870s on the odd side, at the site of the transport passage, the Chertory stream flowed. Therefore, the boulevard, built after 1812, has a stepped relief due to the difference in height between the bank of the stream and its former bed. The granite wall on the inside of the boulevard was installed in 1950. Many different trees and shrubs were planted on the boulevard. These are mainly linden, poplar, and maple.
At the beginning of the boulevard, on the left, there is a beige three-story building. At the beginning of the 19th century. here was the house of Princess Volkonskaya at the end of the 19th century. the house was bought by the famous baker Filippov, supplier to the Court of His Imperial Majesty, and built on for a store. The new owner set up a bakery in the yard and opened a bakery on the corner.
The windows of the house are larger. Here you can see the strict and at the same time beautiful design of the platbands.
In the corner building opposite (light gray in color, rather modest architecture) the first men's gymnasium was located. Then Guerrier's women's courses were located here - the first educational institution for women in Moscow. Most of the building is located on Volkhonka.
Well, we passed through an orderly row of shops and now the boulevard itself opens up before us. Here you can clearly see that the boulevard is built at a strong slope - the bed of the stream has not gone away. To see the next house we will even have to climb the stairs.
Before us is a magnificent light pink house in the Russian-Byzantine style. The building was built in the first half of the 19th century, then it was the city house of the Tretyakov estate - the brother of the same Tretyakov who gave the city the famous art gallery. For some time, in the house of Sergei Tretyakov, his collection of domestic and European masters of painting was kept, which Sergei Mikhailovich subsequently bequeathed to his brother Pavel, and which became part of the painting collection of the Tretyakov Gallery.
At the end of the 19th century, after the death of Tretyakov, the building was acquired by a major banker and manufacturer Pavel Ryabushinsky. Soon it was rebuilt. The house acquired then fashionable Russian-Byzantine features - window arches, machicolations, pods, curbs, capitals. Representatives of the Moscow intelligentsia, famous artists and musicians, including Repin and Tchaikovsky, often visited here. After 1917, the Revolutionary Tribunal was located here for some time. Now the Russian Cultural Foundation is here.
The original gates, luxurious metal fencing, and solid interior decoration have survived to this day.
Now we go back down the stairs and go to the opposite side of the boulevard, where we again go down the stairs to the very edge of the roadway. There is a magnificent view of the two-story red and white building. The elegant mansion was built in the mid-19th century. for the state councilor. Later, the architect Thon lived here, who supervised the construction of the Cathedral of Christ the Savior nearby.
View of the side façade:
In the two-story beige building next door, an equally famous resident of our city, Vasily Stalin, lived with his family. Vlasik, the head of the special security department and Stalin’s main bodyguard, previously lived in this house. In 1949, his house was taken away from him, and Stalin’s son, the young commander of the Air Force of the Moscow Military District, settled there. Limousines often drove up to this house, the mansion was illuminated, lavish receptions were held, his friends and athletes came.
Vasily’s personal life was going awry. His habit of drinking irritated one wife after another, and he showed little attention to his children. Children could even be kept in a locked room for days without food. Major General Stalin was not interested in the house and visited there less and less. All his activities were directed outside the home. He enthusiastically took up the development of sports. The Air Force teams were legendary. Vasily managed to get the best athletes: Bobrov, Tarasov, Reva... He knocked out apartments for them, good positions, high salaries.
The fates of these two famous residents of the house were sad. They came here on parade, at the height of their careers, and then they were kicked out of here, treated as the most malicious enemies of the people.
Behind a high fence, this mansion contrasts with the adjacent beige mansion from the late 19th century. The facade of Ievlev's house is quite simple, but it is favorably emphasized by bay windows - symmetrically protruding parts of the house on the second floor.
The windows are broken according to the fashion of the time. We often see these in houses built in the Art Nouveau style.
We leave the left side of the boulevard and move to the other side, where a cultural contrast awaits us. The light pink house in the constructivist style was built in the late 20s as an experimental public residential complex at the Stalproekt Research Institute. The architects of this house also became its first residents. The same creative team worked on the Narkomfin house project.
House of Narkomfin on Novinsky Boulevard, 25
Photo from the Turometer website. There you can also watch an interesting photo walk through buildings in the constructivist style in the center of Moscow.
The complex consists of three buildings: for singles, families and a public one-story block with a dining room and a club. The dining room, laundry, kindergarten and playrooms are located in a separate building. Multi-level honeycomb apartments (“cells”) have a unique layout - only a bedroom, living room, hall and toilet. The floor has original xylolite on which you can walk barefoot. Xylolite is made from wood shavings. Floors made from it become warm, silent and dust-free. The walls are lined with fiberboard, which was new for the time of its construction. Fibrolite is an artificial heat-insulating material. It is obtained by mixing wood shavings and sawdust with a binder, thanks to which the wood does not rot. The resulting material is lightweight and has good sound and heat insulation. A distinctive feature of the building is the flat roof where the solarium was installed.
The house was built over the basements of the Church of the Rzhev Mother of God, built in honor of the transfer of miraculous icons from Rzhev to Moscow in 1540. Closed and demolished in 1929.
The complex of houses is a cultural heritage site.
We turn our backs to this Soviet hulk and another tall building appears in front of us. Once upon a time it was an apartment building, originally 5-storey. Nowadays it has been rebuilt and now houses the Gogolevsky business center.
The austere façade is decorated with small balconies and frieze lines, the lower of which depicts a woman and a child sailing on a dolphin.
We walk through the house to the end and its relatively classic appearance is replaced by a truly faceless modern one:
A little further into the square there is a blue three-story house. The film "Pokrovsky Gate" was filmed in the courtyard of this house.
Lyudmila Kusakova, production designer of the film: “The courtyard in which we filmed was like the courtyard in front of this apartment - near the Kropotkinskaya metro station. And there was this - surprisingly in Moscow - real Russian Empire style. And the pioneer, by the way, from my yard. Because we needed to put... I wanted to put there such a sculpture, characteristic of those times. We lived in the Peschanaya area, and there in each yard we had 4, 5 absolutely ridiculous, so to speak, sculptures. Without asking permission, they simply took it with a crane, loaded it and took it away, and no one noticed anything. And they arrived there, put it there, and no one noticed anything there. Now it’s impossible to recognize this courtyard, because it’s all covered in dead people. balconies, there are some endless offices there.
The secret that this picture still looks great today is that we managed to somehow capture that, I would say, even communal atmosphere that was in those years. She was also communal in a good sense. Because the point is not that everyone lived in communal apartments, or the majority lived, but there was human communication. People lived in separate apartments, but they visited each other, treated each other to the first piece of pie... And, of course, all people today probably have some kind of nostalgia for this human communication."
You can read the vivid story of the filming of "Pokrovsky Gates". Recording of the program "The Motley Ribbon", 2002.
There is an interesting film and photo walk through the frames of the film "Pokrovsky Gates".
Gogolevsky Boulevard is associated with another famous film - “Moscow Doesn’t Believe in Tears.” It was here, on a boulevard bench, that Katya and Rudolf (Rodion) met. She asked him to find a doctor, but he didn’t help. They met for the second time here, twenty years later, when she forbade him to see his daughter.
In the neighboring house, a yellow mansion until the mid-19th century. General Ermolov lived for more than 10 years. Later he moved to neighboring Prechistenka.
Ermolov distinguished himself in the battles of Maloyaroslavets and Borodino, where he personally led soldiers into the attack and recaptured the “Raevsky battery” from the French. Participated in the military council in Fili. He left Moscow last in the main column of troops. After his resignation from the post of commander-in-chief of the civil unit in Georgia and commander of the Separate Caucasian Corps (1827), he lived in Orel and the village of Lukyanchikovo, Oryol province, and came to Moscow every year. Since 1839 he lived in this mansion in winter. In his Moscow houses, Ermolov collected a rich library, numbering more than 9 thousand volumes, bound books himself and wrote a manual on bookbinding.
Ermolov was elected an honorary member of Moscow University “in respect of excellent services for the benefit of the Fatherland.” In 1855, for the centenary of the university, he donated over 8 thousand books to its library for a nominal fee (Ermolov’s collection forms a separate fund of the Scientific Library of Moscow State University). Ermolov enjoyed enormous popularity and respect among Muscovites.
A street in the Borodino panorama area (General Ermolov Street) is named after Yermolov; it is also immortalized on the memorial plaques of the St. George Hall of the Grand Kremlin Palace.
Ermolov’s small mansion is adjacent to Pavlov’s huge apartment building, built in 1900. The five-story gray building stands at an angle and its shape follows the rounded line of the boulevard.
The house is designed in eclectic style. This style involves mixing other styles and choosing what you like from them. You can see the central window larger:
Near Pavlov's house we come out onto a large open area where a monument to Sholokhov is erected.
To be continued...
Sit down more comfortably, I will tell you a fairy tale :))) I spent two days of cultural heritage in this mansion. So I dug his history thoroughly.
The estate, which now adorns the edge of the high “bank” of Gogolevsky Boulevard, was formed here in the 18th century. The main house of the estate was built in the 2nd half of the 18th century under Prince Peter Alexandrovich Menshikov and was a stone chamber.
It stood, as it should be, with its back to the wall of the White City, and its beautiful façade and entrance with gate pylons faced Bolshoi Znamensky Lane. On the sides of the pylon there were services forming a front yard.
By the way, most of the pictures are not mine. I filmed it on my phone. I don’t know how to do these two things at the same time - filming and leading a tour):
In 1806, the estate became a new owner, Colonel Andrei Egorovich Zamyatin. He expanded the chambers with two symmetrical extensions. The estate was damaged in a fire in 1812. Zamyatnin rebuilt the house, turning it 180 degrees.
The front enfilade with a beautiful six-column portico under a triangular pediment now looked down on the new Prechistensky Boulevard, which appeared on the site of the demolished wall of the White City.
The estate is visible in this photo from 1867 and is on the far right of the photo.
The plan of the house has the letter P.
Then the estate was owned by state councilors, chamberlain Dmitry Mikhailovich Lvov, and honorary citizen, merchant Olga Andreevna Mazurina. The Mazurin family was closely associated with this mansion until 1917. And arises with all subsequent owners.
In 1854, Olga Andreevna, on part of her territory to the left of the house, which bordered the territory of the Church of the Rzhev Mother of God, built the building of an Almshouse at the church, which she maintained until her death.
In 1871 Mazurina died. The estate, according to her will, went into the possession of the church and in the same year was also sold to the merchant Sergei Mikhailovich Tretyakov (January 31, 1834-August 6, 1892) (by the way, we were born on the same day).
Sergei Mikhailovich is the younger beloved brother of Pavel Mikhailovich Tretyakov. The brothers continued the business of their father Mikhail Zakharyevich Tretyakov, first in trade, then in industry. They were flax workers. And flax in Russia has always been considered an indigenous Russian product. Kostroma was the supplier of domestic linen, yarn and threads. Here the Tretyakovs together with their son-in-law V.D. Konshin established in 1866 a large flax manufactory (flax spinning and flax weaving factory on the Volga) - the Greater Kostroma Manufactory.
Sergei Mikhailovich married early, on October 24, 1856, to the daughter of merchant Sergei Alekseevich Mazurin, Elizaveta Sergeevna (1837-1860). So the Tretyakovs became related not only to the Mazurins, but also to the Botkins. Sofya Sergeevna Mazurina (Liza’s sister) was the wife of Dmitry Petrovich Botkin.
“Beautiful and young, they loved cheerful balls, which during the wedding were constantly held in Tolmachi, where the Tretyakovs lived. Famous artists, painters, and musicians gathered. Sergei Mikhailovich was especially friendly with the latter, among whom he singled out Rubinstein and Bulakhov. “They danced until they dropped , until dawn,” writes V.P. Ziloti. “During the ball, his young wife changed her clothes three times: now a cherry dress with diamonds, now a white satin one with gold spikes on her leggings, now a fawn “tulle illusion.” And all evening a personal hairdresser styled her hair after each change of clothes. Everyone was captivated by the youthful beauty of the bride and groom."
On December 6, 1857, their son Nikolai (1857-1896) was born. But the happiness did not last long.
In 1860, Elizaveta Sergeevna died giving birth to her daughter Maria. At the Danilovsky cemetery in the family tomb, two graves dear to the heart of Sergei Mikhailovich appeared.
Having become a widower early on, Sergei Mikhailovich headed the Paris branch of the company and spent a lot of time in Paris. Son Nikolai was raised by his grandmother Alexander Danilovna and younger sister Nadezhda Mikhailovna Hartung in Obydensky Lane.
Unlike his older brother, Sergei Mikhailovich was a secular man, and to some he might even seem somewhat frivolous, as evidenced by his contemporaries. But this is without getting to know him too closely. A connoisseur of music and French painting of the 19th century, he was always in the public eye.
In 1868 he married again. Elena Andreevna Matveeva becomes his chosen one. The daughter of a nobleman who came from a merchant environment. Elena Andreevna was very proud of her nobility and emphasized it all the time. She had a quarrelsome and difficult character. The brothers' families were not friends. Vera Nikolaevna could hardly stand her new daughter-in-law.
It was for the brilliant social life that the wife aspired to that a new house was bought.
Of course, the son-in-law, architect Alexander Stepanovich Kaminsky, was invited to radically rebuild the mansion.
The ensemble on the boulevard side consists of a two-story main house on basements. Its plastered facade has a symmetrical composition with a wall surface evenly dissected by windows in the extended central part, and with two massive tower-like projections, completed with tents, at the edges. The house was built in neo-Russian style. The decor of the arches and consoles give the building an appearance similar to the buildings of ancient Russian architecture.
In the side parts, the architect widely uses the characteristic forms of ancient Russian architecture: columns with cube-shaped capitals, egg pods, inserts with curbs resting on consoles, kokoshniks and other elements. The tent-shaped roof is complicated on each of the four sides with hatch windows.
The main entrance to the building is shifted to the right and is highlighted by a beautifully patterned metal canopy on thin cast-iron columns - a favorite and often used detail by Kaminsky in his projects.
The lower floor, where the people's rooms, storerooms, kitchen and servants were located, was decorated very simply.
During the reconstruction by Kaminsky, the original stone vaults were replaced with reinforced concrete “monnier” vaults. This is one of the first uses of this design in Moscow. and even on such a scale. On the second floor, the entire length of the mansion was decorated with a ceremonial suite of halls.
The mansion was immediately designed for a formal, noisy crowd of guests, numerous receptions, banquets, and so on.
The lobby of the ball is decorated very modestly. From it, visitors enter the main staircase, decorated in a classical style with Greek meanders and palmettes.
above the mirror in the classic portico, guests were greeted by a portrait of the hostess by artist A.A. Kharlamov
The state halls are especially richly decorated, and still retain a variety of decorations. All of them are finished in different styles. In 1871 it was still a novelty - the style of historicism. But then it became fashionable and every house had Gothic, Romanesque, Rocaille, and Baroque rooms.
From the top of the stairs, guests entered the amorous ballroom.
(good photos were kindly provided to me for the post by dear mirandalina
)
It is decorated very lavishly with stucco with a large number of cupids, which is why it is now called cupid.
Sergei Mikhailovich had been friends with Nikolai Grigorievich Rubinstein since childhood. Even Elena Andreevna loved him very much. It was in her arms that he died in Paris in 1881.
And in this hall the great pianist and composer played very often.
Tretyakov, his son-in-law Nikolai Aleksandrovich Alekseev (he was married to Sergei and Pavel’s own niece) and Rubinstein were the Directors of the Moscow branch of the Imperial Musical Society, and in this hall one could say that the Moscow Conservatory was created.
The most outstanding musicians of that time performed here.
The wife and daughters of Pavel Mikhailovich only for their sake endured communication with an arrogant and contentious relative :)))
The doors in the hall are decorated with Karelian birch veneer and abundant gilding (I don’t think there was so much gilding under Sergei Mikhailovich)
From 1877 to 1881, Sergei Mikhailovich was Moscow City Mayor. It was during his term that the creation and installation of the monument to A.S. fell in Moscow. Pushkin on Tverskoy Boulevard.
At this time, his wife writes: “The general mood is life only with Pushkin.” “Having taken this monument into his own possession,” said S.M. Tretyakov, “Moscow will keep it as the most precious national treasure.”
Numerous celebrations in June 1880, which were associated with this event, largely took place in this hall. And the same lunch in the next dining room
This is one of the first dining rooms made in the Gothic style. Kaminsky masterfully used details of old Gothic buildings in decoration and decoration.
The main feature in the hall is a huge medieval fireplace.
Cabinets and doors to the pantry were hidden in the walls. Where did the cast-iron staircase lead for the servants, who along it from the kitchen below served food to the gentlemen upstairs...
In 1873, Kaminsky added a gallery building on two large floors to the main building on the right.
Sergei Mikhailovich began collecting paintings a little later than his brother.
Like his older brother, he could spend hours visiting exhibitions, accurately discerning their true value in paintings, and discovering new talents. Often traveling abroad on trade matters, he created a unique collection of Western European paintings. He collected mainly artists of the French school, at first these were the Barbizons, whom almost no one collected in Russia at that time. By the way, his teacher in this matter was Dmitry Petrovich Botkin and Ivan Ivanovich Shchukin.
In total, the collection included 84 paintings by Western European painters.
The masterpieces of the collection were “Country Love” by J. Bastien-Lepage
"The Bathing of Diana" by Corot
Composition of a bouquet by Mihaly Munkacsi
and many more others that now make up the collection of the Pushkin Museum. A.S. Pushkin
But it cannot be said that S.M. Tretyakov collected only foreign artists. He had a good gallery of Russian artists. But they most often hung in my brother’s gallery.
But in this mansion there have always been
“The Birdcatcher” by Perov,
“Grandmother’s Garden” by Polenov,
“Moonlit Night” by Kramskoy.
This is a portrait of the mistress of the mansion.
There were also sculptures here
Marble "Ivan the Terrible" by M. Antokolsky.
In the 1880s, Elena Andreevna’s dream came true - the man received the nobility and the title of state councilor. In 1889, she finally persuaded her husband to live more in St. Petersburg, closer to high society and the Tsar.
There, at his dacha in Peterhof in August 1892, he died unexpectedly from a ruptured aorta. He was transported to Moscow and buried at the Danilovsky cemetery.
The death of his younger brother and like-minded person turned out to be a big blow for Pavel Mikhailovich Tretyakov. The will of the former Moscow mayor reads like a declaration of love for his elder brother and his native city: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate his art collection to the city of Moscow and, for this reason, to present his part of the house, which belongs to us in common, to the Moscow City Duma as property , consisting of the Yakimansk part, in the parish of St. Nicholas, in Tolmachi, where his art collection is located, then I, too, give part of this house, which belongs to me, as the property of the Moscow City Duma, but so that the Duma accepts the conditions on which my brother will give her his donation. From the works of art that were in my house on Prechistensky Boulevard, I ask my brother Pavel Mikhailovich Tretyakov to take whatever he finds necessary to add to his collection, so that it contains examples of works by foreign artists.” (This is where the story comes from that S.M. collected only Western paintings. It’s just that his Russian collection had been hanging in Tolmachi for a long time.)
By the way, her dream of being presented to the court and personally to the sovereign came true. Since 1893, she lived in St. Petersburg on the English Embankment.
In 1911, the widow of Sergei Mikhailovich Tretyakov presented Emperor Nicholas II with a collection of visual materials and documents on the history of Russian wars, as well as military trophies.
The Emperor ordered the creation of a museum based on this collection, to house which the “Sovereign Military Chamber” was built in Tsarskoye Selo.
The building was erected with funds from E.A. Tretyakova in the amount of 300,000 rubles in interest-bearing securities of the state 4% annuity. She used her own funds to collect “antiquities and rarities” for the future museum, which were then exhibited in the halls of the Alexander Palace.
In 1914, the War Chamber turned into a museum of the Great War. Then it was closed and almost destroyed. In 2008, the building of the Military Chamber was transferred to the Tsarskoye Selo State Museum to create a museum of the First World War.
Just like that.
Well, this is a lyrical digression...
In 1893, Elena Andreevna sold the mansion to Pavel Pavlovich Ryabushinsky (1871-1924).
The eldest of the nine sons of Pavel Mikhailovich Ryabushinsky and Alexandra Stepanovna Ovsyannikova, Pavel Pavlovich at this time became his father’s deputy in all matters.
At the turn of the century, the Ryabushinskys were considered one of the most famous merchant families. They owned textile factories and created a banking house, on the basis of which the Moscow Commercial Bank appeared. Before the revolution, the Ryabushinskys began construction of an automobile plant (the famous AMO). A very interesting characterization of the Ryabushinskys in the book “Merchant Moscow” is given by Pavel Afanasyevich Buryshkin: “I have always been struck by one feature, perhaps a characteristic feature of the entire Ryabushinsky family, - this is internal family discipline. Not only in banking and trading matters, but also in public affairs, everyone was assigned his own place according to the established rank, and the eldest brother was in first place.”
In 1893, P. P. Ryabushinsky married Alexandra Ivanovna Butikova, the daughter of cloth manufacturer Ivan Ivanovich Butikov, and in 1896 the couple had a son, Pavel. Two Old Believers merchants became related, linking the destinies of their children, but the marriage turned out to be unhappy. At the age of 17, Alexandra inherited part of the family fortune after the death of her father, then another share after the death of her mother, and a few years later - after the death of her childless brother.
She immediately divorced her unloved husband and married a nobleman, a brilliant guards officer Vladimir Derozhinsky. And in 1910 she left him for Ivan Ivanovich Zimin...
And Pavel Pavlovich in 1901 married Elizaveta Grigorievna Mazurina (from the Golikov merchant family), who had three children (two daughters and a son, Konstantin) from her first marriage to Konstantin Mitrofanovich Mazurin (again, the Mazurins are already in their third owner!))).
In his second marriage, P. P. Ryabushinsky had two children, Anna and Sergei (died in childhood).
In 1902, the space of the northern hall of the front suite was complicated by a bay window,
then this fireplace and mirror in the bay window appeared
and the living rooms received new decoration in the spirit of neoclassicism.
Pavel Pavlovich, at his own expense, published the magazine “The Word of the Church” and the weekly “Voice of the Old Believers.” One of the most famous politicians of the early 20th century, P. P. Ryabushinsky provided financial support to the “Council of Congresses of Representatives of Industry and Trade” and published the newspaper “Morning of Russia”. Economic readings were held in his house on Prechistensky Boulevard, the most prominent Russian economists gathered, and plans for the economic reorganization of Russia were outlined. But these plans were not destined to come true: first the war, then the revolution, prevented them.
It was within these walls that, from 1905 to 1917, the richest Russian industrialists gathered and discussed plans to prevent various kinds of revolutions in the empire.
He met the revolution in Crimea. By that time he had developed asthma.
In 1918, all the brothers emigrated.
He died in absolute poverty in 1924 in Paris.
After the Bolsheviks came to power in 1917, the Revolutionary Tribunal was located in this house.
Later, the mansion was under the jurisdiction of the People's Commissariat for Military and Naval Affairs, and for a long time it was occupied by the services of the USSR Ministry of Defense.
In 1986-87, the estate was transferred to the Russian (at that time Soviet) Cultural Foundation, headed by Raisa Maksimovna Gorbacheva and Dmitry Sergeevich Likhachev.
In 1993, the Russian Cultural Foundation was headed by Nikita Sergeevich Mikhalkov. In February 1994, a fire occurred in the Foundation building, causing enormous damage to the unique building. Only thanks to the authority and persistence of Mikhalkov, funds for the reconstruction and restoration of the building were allocated by the Government of the Russian Federation. The Russian Cultural Foundation was awarded a diploma as the best restoration object for 1997 in Moscow.
For many years now, another restoration has been going on in the mansion, which removed all the reconstruction by the Ministry of Defense. For example, the gallery halls were divided into floors and now they have been recreated.
The courtyard between the buildings has been covered and another space has been created, which is asking for a winter garden, which will be decorated with a preserved cast-iron balcony like this
Chandelier decorates the staircase
Wow, I'm tired. Thanks to everyone who read to the end)))
Not far from the Kropotkinskaya metro station on Gogolevsky Boulevard there is a beautiful neo-Russian style mansion. It was closed for a long time, and even now access there is limited; the Russian Cultural Foundation is located here. This is the Main House of the former city estate of A.E. Zamyatin, later S.M. Tretyakov, and even later P.P. Ryabushinsky.
What does the mansion look like inside, what has been preserved and what has been restored —>
History of the mansion
The main house of the estate was built here in the second half of the 18th century under Prince Peter Alexandrovich Menshikov and was a stone chamber. It stood, as it should be, with its back to the wall of the White City, and its beautiful façade and entrance with gate pylons faced Bolshoi Znamensky Lane.
In 1806, the estate had a new owner, Colonel Andrei Egorovich Zamyatin. After the fire of 1812, Zamyatin rebuilt the house, turning it 180 degrees. The front enfilade with a beautiful six-column portico under a triangular pediment now looked out onto the new Prechistensky Boulevard, which appeared on the site of the demolished wall of the White City.
Then the estate was owned by state councilors, chamberlain Dmitry Mikhailovich Lvov, and honorary citizen, merchant Olga Andreevna Mazurina. After Mazurina’s death in 1871, the estate was sold to the merchant Sergei Mikhailovich Tretyakov (1834 - 1892).
Sergei Mikhailovich is the younger brother of Pavel Mikhailovich Tretyakov. The brothers continued the work of their father, Mikhail Zakharyevich Tretyakov, they were “flax workers”. Flax in Russia has always been considered an indigenous Russian product. Kostroma was the supplier of domestic linen, yarn and threads. Here the Tretyakovs, together with their son-in-law Konshin, established in 1866 a large flax manufactory (spinning and weaving factories) - the Great Kostroma Manufactory.
Sergei Mikhailovich married early, in 1856, to the daughter of the merchant Mazurin, Elizaveta Sergeevna (1837-1860). Beautiful and young, they loved cheerful balls, which during the grooming period were constantly held in Tolmachi, where the Tretyakovs lived. Famous artists, painters, and musicians gathered. Sergei Mikhailovich was especially friendly with the latter, among whom he singled out Rubinstein and Bulakhov. “We danced until we dropped, until dawn,” writes V.P. Siloti. “During the ball, his young wife changed her clothes three times: now a cherry dress with diamonds, now a white satin one with golden ears of hair on her hips, now a fawn “tulle illusion.” And all evening a personal hairdresser styled her hair after each change of clothes. Everyone was captivated by the youthful beauty of the bride and groom.”
On December 6, 1857, their son Nikolai was born. But the happiness did not last long. In 1860, Elizaveta Sergeevna died during childbirth. Having become a widower at an early age, Sergei Mikhailovich headed the Paris branch of the company and spent a lot of time in Paris.
In 1868 he married again. Elena Andreevna Matveeva becomes his chosen one. The daughter of a nobleman who came from a merchant environment. Elena Andreevna was very proud of her nobility and emphasized it all the time. She had a quarrelsome and difficult character. As a result, the brothers' families were not friends. For the brilliant social life that the wife aspired to, a new house was bought.
Architect Alexander Stepanovich Kaminsky (husband of the Tretyakovs’ sister) was invited to radically restructure the mansion. It was then that the main house received facade decoration made in the neo-Russian style. The decor of the arches and consoles gives the building an appearance similar to the buildings of ancient Russian architecture.
The main entrance to the building is shifted to the right and is highlighted by a metal canopy of a beautiful pattern on thin cast-iron columns - a favorite and often used detail by Kaminsky in his projects.
Beautiful mansion fence.
The main house was rebuilt in 1871-1873. At the same time, to house the art collection of the owner of the estate, Kaminsky erected a two-story outbuilding with large windows. The building stands to the right with a slight indentation from the main house and is connected to it by two passages - galleries.
If we enter the house through the front porch, we find ourselves in the first floor lobby.
It must be said that the lower floor, where the people's rooms, storerooms, kitchen and servants were located, was decorated very simply. During the reconstruction by Kaminsky, the original stone vaults were replaced with reinforced concrete “monnier” vaults. This was one of the first uses of this design in Moscow, and on such a scale.
From the lobby, visitors enter the main staircase, decorated in a classical style.
Chandelier over the stairs.
On the second floor, the entire length of the mansion was decorated with a ceremonial suite of halls. The mansion was immediately designed for a formal, noisy crowd of guests, numerous receptions, banquets, and so on. From the second floor landing, the door leads directly to the antechamber, the door on the right leads to the ballroom, from which the suite of halls running along the facade begins, the door on the left leads to the passage connecting the main building with the gallery.
View of the staircase from the second floor landing.
From the top of the stairs, guests entered the ballroom. It is lavishly decorated with stucco with a large number of cupids, which is why it is now called cupid.
Sergei Mikhailovich had been friends with Nikolai Grigorievich Rubinstein since childhood. Even Elena Andreevna loved him very much. It was in her arms that he died in Paris in 1881. The great pianist and composer played in this hall very often. Other outstanding musicians of that time also performed here.
The ceiling in this room is unusually beautiful - elegant stucco and in the center there is a panel with Apollo's chariot and cupids.
The doors in the hall are decorated with Karelian birch veneer and rich gilding. However, this does not mean at all that there was so much gilding under Sergei Mikhailovich.
Another cupid is located in a recess near the cupid hall.
Behind the arches in the hall there is an antechamber with a fireplace. This is not the only fireplace in the house, the architect loved them, it was not for nothing that he bore the name Kaminsky. He passed on his love for fireplaces to his student, the later famous architect Shekhtel.
I would like to note that this is one of the first mansions where the rooms are designed in different styles. In 1871 this was still a novelty. But then it became fashionable and every self-respecting house began to have Gothic, Romanesque, Rocaille, and Baroque rooms. It is enough to name the famous Moscow mansions of Smirnov and Stakheev.
From the ballroom a door leads to the dining room. This is one of the first dining rooms designed in the Gothic style. Kaminsky masterfully used details of old Gothic buildings in decoration and decoration. The main feature in this room is a huge medieval fireplace. Cabinets and doors to the pantry were hidden in the walls.
During the reconstruction, Kaminsky added a gallery building to the main building on two large floors. We enter this gallery through a passage. In recent years, the mansion has been undergoing restoration, which removed all the alterations made by the Ministry of Defense during Soviet times. During this restoration, the space between the main building and the gallery was closed and a courtyard was formed, which we see when we go out onto the preserved cast-iron balcony.
Floor on the balcony.
From below, the base of the balcony looks like this.
Gallery building inside.
The windows have small stained glass windows.
Decorations on the gallery ceiling.
Sergei Mikhailovich began collecting paintings a little later than his brother. Like his older brother, he could spend hours visiting exhibitions, accurately discerning their true value in paintings, and discovering new talents. Frequently traveling abroad on trade matters, he collected a good collection of Western European paintings. He collected mainly artists of the French school. Several famous paintings from the collection, such as Camille Corot's The Bathing of Diana, are now in the Pushkin Museum.
But it cannot be said that S.M. Tretyakov collected only foreign artists. He had a good gallery of Russian artists, but they most often hung in his brother’s gallery. And in this mansion there were always “Grandma’s Garden” by Polenov and “Moonlit Night” by Kramskoy (a portrait of the owner of the mansion).
In the 1880s, Elena Andreevna’s dream came true - her husband received the nobility and the title of state councilor. In 1889, she finally persuaded her husband to live more in St. Petersburg, closer to high society and the Tsar. There, at his dacha in Peterhof in August 1892, he unexpectedly died. He was buried in Moscow at the Danilovsky cemetery.
In 1893, Elena Andreevna sold the mansion to Pavel Pavlovich Ryabushinsky (1871-1924). The eldest of the nine sons of Pavel Mikhailovich Ryabushinsky, at this time he became his father’s deputy in all matters. Pavel Pavlovich, at his own expense, published the magazine “The Word of the Church” and the weekly “Voice of the Old Believers.” One of the most famous politicians of the early 20th century, P. P. Ryabushinsky provided financial support to the “Council of Congresses of Representatives of Industry and Trade” and published the newspaper “Morning of Russia”. The most prominent Russian economists gathered in his house on Prechistensky Boulevard, plans were outlined for preventing various kinds of revolutions in the empire and for the economic reorganization of Russia. But these plans were not destined to come true: first the war, then the revolution, prevented them. In 1918, all the brothers emigrated. P.P. Ryabushinsky died in absolute poverty in 1924 in Paris.
History is a tricky thing. After the Bolsheviks came to power in 1917, it was in this house that the Revolutionary Tribunal was located, which began to punish the enemies of the Soviet state, including Ryabushinsky’s associates and colleagues.
These living rooms were remodeled in 1902 by order of Ryabushinsky. There are no old photographs of them preserved. According to the famous expert on noble Moscow, Irina Levina, whose materials formed the basis of this story, both the wallpaper and the lions on the fireplace are modern fantasies, just like the Italian doors in these rooms. Here, in the last twenty years, a lot of things have been done anew.
During Soviet times, the mansion was under the jurisdiction of the People's Commissariat for Military and Naval Affairs, and for a long time it was occupied by the services of the USSR Ministry of Defense. In 1986, the estate was transferred to the Soviet Cultural Foundation, headed by academician Dmitry Sergeevich Likhachev. But the main thing is that the leadership of the Foundation included the wife of the Secretary General, Raisa Maksimovna Gorbacheva, thanks to whom it was possible to take the mansion away from the Ministry of Defense. In 1989 there was a fire here and the building was damaged.
In 1993, the Cultural Foundation, which has now become Russian, was headed by Nikita Sergeevich Mikhalkov. In February 1994, a strong fire occurred in the Foundation building again, causing enormous damage to the unique building. Only thanks to the authority and perseverance of Mikhalkov, the Government of the Russian Federation allocated funds for the reconstruction and restoration of the building. The building of the Russian Cultural Foundation was awarded a diploma as the best restoration object for 1997 in Moscow.
Already in our century, a new restoration of the mansion was carried out, which lasted eight years. In 2006, a restoration program for the estate began with the help of the foundation. Later the state got involved. Repair and restoration work at the cultural heritage site was carried out by the Ministry of Culture of Russia from 2011 to 2014 as part of the federal target program “Culture of Russia”. This restoration removed all the restructuring of the Ministry of Defense. For example, the gallery halls were divided into floors, and now they have been recreated.
The restored mansion was inaugurated on October 1, 2014. The opening ceremony was attended by the Minister of Culture of the Russian Federation Vladimir Medinsky.
Publication prepared by: Vasily P. Photo by the author.
Gogolevsky Boulevard in Moscow is one of the most beautiful and historically valuable places in the capital of Russia. This boulevard is part of the famous Boulevard Ring of Moscow, consisting of 10 boulevards. The squares, also included in the Boulevard Ring, whose names contain the word “gate”, are a kind of reminder of the defensive wall of the White City, on the site of which the Boulevard Ring was founded. It was the ideas of the architect V. Dolganov, successfully brought to life, that gave each boulevard of the Boulevard Ring of Moscow individuality. In 1978, the Boulevard Ring was declared a monument of landscape art.
Gogolevsky Boulevard starts from Prechistenskie Gate Square and reaches Arbat Gate Square. The Boulevard Ring of Moscow begins from Prechistenskie Gate Square and Gogolevsky Boulevard. From the side of the boulevard, the Kropotkinskaya metro station, named after Prince Pyotr Alekseevich Kropotkin, who was an ardent revolutionary, anarchist theorist, and famous scientist who devoted his life to the study of East Asia, opens onto Prechistenskie Gate Square.
The history of Gogolevsky Boulevard is very interesting. Until 1924, it was called Prechistensky because of the very carefully plastered wall of the White City, which then stood on the site of the boulevard. The city itself was located on the steep bank of the Chertoroi stream, which was later taken into an underground pipe. From Arbat Square to Kropotkinskaya Square you can take a trolleybus. It should also be noted that where Gogolevsky Boulevard and Sivtsev Vrazhek Lane intersect today, previously its tributary, the Sivets Stream, flowed into the Chertoroi stream. Chertoroy itself was distinguished by the fact that one bank of it was high, the other low. In the last century, many famous personalities liked to visit here: Gogol, Herzen, Turgenev.
The famous fire of 1812 did not spare Prechistensky Boulevard. Many buildings were destroyed, so the boulevard lost its original appearance, but it was soon almost completely restored. In 1880, a horse-drawn railway was built here, which passed through the entire Boulevard Ring. In 1911, tram "A" was put into operation on the site of this road, i.e. Annushka, which for a long time was the only mode of transport on the Boulevard Ring. The metro station on the boulevard opened in 1935. At that time it was called the Palace of Soviets and only in 1957 it began to be called Kropotkinskaya.
The boulevard received its current name in 1924 during the celebrations of the 125th anniversary of the famous Russian writer N.V. Gogol. If you compare Gogolevsky Boulevard with all the other boulevards in Moscow, it turns out that it ranks second in length. No less remarkable is the fact that Gogolevsky Boulevard has three stages, since its internal passage is on the top stage, the boulevard itself is on the middle stage, and the external passage is on the bottom. This relief of the boulevard was formed due to the fact that the Chertoroi stream had banks of unequal heights.
Gogolevsky Boulevard itself is fraught with many secrets, in particular regarding architecture. Each side of the boulevard has its own aesthetics, its own character, its own individuality. The ancient mansion No. 5, erected for State Councilor Sekretaryov, attracts the eye. Later, the house was occupied by the architect Ton, who supervised the construction of the Cathedral of Christ the Savior. In the 40s of the 20th century, the family of Vasily Stalin lived in this house. House No. 23 is very remarkable; it attracts tourists with its stained glass blades located between the windows of the fifth floor. In summer, on a clear, sunny day, you can’t help but notice how close the color of the ceramic inserts is to the color of the sky. A little further away in one of the courtyards you can see the small church of Apostle Philip, built in the 17th century.
The even side of Gogolevsky Boulevard is famous for the fact that famous people either lived or stayed here in almost every house. Thus, A.S. often spent time in house No. 2. Pushkin, and house No. 6 was built specifically for the mayor S.M. Tretyakov, brother of the famous philanthropist P.M. Tretyakov. In 1929-1930, the House of Artists was erected here, the project of which was worked on by a group of architects, including I. Leonidov, V. Vladimirov, M. Barshch and others. A striking example of Moscow classicism is mansion No. 10 on Gogolevsky Boulevard. Initially, the famous Decembrist M. Naryshkin lived in it and was subsequently arrested. Today, walking along Gogol Boulevard, on this house you can see a marble plaque with the image of shackles intertwined with a laurel branch, which was installed in memory of the Decembrists who gathered here. Having walked a little further, we find ourselves near house No. 14, where the Central Chess Club is now located. And in the 19th century, this building was a kind of center of musical life in Moscow. Chaliapin, Rachmaninov, Glazunov visited the house.
The symbol of Gogolevsky Boulevard is the monument to N.V. Gogol, which has a long and controversial history.
Almost at the end of Gogolevsky Boulevard there is a monument to M. Sholokhov, the design of which was developed by the sculptor A. Rukavishnikov. The author’s main idea is not yet fully visible, since the monument is in the installation stage. Crossing the road from Gogolevsky Boulevard, we find ourselves in a quiet, peaceful place. Here stands the Cathedral of Christ the Savior, built as a kind of gratitude to the Lord God for his intercession in the fight against the Napoleonic invasion of 1812. If you walk along Gogolevsky Boulevard back to the Prechistensky Gate, then another surprise awaits you: approaching the arch at the entrance to the boulevard, you will be surprised to find that the sky begins right behind it.
Gogol Boulevard appears in both literature and cinema. It is described in the Moscow of the future by Kir Bulychev; it is here that two scenes of the film “Moscow Doesn’t Believe in Tears” directed by Vladimir Menshov take place. Gogolevsky Boulevard itself is a symbol of the fusion of nature and civilization, since roads run next to wooded areas where you can even pick mushrooms. We can say with confidence that tourists will be satisfied with a walk along Gogolevsky Boulevard, because the spirit of history reflected in ancient architecture is concentrated here to the maximum.
Our journey-walk will begin from the pavilion of the Kropotkinskaya metro station.
The route was prepared based on project materials