Architecture of the estate of the 19th century. Noble estate. The estate was developed according to the plans and plans of Abram Hannibal
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This exhibition was created under the leadership of the chief curator of the Pavlovsk Palace Museum A.M. Kuchumov in 1976. Based on literary and documentary sources, paintings, drawings and photographs, the typical interiors that era. In 2000, the exhibition opened again, with changes and additions. Moving from hall to hall, as if moving in a time machine, a whole century passes before your eyes. Through the interior, the way our ancestors arranged their living space, you better understand the psychology and philosophy of the people of that time, their attitude and worldview.
17 halls are divided into 3 semantic blocks:
- Russian noble estate 1800-1830s,
- metropolitan aristocratic mansion of the 1830s-1860s,
- city apartment 1860-1890s.
Interiors 1800-1830s
At the beginning of the 19th century typical home was a noble manor house or a city mansion. As a rule, a large family and numerous servants lived here. The state rooms were usually located on the second floor and consisted of a suite of living rooms, a boudoir and a bedroom. Living quarters were located on the third floor or mezzanines and had low ceilings. The servants lived on the ground floor, and there were also office premises here. If the house was two-story, then living rooms, as a rule, were on the ground floor and ran parallel to the service premises.
The end of the 18th - beginning of the 19th centuries was the time of the dominance of classicism, which presupposes a clear rhythm and a unified style of arranging furniture and art. Furniture was usually made of mahogany and decorated with chased gilt bronze overlays or strips of brass. Interest in antiquity spread to Russia from France and other European countries. Therefore, in the interior of this time we will see antique statues and corresponding decor. Under the influence of Napoleon, the Empire style, created by the architects C. Percier and P. Fontaine, with its spirit of luxurious imperial residences from the Roman Empire, came into fashion. Empire style furniture was made from Karelian birch and poplar, often painted in green color- imitating old bronze, with gilded carved details. Clocks and lamps were made of gilded bronze. The walls of the rooms were often painted in pure colors - green, gray, blue, purple. Sometimes they were covered with paper wallpaper or imitated paper wallpaper, smooth or striped, with ornaments.
The enfilade of rooms in the exhibition opens (late 18th – early 19th centuries). There could be a valet on duty in such a room. The mahogany furniture with brass overlays is made in the Jacobean style.
Sample for Portrait(1805-1810s) became the corresponding room in the estate of Count A.A. Arakcheev in Gruzino. Unfortunately, the estate itself was completely destroyed during the Great Patriotic War. Patriotic War. The portrait room is decorated in the early Russian Empire style, the walls are painted with striped wallpaper.
Cabinet(1810s) was a mandatory attribute of a noble estate. In the interior presented in the exhibition furniture set made from Karelian birch, desk and the chair is made of poplar wood. The coloring of the walls imitates paper wallpaper.
Dining room(1810-1820s) – also made in the Empire style.
Bedroom(1820s) is functionally divided into zones: the bedroom itself and the boudoir. There is an icon case in the corner. The bed is covered with a screen. In the boudoir, the hostess could do her business - do needlework, correspondence.
Boudoir(1820s) was located next to the bedroom. If conditions allowed, it was a separate room in which the mistress of the house went about her business.
As a prototype Living room(1830s) served as the living room of P.V. Nashchekin, a friend of A.S. Pushkin, from a painting by N. Podklyushnikov.
Cabinet young man (1830s) was created based on Pushkin’s “Eugene Onegin” (it is interesting to compare it with, which became the prototype of the Larins’ house from this novel). Here you can see the desire for convenience and comfort, they are actively used decorative fabrics. The laconicism inherent in the Empire style is gradually disappearing.
Interiors 1840-1860s
The 40s - 60s of the 19th century were the time of the dominance of romanticism. At this time, historicism was popular: pseudo-Gothic, second Rococo, neo-Greek, Moorish, and later pseudo-Russian styles. In general, historicism dominated until the end of the 19th century. The interiors of this time are characterized by a desire for luxury. The rooms are filled with an abundance of furniture, decorations and trinkets. Furniture was made mainly from walnut, rosewood, and sacchardan wood. The windows and doors were covered with heavy draperies, and the tables were covered with tablecloths. Oriental carpets were laid on the floors.
At this time, W. Scott's chivalric novels became popular. Largely under their influence, estates and dachas are being built in gothic style(I already wrote about one of them -). Gothic cabinets and living rooms were also installed in the houses. Gothic was expressed in stained glass on windows, screens, decorative elements finishing of rooms. Bronze was actively used for decoration.
The late 40s and early 50s of the 19th century were marked by the appearance of the “second Rococo”, otherwise called “a la Pompadour”. It was expressed in imitation of the art of France of the mid-18th century. Many estates were built in the Rococo style (for example, the now dying Nikolo-Prozorovo near Moscow). The furniture was made in the style of Louis XV: rosewood furniture with bronze decorations, porcelain inserts with paintings in the form of bouquets of flowers and gallant scenes. Overall, the room looked like a precious box. This was especially true for the women's quarters. The rooms on the men's side were more laconic, but also not devoid of grace. They were often decorated in an “oriental” and “Moorish” style. Ottoman sofas came into fashion, the walls were decorated with weapons, and the floors were covered with Persian or Turkish carpets. There could also be hookahs and incense burners in the room. The owner of the house dressed in an oriental robe.
An example of the above is Living room(1840s). The furniture in it is made of walnut, in decorative finishing Gothic motifs can be traced.
Next room - Yellow living room(1840s). The set presented in it was made for one of the living rooms of the Winter Palace in St. Petersburg, presumably according to the drawings of the architect A. Bryullov.
Young girl dressing(1840-1850s) made in the “walnut rococo” style. A similar room could be in a metropolitan mansion or in a provincial estate.
IN Cabinet-boudoir(1850s) in the “second Rococo” style presents expensive furniture “a la Pompadour”, veneered pink tree, with inserts of gilded bronze and painted porcelain.
Bedroom of a young girl(1850-1860s) is striking in its splendor; it is also an example of the “second Rococo”.
Interiors 1870-1900s
This period is characterized by a smoothing out of the differences between noble and bourgeois interiors. Many are old noble families gradually became poorer, losing influence to industrialists, financiers, people mental labor. Interior design during this period begins to be determined by the financial capabilities and taste of the owner. Technical progress and industrial development contributed to the emergence of new materials. So, machine lace appeared, windows began to be decorated tulle curtains. At this time, sofas of new shapes appeared: round, double-sided, combined with whatnots, shelves, jardinieres, etc. Upholstered furniture appears.
In the 1870s, influenced by the 1867 World Exhibition in Paris, the Louis XVI style came into fashion. The “bul” style is experiencing a rebirth, named after A.Sh. Bulya, who worked under Louis XIV– furniture was decorated with tortoise, mother-of-pearl, and bronze. The rooms of this period are decorated with porcelain from Russian and European factories. The walls were decorated with numerous photographs in walnut frames.
The main type of housing is an apartment in apartment building. Its design was often characterized by a mixture of styles, a combination of incompatible things only due to the similarity of color, texture, etc. In general, the interior of this time (like architecture in general) was eclectic in nature. The rooms were sometimes more reminiscent of an exhibition hall than a living space.
Pseudo-Russian style is coming into fashion. This was largely facilitated by the architectural magazine Zodchiy. Country dachas were often built in this style (for example, near Moscow). If the family lived in an apartment, one of the rooms, usually the dining room, could be decorated in pseudo-Russian style. The walls and ceiling were covered with beech or oak panels and covered with carvings. Often there was a massive buffet in the dining room. IN decorative design Peasant embroidery motifs were used.
At the end of the 1890s, the Art Nouveau style emerged (from the French moderne - modern), expressed in the rejection of imitation, straight lines and angles. Modern is smooth curved natural lines, new technologies. The interior in the Art Nouveau style is distinguished by unity of style and careful selection of objects.
Raspberry living room(1860-1870s) amazes with its pomp and luxury of the Louis XVI style, combined with the desire for convenience and comfort.
Cabinet(1880s) is eclectic. Various, often incompatible items are collected here. A similar interior could be in the house of a prestigious lawyer or financier.
Dining room(1880-1890s) made in Russian style. A mandatory attribute was the chair “Arc, Ax and Mittens” by V.P. Shutov (1827-1887). After the All-Russian Exhibition in St. Petersburg in 1870, they gained enormous popularity. Soon similar pieces of furniture with various variations Other craftsmen began to make them.
Maple living room(1900s) is a wonderful example of the Art Nouveau style.
Thus, the entire 19th century has passed before our eyes: from the Empire style with its imitation ancient culture at the beginning of the century, through a fascination with the styles of historicism in the middle of the century, eclecticism of the second half of the century and unique, unlike anything else modernism turn of XIX-XX centuries.
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If you look into the archives of old magazines, you can stumble upon an amazing publication “Motifs of Russian Architecture”, which was published in St. Petersburg in the 19th century. There you will find projects country houses, which will certainly make your heart ache. Today we will talk about a Russian estate, the tradition of which has been lost forever.
Carved facades, light, classic shapes, gentle turrets, cozy windows - wooden Russian estates amaze us with their beauty and evoke something like an archetypal longing for something very dear and close, but lost long before our era.
The word “estate” (in a sense close to the modern one) has appeared at least since the 17th century. The appearance of the first estates dates back to the distant past. Even Moscow early stage of its existence was just an estate. After it became the princely residence, courtiers' estates appeared next to the princely palace, which initially did not extend beyond the Kremlin walls.
The manor world was created very carefully and in detail. In a good estate, everything should be thought out to the smallest detail. Eg, yellow The manor house, like gold, showed the wealth of the owner. The roof was supported by white (symbol of light) columns. Grey colour outbuildings are a distance from active life. And red in unplastered outbuildings- on the contrary, the color of life and activity. All this was drowned in the greenery of gardens and parks - a symbol of health and joy. This ideal world, becoming significant in the symbolism of the estate, was fenced off from the surrounding world by walls, bars, towers, artificial ditches, ravines and ponds.
In addition to the main house where the owners lived, the estate could contain horse and cattle yards, barns, greenhouses and greenhouses, often created in unity of style. Estates were built in accordance with the “grand style” in force at that time: classicism, baroque, and national style.
The architects of Russian estates tried to make them joyful and colorful; as a result, the facades were often decorated with wooden carvings and painted in blue, red, yellow and green colors. This was complemented by beams, columns, pilasters, and framed windows. Many Russian estates were built according to original projects famous architects, at the same time, a considerable part was built according to “standard” designs. The estates that belonged to famous collectors had entire art museums.
After the Patriotic War of 1812, most of the buildings were made in the Empire tradition - the last, bright period of classicism. In the provincial estates of noble owners, manor houses were stone buildings of the palace type. The ceremonial architecture of classicism with porticoes became the personification of social and economic prestige.
The heyday of Russian estate architecture occurred in the 19th century. What styles did you see among the landowners' buildings and, of course, the cozy noble furnishings! The owners tried everything on their estates. Architects built houses in the style of “Russian Gothic”, and in the “Pompeian taste”, and in a style such as neo-Renaissance. Here, on Russian soil, it was interpreted very broadly and freely - from a romantic and “decorative” understanding to the exact copying of specific architectural monuments. This a new style, which freely took root on Russian soil, began to be called “a la Renaissance”.
In the architecture of Russian estates, their interior decoration, as well as in the decorative and applied design of manor furniture in the 19th century, features of national romanticism increasingly began to appear. What was different about this new direction? In manor buildings, starting with the manor house, economic services and especially the design of church buildings, the architects managed to skillfully and organically combine the decor of Gothic architecture with ancient Russian architecture. And the result was stunning - pre-Petrine art and the art of the second era merged together. half of the XVIII - early XIX century. It's about not only about the country residences of the richest nobles - which have now been turned into museums.
Build houses in Russian architectural style It was also accepted among the intelligentsia, who lived very modestly. However, even simple projects country dachas amaze us today with their thoughtfulness and refined originality. This style was completely lost during the Soviet era. Now country houses in Russia are built according to Western canons, and their own appearance country house We are unlikely to have one in the near future.
Arkhangelskoye Estate
Among all the architectural ensembles built in the Moscow region, one of the most significant places is occupied by the Arkhangelskoye estate. Having visited Arkhangelskoye in 1833, A.I. Herzen wrote: “Have you been to Arkhangelskoye? - If not, go....”
The foundation of the Arkhangelskoye estate dates back to the 1660s. At this time, by order of the owners of the estate of the Odoevsky princes, a stone church was erected in place of the wooden church. And by its name former village Upolozy is now called Arkhangelsk.
Later, from 1681 to 1703, the estate began to belong to Prince M.Ya. Cherkassky, and after more than a century from 1703 to 1810, Arkhangelskoye remained in the Golitsyn family. At this time, from 1780 to 1790, a palace was built according to the design of the French architect C. Gern, a regular park was laid out on terraces with architectural decoration and marble sculpture.
In 1810, Arkhangelskoye changed ownership again. The prince acquires the estate statesman, amateur, connoisseur and collector of works of art Nikolai Borisovich Yusupov (1751 - 1831). He completes the construction of the palace, changing some details. In addition, by the mid-1810s, the construction of the palace colonnades was completed, in 1817 the entrance arch was built, and a belvedere was erected above the palace. In the summer of 1818, during a visit to the estate of Emperor Alexander I, the Theater was inaugurated. In 1819, the small palace "Caprice" was rebuilt and a temple-monument to Empress Catherine II was erected.
The final appearance of Arkhangelsk took shape by 1820. The estate near Moscow was truly exemplary. At the same time, in Arkhangelskoe one was amazed by both the elegance of the architectural ensemble and the collection of works of art. The real decoration of the complex is the park, thanks to which the estate is called the “Versailles of the Moscow Region.”
Since 1919, Arkhangelskoye has been converted into a historical and art museum. The basis of the unique collection is a collection of Western European paintings from the 17th - 19th centuries, a collection of furniture from the 18th - 19th centuries, objects of decorative and applied art, and a large book collection.
The garden is a place with amazing atmosphere, where the spirit of antiquity has been preserved. Famous owners, architectural masterpieces, ancient parks, alleys with centuries-old trees, secrets of the past - all this invariably attracts tourists. And even ruins can be interesting, because in these stone remains of former days the energy and history have been preserved. Today we will talk about 10 estates. Perhaps you spent your school holidays near these places as a child, but you had no idea what kind of people left their mark here. We move to Polenovo, Voronovo, Serednikovo, Vinogradovo, Yasnaya Polyana, Abramtsevo, Ostafyevo, Marfino, Gorki and Olgovo.
Polenovo
There are preserved wooden plastered two-storey house, built in 1911–1912 by the architect Karst according to the design of Ivan Rylsky and connected by a glazed passage to the kitchen outbuilding; a converted and built-on horse yard, a cattle yard consisting of three two-story buildings. On the other side of Dmitrovskoye Highway there is a church complex. It includes the Vladimir Church of 1772–1777 (the alleged architects of the temple are Vasily Bazhenov or Matvey Kazakov), a modern bell tower and a clock tower - all in the style of classicism; remains of a cemetery with tombstones from the 18th–19th centuries.
Yasnaya Polyana
In Yasnaya Polyana, to this day there is a two-story house of Leo Tolstoy from 1800–1810 with an extension from 1871 (the author is the Tula architect Guryev). Nature is also preserved: a birch alley starting from two entrance towers; linden park late XVIII century; landscape “Lower Park” of mixed tree species with cascading ponds; apple orchards. Adjacent to the estate are an old oak and linden grove, spruce and birch plantings planted by Lev and Sophia Tolstoy.
The writer's grave is also located here. Not far from the estate, in the village of Kochaki, near the St. Nicholas Church, founded in late XVII century and completely rebuilt in the second half of the 19th century, there is a necropolis - the Tolstoy family cemetery.
Ostafyevo
In Ostafyevo, two-story buildings built in 1801–1807 in the classicist style, presumably according to the design of the architect Ivan Starov, and possibly Prince Andrei Vyazemsky himself, have been preserved. main house and side wings connected to it by colonnades. Here is also the Trinity Church built in 1778–1781, built in the classicist style; landscape linden park with a main alley and a pond formed by the dam of the Lyubuchi River. There are granite monuments in the park - Nikolai Karamzin, Vasily Zhukovsky, Alexander Pushkin, all monuments were created according to the design of the artist Nikolai Panov. Nearby there is a complex of buildings of a cloth factory from the mid-18th century, rebuilt in the 1820s by the architect Fyodor Shestakov.
Abramtsevo
At the estate in different years there were Nikolai Gogol, Ivan Turgenev, Ilya Repin, Valentin Serov. The wooden one-story main house with a mezzanine from the last third of the 18th century in the classicist style with extensions from the 1870s has been preserved; wooden workshop from 1873 (architect Viktor Hartman), small house from 1878 (architect Ivan Ropet), cottage manager, wooden one-story dacha Vasily Polenov; Spasskaya Church of 1881–1882 in the neo-Russian style, erected by the architect Pavel Samarin according to a sketch by Viktor Vasnetsov with the participation of Polenov; a chapel adjacent to the church, created according to Vasnetsov’s design; a park of mixed tree species with ponds on the banks of the Vori River.
Marfino
The writer Nikolai Karamzin, whose plays were staged at the Marfinsky Theater, visited the estate. In 1763–1780, under Field Marshal Count Pyotr Saltykov and his son, Governor General of Moscow Count Ivan Saltykov, the estate was redesigned and rebuilt; after ruin in 1812, it was restored by the serf architect Fyodor Tugarov; The central part was reconstructed in 1832–1846 by the architect Mikhail Bykovsky, who gave the estate the appearance of a complete ensemble in the English Gothic style. The main house and two outbuildings have reached us; entrance gates from 1837–1839; two two-story kennel buildings from the second half of the 18th century in the classicist style; a two-story manager's house from the early 19th century in the Empire style; abandoned 18th-century horse yard and coach house; Church of the Nativity of the Virgin from 1701–1707 in the Baroque style. There is also a linden park here, landscaped in late XIX century by park designer Arnold Regel, - with gazebos, ponds and a “Gothic” bridge over the pond.
Gorki
In Gorki you can see a two-story main house and paired outbuildings; greenhouse; a utility building built at the turn of the 19th and 20th centuries by the architect Fedor Kolbe, consisting of a stable, a carriage house and a laundry room with water tower; linden park of the late 18th century; landscape park of the 19th–20th centuries on the slope to the Turovka River made of mixed tree species with Small and Large ponds, a grotto, bridges and two rotunda gazebos. A little to the side there is a two-story wooden plastered outbuilding. It was used as a school in the 1920s and 30s.
Olgovo
Leo Tolstoy once visited here. This is very a nice place, especially in the fall, when the entrance to the temple is decorated with fallen leaves. The ruined main house remains, based on an early 18th-century building extended in 1786 by the architect Francesco Camporesi. The Vvedenskaya Church of 1751 with a bell tower and chapels of 1828, enlarged in 1892 by the architect Ivan Meisner, is incredibly majestic. Some have survived linden trees, planted in the second half of the 18th century.