Private collecting in Russia of the 18th century. Collecting in the first half of the 19th century A private collector buys paintings from the late 19th century

The first Russian collectors of the European type.

Spontaneous gathering activity, of course, existed in Russia long before the onset of the eighteenth century. But Peter's reforms in the field of culture give it a new direction - they focus on rapprochement with the culture of Western Europe. It was Peter I who stimulated the development of private collecting in Russia, which flourished in the second half of the 18th century. Following the Russian sovereign, who brought a new hobby from foreign travels, many of his associates begin to collect rarities, and a number of wonderful private collections are gradually taking shape - A.D. Menshikov, B.P. Sheremeteva, D.M., A.M. and D.A. Golitsyn and others.
The first family gatherings are compiled under the influence of fashion or to please the king. But collections are gradually taking shape, which are the source of research activities of scientists and form true connoisseurs of art. Among them: the collection of Count Ya.V. Bruce, who was known in Europe as a mathematician, physicist and astronomer, the art collection of the architect and art historian Yu.I. Kologrivov, collection of Baron S.G. Stroganov.
Empress Elizaveta Petrovna continued the tradition laid down by her father. In Elizabethan times, art galleries became one of the elements of magnificent palace decoration, which was supposed to stun those invited to the court, testify to the power of the Russian state. By the middle of the 18th century, many interesting and valuable private collections appeared, owned by representatives of the highest aristocracy, who, following the empress, sought to decorate palaces with works of art. The ability of Russian nobles to travel a lot and interact closely with European culture contributed to the formation of new aesthetic preferences of Russian collectors.
The richest collection of paintings by Western European masters was compiled by Catherine II, whose private collection served as the beginning of one of the largest museums in the world - the Hermitage. The largest collector of the state, she was the patroness of foreign artists, the trendsetter, whom they sought to imitate. At the same time, she carefully listened to the advice of her agents, who guided her artistic taste. Usually these were Russian diplomats at European courts: A.K. Razumovsky, P.M. Skavronsky, N.B. Yusupov, A.M. Beloselsky in Italy, I.S. Baryatinsky in France, D.M. Golitsyn in Vienna, D.A. Golitsyn in The Hague, S.R. Vorontsov in Italy and England. Many of them simultaneously created their own collections of paintings.
In the second half of the 18th century, the replenishment of public and private galleries was carried out both through purchases at auctions in Europe and orders for paintings and sculptures by modern masters. The satisfaction of the demand for Western art on the part of Russian nobles was greatly facilitated by the revolutionary events in France, as a result of which the art market was abundantly replenished with works by masters of European schools. A market for works of art was also formed in Russia, mainly in St. Petersburg, where objects of art and the art industry were brought in large quantities from Western Europe every year.

Field Marshal Boris Petrovich Sheremetev(1652-1719) was one of the first who adopted the Western European way of life imposed by Peter I and equipped his houses in the European manner. His heir, Pyotr Borisovich Sheremetev (1713-1788), striving to keep up with the times, since the 1740s, purposefully acquires works of art. Under the influence of fashion, he creates a cabinet of curiosities in a house on the Fontanka embankment, similar to the one that was created by Peter I. An integral part of the cabinets of curiosities was a collection of paintings.
Later, in 1750, a "picture room" appeared with tapestry. Active construction required equally active collecting activities. Being a very rich man, P.B. Sheremetev collected significant collections of paintings, sculpture, porcelain, coins, medals and weapons, mainly in quantity. His heir, Nikolai Petrovich Sheremetev (1751-1809), who received an excellent education, continued the family tradition of collecting, but with more knowledge of the matter than his father.

Alexander Sergeevich Stroganov(1733-1811), a representative of a famous Russian noble family, owned one of the most valuable art collections of the Russian aristocracy, both in quantity and quality. In his palace on Nevsky Prospekt, he created a library and an art gallery, which became one of the first Russian museums.
A.S. Stroganov is an example of not a simple collector, of which there were already quite a few in his time, but an erudite lover of painting, endowed with curiosity and love for art. That is why he managed to turn his collection into a systematic collection of artistic value. The Stroganov collection included works of fine art, arts and crafts, as part of interior decoration, coins and medals, as well as a collection of minerals, which indicates a family connection with the cabinets of curiosities of the first half of the 18th century.
One of the most educated collectors of the 18th century, along with A.S. Stroganov, was Nikolai Borisovich Yusupov(1750-1831). Collecting N.B. Yusupov worked for almost 60 years: from the 1770s to the end of the 1820s, and created one of the largest collections of Western European painting in Russia.
Collection of N.B. Yusupov was extensive and varied. It included easel painting, sculpture, works of arts and crafts, a collection of engravings, drawings, miniatures, an excellent library and a large family archive. However, the basis of the collection was an art gallery, numbering up to 600 canvases. The art gallery of Prince Yusupov contained works by almost all European schools, but French, Italian, Flemish and Dutch artists were especially well represented.
Yusupov showed himself to be a true collector and connoisseur, well versed in the modern artistic process. He became a conductor of new aesthetic tastes associated with the artistic processes of the coming century. Prince Yusupov was the first to import into Russia first-class works by French artists of the early 19th century.

Ivan Ivanovich Shuvalov(1727-1797) - one of the most prominent representatives of the family, an educated Russian nobleman of the era of Elizabeth, and later Catherine - was a patron of the arts, who enjoyed European fame as a connoisseur of art, also had an excellent art gallery. He made a huge contribution to the formation of the Hermitage art gallery, as he was Catherine's adviser in acquiring paintings and placing orders from the Russian court to foreign artists. Shuvalov's aesthetic preferences played a role in the development of Russian artistic culture in the middle of the 18th century, since, while forming the Hermitage collection, he greatly influenced the tastes of other collectors of the era, who were guided by the imperial collection when selecting their collections.
In addition, I.I. Shuvalov is the founder and first curator of Moscow University, the founder and first president of the Academy of Arts. Shuvalov's personal collection formed the main core of the art gallery of the Academy of Arts. He donated to the Academy his collections of paintings and drawings, compiled during his long stay abroad. Thanks to I.I. Shuvalov, the Academy of Arts now possesses a unique collection of antique casts, from which new generations of artists are learning.
As noted above, collectibles in the 18th century were mainly samples of Western European culture, science and art. However, in the second half of the 18th century, other trends were also noticeable: there was an interest in the national past. Plots from Russian history appear in literature, fine and theatrical art. The collection, study and publication of historical documents and works on Russian history begins. This stimulates interest in collecting Russian antiquities. A number of collections of ancient manuscripts and other ancient Russian monuments appear. Among such collections is the collection of P.F. Korobanov, P.N. Beketov, Count F.A. Tolstoy, F.G. Bause and others.
An obligatory component of private noble collections in the second half of the 18th century was portrait galleries, which appeared in connection with the growing interest of the nobility in national history, on the one hand, and to strengthen the personal prestige of the owners, on the other. Portrait galleries were designed to perpetuate the family and served as proof of the nobility, wealth and ancient origin of the owners. It was fashionable to commission portraits of family members from leading Western European or Russian artists. Some collectors collected portraits of prominent historical figures. Among the most interesting portrait galleries: galleries in Kuskovo - Counts Sheremetevs, Nadezhdin - Princes Kurakins, Zubrilovka - Princes Prozorovskys, Otrada - Counts Orlov-Davydovs, Andreevsky - Counts Vorontsovs and others.
Portrait galleries in the second half of the 18th century became widespread among all strata of the nobility. They are the most valuable documentary material of the era.
In those cases when the collector was guided not only by ambitious aspirations and ambitions, but by a sincere desire to help the development of national culture, the collections ceased to be just an object of gathering. They became the working material that helped artists realize their creative potential. Such patrons and true connoisseurs of fine arts included Count A.S. Stroganov. The Stroganov Art Gallery and his magnificent library were available to all connoisseurs, amateurs and foreign guests of the imperial court. Classes on the history of art were held here for students of the Academy of Arts, famous and emerging artists got acquainted with the works of old masters, copied them, just as it was in the famous Medici gardens.

Walk once again through the halls of the Hermitage and pay attention to the tablets under the paintings in the halls of Italian, Flemish, French painting of the 17th-18th centuries.

Tatyana Nesvetailo
art critic, senior researcher at the State Russian Museum

Have you ever wondered what you collected as a child or which of your relatives and friends is a passionate collector? Or are you yourself, like me, more or less consciously collecting something? Consciously, I collect sources, and at the same time, facts that allow me to reconstruct the past. Rather, unconsciously, in my private life, I indulge in a rather unusual hobby. A few years ago, a friend from Barcelona gave me an exquisite bottle of vinegar. Since this thing embodied certain wonderful memories, I placed it in the heart of my home - in the kitchen. There, undiscovered, it rises to this day, receiving my special attention when I dust it off. Meanwhile, around the queen of my collection, a whole court society gathered from varieties of vinegar of every color and in bottles of various shapes from many countries. This addiction has been lurking in my soul since childhood: my grandfather affectionately called me "Saladio" when I stealthily ate a salad prepared by my grandmother before meals.

Surely you can also remember a similar story related to the phenomenon of collecting, because we all save, collect or save something. So it is logical to assume that our daily life, and perhaps our entire civilization, is based on the practice of gathering. Let's go on a journey into the past to trace the history of collecting on the example of people and eras who selflessly devoted themselves to the world of things.

Hunter from ancient Rome

The phenomenon of collecting has been known in all eras of cultural history. Our ancient ancestors were gathering and hunting, accumulating food for survival. A completely different trace in the centuries - scandalously loud - was left by one famous collector of antiquity: from his deeds, art historians and archaeologists simply make their hair stand on end. We are talking about Gaius Verres (115-43 BC), who, as governor of the province of Sicily, is believed to have appropriated works of art and oppressed the local population. The most famous orator of Rome, Marcus Tullius Cicero (106−43 BC) informs us about his crimes in his speeches “Against Verres” (Orationes in Verrem). At the same time, Cicero himself also acts as a collector, because he collected for the event held in 70 BC. There is so much accusatory material in the trial against Verres that the insatiable money-grubber of Sicily preferred to go into exile after the first meeting, and the guilty verdict was announced in his absence.

However, it was in the order of things for victorious Roman generals to keep works of art and display them to the public as spoils of war during a triumph. Although initially such prey was intended to decorate temples, Roman aristocrats gradually got into the taste of gathering. Showing guests valuable collections of Greek art has become a good form. Not only was Verres obsessed with treasure hunting, but he clearly stood out for his shamelessness and lack of measure. Among the loot he had included, for example, large sculptures, small jewelry such as rings, and decorative items, in particular, made of ivory. He also had a soft spot for gold jeweled candelabra and figured jewelry. The description of the Verres collection also lists such rarities as elephant tusks, giant bamboo trunks, bronze armor and helmets. Thanks to the speech of Cicero against Verres at the second session, placed in book IV "On objects of art" (de signis), we become witnesses of the behavior of perhaps the most famous collector of Roman antiquity. And also - about how the passion for collecting can turn into a mania, for which all means are good, even the most terrible ones - for example, robbery. Simple collecting turns into hunting.

pious emperor

In the Middle Ages and until the end of the 16th century, collecting remained the prerogative of ecclesiastical and secular rulers, who filled their treasuries with holy relics and jewels. Their power and wealth were expressed in the collection of earthly things. Along with relics, precious stones and valuable vessels, objects of legendary origin were also of interest, for example, horns of unicorns (i.e. narwhal tusks) and other parts of the body of fabulous creatures. Back in the Middle Ages, no one, except for the few people mentioned, was engaged in gathering, since it was their sole privilege to possess God's creation and its beauty. Others were faced with the task of avoiding the torments of hell, which absolutely excluded the possibility of indulging in the joys of this world. Among the most significant monarchs of the Middle Ages is the Roman-German emperor Charles IV (1316-1378), who ruled during the plague epidemic in Europe (1347-1351). His era was marked by deep religiosity, which needed visual expression, for which, as the historian Ferdinand Seibt writes, the collection of holy relics was diligently carried out. Under Charles IV, a real cult of relics was formed, even the emperor ordered to insert a thorn allegedly from the crown of thorns of Christ into his crown in order to liken his stay on the throne to the history of the suffering of the Savior. Charles IV skillfully used the cult of relics and piety, including for political purposes - strengthening his power positions. Thus, the collection of relics served as a representation of the power of his empire. In order to store cult objects and regalia of the Holy Roman Empire, in 1348 the monarch ordered the construction of Karlštejn Castle in the vicinity of Prague, which (albeit having been restored and rebuilt in the 19th century) is still open to visitors today. On the third floor of the Great Tower is the legendary Cross Chapel with walls trimmed with precious stones, a favorite place of solitude for the emperor. Wealth in this case allowed not only to surround yourself with relics and demonstrate your power - precious stones were credited with the ability to prevent the plague that raged in Europe during the time of this monarch. According to historians, Charles IV was a highly educated ruler, spoke several languages ​​and made great efforts to accumulate knowledge. Therefore, the fact that he also collected his memoirs, writing them down in the form of an autobiography, does not look like an accident at all.

The birth of a collecting culture in Europe

The use of the Cross Chapel by Charles IV as a place of solitude is a foreshadowing of the transformation of the royal treasury into a studiolo - a special room for the collection of ancient antiquities, gems, sculptures, coins, medals, etc. The first mention of such cabinets dates back to 1335. While the treasury served as a visible embodiment of wealth and power, behind the appearance of the studiolo was the idea of ​​\u200b\u200bprivate space and the desire for order. With the discovery and exploration of new continents, knowledge came to Europe that had no ancient roots. A century after the discovery of America, unknown and unusual objects arrived daily at the ports of the Old World, and collectors responded to these changes.

The 16th century was the era of the birth of museums and empirical science. More and more private individuals took up the creation of natural science collections (rare minerals, stuffed birds, etc.), which became the driving force of secularization and represented a compendium of knowledge independent of the church.

The historian Philipp Blom generally speaks of the formation of a collecting culture in Europe, which in the 16th century acquired an unprecedented scope. The most important factors in this process are printing (the exchange of information), progress in shipbuilding (the exchange of goods), and an efficient banking system that facilitated money exchange. In addition, after the plague pandemic of the XIV century, the attitude towards earthly things changes, as there is an awareness of one’s own frailty (its symbols are burning candles and an hourglass), which was perfectly manifested, for example, in the engraving “Melancholia” created by Albrecht Dürer in 1514. At first, collectors turn their attention to interesting and rare objects, exhibiting them in cabinets reminiscent of the pharmacy furniture of the time with its dried fish and parts of Egyptian mummies on the shelves.

These collections, in turn, gave rise to late Renaissance cabinets of curiosities. Everything that seemed outlandish and incomprehensible fell here. This is how the first tulip bulbs appeared in Europe in 1562. John Tradescant (1570-1638), who first served as gardener to the Duke of Buckingham and is known to us today as a passionate collector and botanist, stood at the origins of the "great migration of plants." In the 17th century, they also begin to collect and classify, embalmed, whole human bodies, which is accompanied by the accumulation of anatomical knowledge. Such a collector, who was also fond of anatomy, was the Russian Tsar Peter the Great (1672-1725), who was addicted to living Lilliputians and had a hermaphrodite in his imperial collection. In Russian history, he was the first serious, albeit indiscriminate in his methods, collector: evidence has been preserved that he pulled out the teeth of passers-by on the street in order to replenish his collection ...

Ordering the world

If in the 16th-17th centuries cabinets of rarities prevailed, distinguished by the universal nature of the collections, the systematization and specialization of collections became a sign of the 18th century. In this regard, one of the most prominent figures is Carl Linnaeus (1707-1778). He collected a collection of plants and developed a classification of the plant kingdom based on sexual characteristics. The ordering of the world of things came to the fore. In the same 18th century, in accordance with the ideas of the Enlightenment, more and more collections began to open to the general public. In the 19th century, museums began to appear massively throughout Europe, serving a specific mission - to promote the emerging nation-states and help them in the formation and education of their citizens. Since 1870, the concept of "kitsch" has appeared, introduced by art dealers from Munich: they ordered paintings from drawing workshops, which they then sold (German: "verkitschen") to English-speaking tourists. Collecting has become one of the practices of consumption.

Kidnapper Tour

It must be assumed that Stefan Breitwieser, a collector and part-time one of the most famous art thieves of our days, deprived many museum curators of sleep at one time: from 1995 to 2001, he stole more than 200 works throughout Europe with a total value of about 20 million euros. He did not sell what was stolen, but collected it at home. His first prey was a canvas in 1995 in Switzerland, where he was arrested after another theft in 2001. His accomplices were his mother and girlfriend. The mother of the kidnapper, as it turned out, destroyed some of his booty and, like his girlfriend, was forced to serve time in prison. In 2006, Brightweather's autobiography, Confessions of an Art Thief, saw the light of day. However, in 2011, the Alsatian was taken back into custody as he returned to his job. He himself explained his criminal behavior by a gathering mania: The art collector is happy only when he finally has the desired object. But after that he already wants something new, again and again, he just can't stop.».

The history of collecting in the context of culture not only tells us what, when and how we collected, but is also a reflection of our own nature. Of course, any things that we collect are something coveted, but the most valuable copy is always somewhere ahead.

According to statistics, about 40% of people in the world collect something. Do not lag behind this trend and hobbies and well-known personalities around the world, who are the idols of many generations.

Arnold Schwarzenegger collects Hammer cars. Madonna buys Picasso paintings, Barbra Streisand buys 1930s furniture, and Demi Moore collects dolls. President Putin collects stamps with images of prominent people. Philately is also fond of Yuri Luzhkov and even Patriarch Alexy II.

Collectors are divided into 5 types:

True collectors (who are able to give any amount for the desired copy).

Collectors (the main thing for them is that the thing is expensive and elegant).

Lovers (for them, the collection is nothing more than a tribute to fashion or imitation of other people)

Owners (those who inherited the collections either by inheritance or by misunderstanding).

Eccentrics (those who do not understand what and it is not clear why they collect).

One eccentric American collects snowballs, which he keeps in the refrigerator. He blinded one of them during the heaviest snowfall in history. Another was made for him by the mayor of New York. This collector loves his exhibits so much that he even celebrates their birthdays. On this occasion, guests must come in all white, and the host serves them only white dishes.

A collector from San Francisco collects objects whose shape or appearance is similar to a smile. He has 600 different buttons, pencils, watches, cups, balloons of different materials, etc. These things make his life kinder and more fun. Thomas Edison had the most expensive collection! He had four thousand patents for his inventions, their value cannot even be estimated.

The fastest growing form of collecting is photography.

According to statistics, people who collect something often become wealthy people, apparently the craving for new exhibits makes them earn more.

The largest collection belongs to one eccentric from Philadelphia - he collects tram cars. Once he sent a letter to the Soviet Union with a request to send him a Russian tram for his collection. Muscovites and Leningraders consulted and sent the American as a gift two trams - Moscow and Leningrad.

The smallest collection belongs to the Yerevan master. He began by making a violin measuring 15 millimeters. Then he made a locomotive train that passes freely through the eye of a needle. Finally, on an ordinary human hair, he wrote with a piece of diamond - “Proletarians of all countries, unite!”. Now in the collection of this craftsman there are many miniatures, which can only be looked at through strong magnifying glasses.

Collecting is also a profitable business. If the money put into the bank doubles, usually within 10 years, then the value of a work of art increases 1.5 times faster. In addition, in the soul of every collector there is hope for extraordinary luck, when the value of the purchased work can increase a hundred or a thousand times. And this happens sometimes.

Vladimir Shainsky collects turtles, shells, starfish and other inhabitants of the deep sea. Moreover, the composer got all these trophies himself from the bottom of the seas, where he managed to visit. He has been diving for over 40 years. For many years, Valdis Pelsh has not changed his passion. His collection of military helmets (among which there is even a leather German helmet of the 19th century and a parade helmet of an officer of the Napoleonic army) could be the envy of any museum. Valery Meladze is famous for his collection of weapons. There are more than a dozen daggers in his office. Thanks to the fans, Oleg Gazmanov's collection of sabers and checkers arose. Alexander Rosenbaum is not limited to weapons. In his home arsenal, not only daggers and sabers, but also other military ammunition.

The most popular form of collecting in the world is numismatics (coin collecting). Psychologists believe that a person begins to collect a collection after he cannot fulfill his desires in real life. According to the collection, you can make a fairly accurate psychological portrait of a person. If all the exhibits are from India, a person has always sought to visit there. If you see a collection of soldiers in front of you is a hidden warrior and aggressor.

Singer Irina Otieva collects figurines of pigs. When asked why exactly pigs, Irina jokingly replies that if she collects “pigs” at home, there will be less of them in the world. The collections of Alexander Shirvindt and Mikhail Derzhavin have been in existence for many years. Heavy smoker Alexander Shirvind has been collecting pipes for many years, and fisherman Michal Derzhavin has been collecting fishing rods. Moreover, all their home exhibits are not stale on the shelves, but are used. Tatyana Bulanova until recently was a burning collector of hippos. Her passion went so far that Tatyana was already afraid to receive a live hippopotamus as a gift and decided to quit.

Experts believe that a full collection can be called:

Stamp collection - at least 10,000 pieces.

A collection of books - at least 1000 copies.

A collection of coins - at least 1000 pieces.

In addition, the collection must contain at least 1-2% of rarities.

The Kristovsky brothers from the Umaturman group collect beer mugs. Writer Alexandra Marinina collects rare Christmas bells - clay, crystal, porcelain, metal. Elton John collects cars. The garage on his estate contains 26 vintage cars.

One Brazilian captain collects the sound of the waves of all the oceans and seas, where he had a chance to visit. He also records the noises of passing ships, working ports, etc. The famous fat man Alexander Semchev collects good perfume. He does not forget about his other collection - models of helicopters and tanks, which he glues together at his leisure.

The most expensive type of collecting is the passion for antiques.

"Collecting in the 18th century"

In my report, I want to talk about the prerequisites for the emergence of collecting and the individuality of collections.

I will consider Russian private collections, art collections. My goal is to identify the types of private collections in Russia in the 18th century, to show the features of the collections, to consider the formation of private collections with the peculiarity of the personal tastes of the collectors, and what factors or people around him could influence the taste of the collector.

Private collections are defined as a complex of historical sources, since the folding of a family collection allows us to evaluate the layer of sources that has come down to us as a phenomenon of a particular historical period. The study of materials from private collections makes it possible to study the socio-political, economic and cultural life of Russia.

Collecting works of art, as an interesting cultural and sociological phenomenon, always reflects not only the personality, interests and tastes of the collector himself, but also the level of the existing culture, making it possible to trace the degree of society's susceptibility to artistic values. Being a product of culture and often side by side with philanthropy, collecting works of art is one of the most interesting types of human activity and has a "guiding" character in relation to some areas of artistic life, because Collectors always influence the state of contemporary culture and its future.

I will consider private collections, starting with the study of the personality of the collector, his surroundings and the influence on him.

The collections mainly consisted of collections of paintings, objects of arts and crafts, also much attention was paid to collecting books and compiling libraries, that is, samples of Western European culture, science and art were collected. In the field of literature, there was an interest not only in Western European literature, but also an appeal to Russian history, and a number of collections of ancient Russian manuscripts appeared. The study and publication of historical documents and works on Russian history begins. In Russia, a market for works of art was formed, mainly in St. Petersburg, where art objects from Western Europe were brought annually, and collectors also made purchases at auctions in Europe, in salons, antique shops, there were orders for paintings and sculptures by modern masters.

The heyday of collecting begins in the 18th century, when Russia embarked on the path of mastering European culture. Collecting art treasures was originally carried out in the royal family and in aristocratic noble circles - the wealthiest in Russia. Gradually, during the 18th century, the subject of collecting, the social composition of collectors expanded: that is, in addition to the nobility, representatives of the merchant class and commoners were also fond of collecting.

The beginning of systematic collecting is associated with the name of Peter I, who largely predetermined the further socio-cultural development of the country. The role of Peter in the emergence of private collecting in Russia was really great. The artistic tastes of Peter I, his collecting activities, had a significant impact on the tastes of his courtiers and the beginning of their collecting works of Western European art. According to J. Shtelin, noble courtiers decorated their houses in St. Petersburg and Moscow with paintings, imitating the taste of the tsar.

The collecting activity of Peter 1 continued until 1725. It is quite obvious that Peter gave preference to the works of the Dutch and Flemish masters, although there were also works of Italian painting in his collection.

Peter I not only collected the first collection of Western European paintings in Russia, but also invited Georg Gzel specifically to observe it, thus initiating the collection and storage of foreign paintings in our country.

Collecting works of art by Peter I were quite impressive. According to rough estimates, his art collection consisted of more than 400 works, and as for the significance of his collecting activity, it is recognized that Peter had versatile interests in the field of collecting, but with a pronounced artistic taste, which was associated not only with his passion for shipbuilding and other practical tasks, as is often assumed.

An example of the great interest of the tsar's associates in the cultural values ​​of Western Europe can be compiled by A.D. Menshikov, B.P. Sheremetev, P.P. Shafirov, A.A. books in foreign languages. However, about private art collections of the first quarter of the eighteenth century. very little is known, except for information about the collection of A.D. Menshikov and the collecting activities of Y.V. Bryus and D.M. Golitsyn, who had a good collection of Italian paintings in his estate near Moscow, which, after his death, turned out to be completely abandoned.

Thus, we can say that the history of private collecting in Russia originates in the first quarter of the 18th century, and its emergence is directly related to the collecting activities of Peter I.

From a young age, showing interest in science and a foreign way of life, Peter was the first of the Russian tsars to make a long journey to the countries of Western Europe (1697-1698). Peter I, during the "great embassy" at the end of the 17th century, visited the large prosperous cities of Holland and England. He was very interested in various innovations and objects of Western culture. The king, without stint, bought entire collections and individual items: books, instruments, tools, weapons, natural rarities. These items formed the basis of the Petrovsky Kunstkamera, the first Russian museum of natural sciences.

Returning to Russia, he decided to create his own cabinet of rarities. The room was called in the German manner the Kunstkamera, that is, the "cabinet of rarities." It was, in fact, the first scientific collection organized according to a certain plan, the first museum in Russia, it contained archaeological rarities, anthropological and ethnographic collections, also included art collections, in particular, collections of paintings. The Kunstkamera had such sections as:

§ North America

The Kunstkamera has the richest collections on the traditional culture and life of the indigenous peoples of the North American continent - Eskimos, Aleuts and Indians. Of particular interest are the compositions: the scene of the treatment of the patient by a shaman, the ritual dance of calling rain, and others.

§ Japan

This exhibition presents the life and culture of the Japanese and the Ainu. Fishing was one of the main trade activities on the island, and the Kunstkamera has a large collection of various tackle: hooks, nets, traps. The samurai armor exhibited at the exhibition amaze with its finish and complex design.

§ Africa

The hall dedicated to Africa introduces visitors to the history and life of many peoples inhabiting Africa south of the Sahara. The exposition presents various tools of labor that were the main tools of farmers. Objects skillfully carved from wood and bone are also on display.

§ China and Mongolia

50 national minorities live in China, and the exposition dedicated to the peoples of China characterizes only the main aspects of their way of life and culture. China is considered the birthplace of porcelain, and the museum has many items made of porcelain, as well as objects made of cloisonne, stone, wood and bone.

In the hall of Mongolia, the dwelling of a nomad - a yurt, as well as exhibits with traditional Mongolian ornaments, are of interest. They were decorated with clothes, tools, saddles, blankets and much more.

§ India and Indonesia

The section of the museum dedicated to the peoples of South Asia is one of the richest. The Kunstkamera has a large collection of carved wood brought from different parts of India. There are also collections of various masks, ancient theatrical costumes, puppet theater puppets.

The Indonesian section draws attention to kris daggers. The blade of these daggers was made of special steel and often had the shape of a tongue of flame. Also of interest are the exposition materials that tell about the shadow theater.

§ Australia and Oceania

Here are the primitive tools of hunters and gatherers.

§ Anatomical section

This section contains exhibits with anatomical deformities and a variety of natural rarities, such as a two-headed lamb, Siamese twins and much more.

The original collection of the Kunstkamera consisted of more than 2,000 exhibits and was bought by Peter I in 1717 from its creator, Frederick Ruysch, a Dutch anatomist, for 30,000 guilders.

During his second visit to Holland in 1716-1717, Peter visited the Albert Seb Museum. By this time, Seb had the idea to sell his collection to the Russian Tsar, about which he had already corresponded with him. Peter I's personal inspection of Seba's office apparently finally decided the matter, and the entire collection was bought for 15,000 Dutch guilders and transported to St. Petersburg for the Kunstkamera.

Following the Russian sovereign, who brought a new hobby from foreign travels, many of his associates begin to collect rarities, and a number of wonderful private collections are gradually taking shape, such as A.D. Menshikov, B.P. Sheremetev, D.M., family A.M. and D.A. Golitsyn. The first family gatherings are compiled under the influence of fashion or to please the king.

One of Peter's closest associates, Yakov Vilimovich Bruce (1670-1735), a Russian statesman, military man, engineer and scientist, also took part in the collection of the Kunstkamera. His collection included portraits of famous people, ethnographic objects, measuring instruments, maps, plans, manuscripts and books. Bruce was one of the most educated people in Russia, a naturalist and astronomer. He owned the largest library, numbering about 1,500 volumes, almost exclusively of scientific, technical and reference content. The scientific library, according to his will, after his death, entered the Academy of Sciences. The books were transferred to the Academic Library, and rarities - to the Kunstkamera. Being a member of the "Great Embassy", Ya.V. Bruce made scientific acquaintances in England and until the end of his life he maintained ties with this country; what are the numerous publications of the works of English scientists talking about, incl. I. Newton, which he received from there until his death. It is known that Bruce donated to the Museum of the Kunstkamera: an earthenware jug and a Kalmyk funerary urn, a jug made of Chinese dark red and brown stone. Among the rarities of the Kunstkamera, an oriental dagger also ascended to his collection.

The most curious in the collection of Bruce was, perhaps, ordered by him in Nuremberg

Johann Dorsch, carver, a series of portraits of Russian rulers from Rurik to Peter I.

Of the rarities of the Kunstkamera, it turned out that the section of painting was enriched in many respects from the collection of the late Bruce. Of the first ten royal portraits from Ivan the Terrible to Ivan Alekseevich, nine are Bryusov's. In the Kunstkamera Catalogue: "Portrait of Charles, King of England: painted on canvas after the original by Anthony van Dyck." Or Bruce has a plot canvas - in the Catalog of the Kunstkamera "Prometheus with a kite".

One of the famous collectors of the 18th century was Dmitry Mikhailovich Golitsyn (1665-1737). A unique phenomenon in the history of international artistic relations and in the history of Russian collecting was the activity of the Russian ambassador in Vienna. For more than 30 years he lived in the capital of the Austrian Empire, where he gained wide fame and love for his charity work and patronage of scientists and artists.

His collection included books, manuscripts, paintings, natural science collections. He had a huge library, in which there were about 3 thousand publications in Russian and foreign languages. There were also handwritten translations, the collection included handwritten collections, annals, Byzantine chronicles, genealogical and category books, Novgorod and grand ducal charters, descriptions of pilgrimages to holy places. Dmitry Mikhailovich Golitsyn compiled a catalog of paintings and engravings.

The catalog is a leather-bound notebook with embossed gold ornaments around the edges, with a handwritten text in French. It can be assumed that this catalog came to the Hermitage along with other exhibits of the Golitsyn Museum, acquired by the Hermitage in 1886. Thus, the handwritten book is a catalog of one of the largest art galleries created by representatives of the numerous, branched family of the princes Golitsyn at the end of the 18th century. collecting museum Kunstkamera exhibit

D. M. Golitsyn also patronized the learned clergy and students-translators from the Kyiv Theological Academy. In Kyiv, the famous library of D.M. Golitsyn, its most valuable section - Old Russian. The collection of books of the 16th - early 18th centuries in foreign languages, especially in French, was extremely rich. The library had a clearly defined humanitarian focus: books on history, politics and jurisprudence predominated.

The statesman Andrei Andreevich Vinius (1641-1717), who taught Dutch to Peter 1, collected maps, plans, engravings, his book collection included many books in German, French, Latin, Polish and many books in Dutch. There was also a collection of atlases, city plans, a collection of works by Dutch artists, the works were collected in a large album of engravings and drawings, on the cover of which the "book of Andrei Vinius" was displayed by the owner's hand.

One of the oldest art collections in Russia is the Sheremetev Collection. Boris Petrovich Sheremetev (1652-1719) was one of the first to furnish his houses in the European manner. The beginning of the collecting activity of B.P. Sheremetev, apparently, dates back to the mid-1740s and in the early years was the result of "imitation of the taste" of Empress Elizabeth. The result of this kind of "hobbies" was the replenishment of the Kunstkamera, which was the most curious example of the St. Petersburg gathering of the eighteenth century.

Of great importance for the formation of his artistic tastes was the trip across Europe carried out by order of the tsar (1697-1699), during which B.P. Sheremetev, following to Malta, passed through Poland and Austria. It was then that he first visited Krakow, Vienna, the cities of Venice and Rome. What he saw in Europe, apparently, had a strong effect on him. B.P. Sheremetev not only returned to Russia in a "German dress" and a wig and began to arrange his houses according to the European model, but he was also one of the first to support Peter's undertakings aimed at abandoning the traditional Russian way of life in favor of European culture.

His heir, Pyotr Borisovich Sheremetev (1713-1788), also began to acquire works of art and, influenced by fashion, created a collection in a house on the Fontanka embankment. The collection of the Fountain House consisted of works that were completely different in their artistic quality. Along with the originals of famous masters, there were copies. Later, in 1750, a "picture room" appeared with tapestry. This was the type of collecting that was dictated rather by prestige considerations, since Pyotr Borisovich Sheremetev was a very rich man, he collected significant huge collections of paintings, sculpture, porcelain, medals, coins and weapons. His successor Nikolai Petrovich Sheremetev (1751-1809) continued the family tradition of collecting. The Sheremetev collection demonstrated both the aesthetic tastes of the time and the personal preferences of the owner. The evolution of Sheremetev's collections - from a spontaneous everyday collection of works of art and painting to specialized collections - art galleries, collected consciously and thoughtfully.

Collection of Alexander Sergeevich Stroganov (1733-1811) - a representative of the famous Russian noble family, one of the most educated and wealthy people of his time. In his palace on Nevsky Prospekt, he created a library and an art gallery, which became one of the first Russian museums. Stroganov is an example of not a simple collector, but an erudite lover of painting. That is why he managed to turn his collection, which included works of fine art as part of interior decoration, into a systematic collection of artistic value.

At the court of Catherine II, A.S. Stroganov occupied a special position from the very beginning, because. acted on her side during the events of 1761, for which he was granted a chamberlain, and after returning from France, he became especially close to the empress, who greatly appreciated his society, sharp mind and education. Very often, Catherine used the advice of A. S. Stroganov in the collection of her own art collection.

Collecting activity of A.S. Stroganov began in his youth and continued, apparently, until the last years of his life. Particularly interested in art during his first trip abroad in the 1750s, he then received an excellent opportunity not only to get acquainted with the collections of Western European paintings, but also to acquire the first paintings for his own collection.

In 1752 he travels abroad. The canvases he bought in 1754-1755 in Italy belonged to the brush of Renaissance masters. In Venice, he acquires a painting by Correggio. In 1756, the young Count moved to Paris, acquired Domenico Feti's painting Rural Life, then Francesco Solimena's Allegory of Reigning. Alexander Sergeevich was especially active in sales during his second stay abroad (in the 70s of the 18th century), buying paintings from famous Parisian collectors. Then he acquired many paintings from the collection of Mariette, Choiseul, Prince Conti and others.

Returning to St. Petersburg, A.S. Stroganov continued his collecting activities, the success of which was largely due to the existence of antique shops and firms in the capital, thanks to which it was possible to acquire works of art without traveling abroad. At this time, the first Russian catalogs of public sales of antiques were already being actively printed, which are a valuable source for judgments about the state of the art market and the level of its development in the second half of the 18th century.

Enlarging his collection in the 1780-1790s. by acquiring works of art in antique shops, trading companies, from private collectors, A.S. Stroganov already in the early 1790s. had a wonderful collection of Western European paintings, for the placement of which it was decided to create a special room - an art gallery, and in 1788-1791. work was carried out in the Stroganov Palace on Nevsky Prospekt, as a result of which two palace buildings were built and three ceremonial interiors were created, united by a common plan into a single ensemble, the main place in which the Art Gallery occupied.

The review of the collection was compiled in accordance with the established tradition in the division of Western European painting into schools, after a brief general description of which, there was a listing of the works of individual masters, and each painting was assigned its own number.

The catalog of the collection of Count A.S. Stroganov is interesting not only as a source of valuable information about the collection itself, but also as a document from which one can get an idea of ​​A.S. Stroganov's views on art in general and his attitude towards individual masters in particular, i.e. To. when compiling the catalog, he provided a text in which he made a number of remarks and digressions related to the biographies of artists and their work, and also raised some questions of the theory and history of art.

Printed catalogs of art collections were extremely rare in Russia, and the publication of the catalog of the Stroganov collection was preceded only by the publication of the catalog of the Hermitage collection.

Thus, in the art gallery of Count A. S. Stroganov there were many unique works of art, which made this collection one of the best in St. Petersburg.

The art gallery, open to the public, has become a classroom for studying the history and theory of painting by students of the Academy of Arts,

A. S. Stroganov, former president of the Imperial Academy of Arts and director of the first public library in Russia, having collected a wonderful collection of Western European paintings, spared no time and effort to study it. The collection was systematized by school in a catalog compiled by him, which in itself was unique until the end of the 18th century. phenomenon, was of great importance for the popularization of the Stroganov meeting, because. its publication made it possible for connoisseurs of art both in Russia and abroad (due to the fact that it was published in French) to get acquainted with one of the most remarkable collections of Western European painting in St. Petersburg.

Also one of the most educated collectors of the 18th century was Nikolai Borisovich Yusupov (1750-1831). Yusupov has been collecting for almost 60 years, during which time he created one of the largest collections of Western European paintings in Russia. His collection included easel painting, sculpture, works of arts and crafts, collections of engravings, drawings, miniatures, and an excellent library. But the basis of the collection was an art gallery. The Yusupov Art Gallery featured works from almost all European schools, but French, Italian and Dutch artists were especially well represented. Prince Yusupov was the first to import into Russia first-class works by French artists of the early 19th century.

Ivan Ivanovich Shuvalov (1727-1797) was an educated Russian philanthropist who also had an excellent art gallery. He made a huge contribution to the formation of the Hermitage art gallery, since he was Catherine's adviser on the acquisition of paintings and orders for foreign artists. Founder and first president of the Academy of Arts. His personal collection formed the main core of the picture gallery of the Academy of Arts. He presented the Academy with his collections of paintings and drawings, a library. Shuvalov was one of the first to specialize his art collections, not collecting rarities of the natural science order, but collecting collections of Western European and Russian paintings, drawings, antique monuments, including Greek and Etruscan vases. Shuvalov's aesthetic preferences influenced the formation of Russian artistic culture of the 18th century. After all, when forming the Hermitage collection, he influenced the tastes of other collectors of the era, who, in turn, were guided by the imperial collection when selecting their collections.

Jakob Shtelin, in his notes on the fine arts, said that Ivan Ivanovich Shuvalov, "the first minister of the emerging Russian education," began his service at the court as a page-chamber at the age of fifteen.

By the mid 1750s. Shuvalov's collection was already quite large in terms of the number (about 60 works) of paintings that were there and very outstanding in its artistic qualities among other private collections of that time. The collection included Italian, Flemish, Dutch and French paintings, in 1758 he donated it to the Academy of Arts, thus providing its students with an excellent opportunity to study and copy the works of Western European masters for educational purposes. Three years later, they were joined by almost all the other paintings of this collection, bought from the owner for 20 thousand rubles. for the Academy of Arts by order of Catherine II. Then 100 works were purchased, a list of which, with prices indicated, was soon compiled by J. Shtelin under the title "List of paintings purchased by order of Her Imperial Majesty from Chamberlain Shuvalov for the Academy of Arts. 1764".

Collecting activity of I.I. Shuvalov in the late 60s. continued, albeit in slightly different forms. In 1767, he came to Rome, where he lived for several years, during which he purposefully acquired monuments of ancient art for Catherine II, the Academy of Arts and for himself, received permission to order casts of outstanding works of ancient sculpture, became closely acquainted with many artists, archaeologists and collectors. Acquisitions of paintings were much less numerous, because. Apparently, he did not receive special instructions from the Empress in this regard. Returning from abroad, where he lived until 1773, I.I. Shuvalov became quite close to Catherine II as a nobleman, whose advice and services she constantly used in matters of art, which always gave reason to mention his name in connection with the formation of the collection Hermitage.

In the 1770s, despite the fact that I. Shuvalov parted with the collection of paintings before his trip, his mansion was still filled with works of art.

Also in my report, I want to mention that portrait galleries were an obligatory component of private noble collections in the 18th century. They were designed to perpetuate the family, and served as proof of the nobility, wealth and ancient origin of the owner. And of course the personal prestige of the owners. It was fashionable to commission portraits of family members from leading Western European or Russian artists. Some owners collected portraits of prominent historical figures.

Among the most interesting portrait galleries is the Sheremetev Gallery in Kuskovo. The portrait gallery contained portraits of Russian tsars and emperors of the 16th and 18th centuries, images of persons related to the royal and imperial families. One section of the gallery was dedicated to famous Russian military and statesmen of the 18th century from the era of Peter the Great to the reign of Paul. Another part of the gallery - portraits of foreign sovereigns of Western Europe in the 18th century. And of course, an indispensable part of the portrait gallery were the portraits of his parents, children, and closest relatives commissioned by Peter Borisovich Sheremetev.

Portrait galleries in the 18th century became widespread among the layers of the nobility, for example, the Glebov-Streshnev portrait gallery from the Pokrovskoye estate (the works are now kept in the collection of the Historical Museum in Moscow). This is an example of private collecting of the Russian untitled nobility, which were many in Russia.

When creating portrait galleries in the 18th century, ordering copies was widely practiced. Since it was impossible for everyone to have the original in their gallery.

Conclusion

Private collecting in Russia existed long before the eighteenth century in the form of spontaneous collection of works of decorative and applied art, utensils, jewelry, religious works, etc. In the time of Peter the Great, natural science exhibits and works of Western European art became the main subject of collecting. The first type of collections is the Kunstkamera. The principles of the formation of the Kunstkamera were entirely borrowed in Western Europe. The first Russian collector of the European type was Peter I. He had the idea of ​​creating museums, he also took the first steps towards its implementation. The first Russian museum - the Kunstkamera - was the first Russian collection of a universal type, which included the first Russian public art gallery as an integral part.

Peter I outlined the paths and starting points of private collecting in Russia. His associates tried to imitate him, gradually acquiring knowledge and a taste for collecting.

The impulse given by Peter I gave rise to a number of wonderful collections, created both to please the tsar, or fashion, and for the research activities of scientists or the pleasure of true connoisseurs of art. Specialized collections appear - primarily art, as well as archaeological or natural science

By the middle of the 18th century, the scientific and educational direction of collecting during the era of Peter the Great was being replaced by an active filling of interiors with works of decorative and applied art. Art galleries appear and become widespread.

Picture galleries, in turn, can exist both in the form of collections of works of national schools of various historical periods, and can be divided into: portrait galleries (divided by genre), salons of works by one artist (for example, the salons of Hubert Robert), thematic exhibitions (for example, "Amur Hall").

Luxurious palaces dictate the need to fill them with works of art, which is reflected both in the scale of private collecting and in its focus.

Throughout the 18th century, private collectors were mainly engaged in by representatives of the highest aristocracy. The first real connoisseurs and connoisseurs grew up from their midst, having gone from simple collecting to the formation of specialized art collections, collections of antiquities, rare books and manuscripts.

It was in the 18th century that the foundations of museum business were laid. The logical conclusion of the stormy collecting activity of this century was the addition by the beginning of the 19th century of the basic principles of cataloging and the publication of the first Russian catalogs of private collections.

The advent of the 19th century brought a new understanding of art, cultural values ​​and their place in society, arose new collectible interests. The aesthetic tastes of Russian society in the 1800s-1820s were largely determined by the hopes for positive changes in Russian society, which were expected from Alexander I, and the patriotic upsurge caused by Russia's victory over Napoleon.

In the first quarter of the 19th century, the first periodicals devoted to the fine arts appeared. In 1807, the Bulletin of Fine Arts was founded, published by I.F. Boulet, but it quickly ceased to exist, since it was addressed only to a narrow circle of specialists and was of little interest to the general public. In 1820 in St. Petersburg under the editorship of V.I. Grigorovich, a new journal was created with the same name, which published art criticism, reviews of the artistic life of Russia, reports from the Academy of Arts and the Society for the Encouragement of Artists, but also did not last long, without a sufficient number of subscribers and dependent on state subsidies. Art history materials were published in other periodicals: Son of the Fatherland, Fatherland Notes, Russian Bulletin, etc. The patriotic upsurge aroused the interest of Russian society in the national school of painting. In this regard, a significant number of biographical dictionaries of Russian artists compiled by I.A. Akimov, I.F. Bule, P.P. Beketov, V.I. Grigorovich and others. Information about exhibitions at the Academy of Arts was constantly published in periodicals 1 . An important event in Russian cultural life was the creation in 1825 of the "Gallery of Artistic Works of the Russian School" in the Imperial Hermitage 2 .

The picture of artistic tastes and passions of Russian society in the first quarter of the 19th century cannot be complete without the Decembrists, who, according to Yu.M. Lotman, "some special behavior, a special type of speech and reaction inherent in a member of a secret society" distinguished them from other nobles. Their outlook was formed under the influence of romanticism 3 . The aesthetic system of the Decembrists, researcher P.V. Sobolev defined it as "The Theory of the Fine - the Theory of Action", which connects romantic ideals with revolutionary practice 4 . In the visual arts, the Decembrists were committed to romanticism, breaking their internal ties with the aesthetics of classicism. Elements of realism in the visual arts, manifested in the work of V.A. Tropinin and A.G. Venetsianov, were not accepted by the Decembrists 5 .

The era of hopes ended in 1825 with the defeat of the Decembrist uprising and the accession to the throne of Nicholas I, whose reign is characterized by tough domestic politics. But, at the same time, the Nikolaev era was productive in the field of literature and arts. At this time, outstanding Russian poets, writers, artists worked.

In the second quarter of the 19th century, a number of publications appeared dedicated to the largest art collections in Russia, primarily the Hermitage, which were published not only in Russia, but also abroad. In 1827, F. Gand's book Works of Art and Antiquities in St. Petersburg was published in Weimar, a significant part of which was devoted to the Hermitage. This edition was sold in Russia, but only in German, without Russian translation. Russian catalogs and descriptions of the Hermitage collections were created in 1833 and 1838. In 1845-1847 a description of 120 best paintings from the Hermitage collection was published. In 1842, a catalog was published with elements of the biographical dictionary of artists of the Museum of the Academy of Arts "Index of works in the Academy in alphabetical order of the names of artists and objects" 6 .

Historicism, as a style manifested in architecture, painting, arts and crafts 7, also contributed to the formation of interest in Russian society and figurative perception of domestic and foreign history, enriching everyday life with images of past eras.

Collecting interests Russian society was largely determined by the tastes of the emperors. Alexander I was interested in art, not without reason in the portrait by the French artist F. Gerard, he is depicted as the “patron of the muses”, similar to Apollo or Mercury, representing the painting of Minerva 8 . Under Alexander I, the replenishment of the Hermitage collections became more active. The emperor personally took part in the acquisition of the largest collections, giving preference to French painting 9 .

Nicholas I, according to the famous art critic N.N. Wrangel "undoubtedly loved art, loved it in his own way" 10 . In 1829, the Academy of Arts was transferred to the Ministry of the Court, and the emperor interfered in the affairs of this educational institution. In 1845, Nicholas I visited Italy, where he purchased and ordered more than 30 statues and sculptural groups, busts, fountains and fireplaces, got acquainted with Italian masters and visited the workshops of Russian artists and sculptors who worked there at that time. Each of them received an order from the Emperor 11 . During the emperor's stay in Pompeii, he was presented with antiquities dug up in his presence on the orders of the Neapolitan king, among which are the bronze bust of Caligula and the marble sculpture "Boy with a Bird" (currently in the Hermitage) 12.

The personal tastes of the emperor were reflected in the collection of weapons, which he began to collect in 1811, as a grand duke, and this hobby remained with him throughout his life. The collection of Nicholas I included Western European armor of the 16th century, edged and firearms, oriental weapons. An important place in the collection was occupied by the trophies of the Persian war of 1826-1827 and the Turkish war of 1828-1829 13 . In addition, even before his accession to the throne, Nicholas began to collect collections of prints, caricatures, and old maps. They were in the Anichkov Palace, and the Grand Duke was organizing them 14 .

Collectors of the first half of the 19th century social composition mostly nobles, from representatives of the highest aristocracy to poor landowners and officials of various ranks. But collectors from the Raznochinsk intelligentsia begin to appear, whose interests were due to scientific pursuits or a sincere passion for collecting. At this time, the type rescue collectors, collecting something that was not included in the circle of traditional collectors' interests and could perish 15 . Such passionate collectors include the former serf Sheremetev N.I. Podklyuchnikov , restorer of paintings, which gave him the opportunity to get acquainted with many collections of his time. Gradually, the passion for collecting seized him, and he began to collect a wide variety of things: paintings, Masonic relics, Russian antiquities 16 .

The former serf of the Stroganovs, A.E. Teploukhov, made up an interesting archaeological collection, which was then continued to be collected by his son, F.A. Teploukhov 17 . Later, the chairman of the Moscow Archaeological Society P.S. Uvarova named F.A. Teploukhov "the only private owner who<…>took his collection seriously.

Cannot be separated from Russian culture collections of diplomats who stayed abroad for a long time and acquired works of art there. The collectors were the envoy in Tuscany N.F. Khitrovo and his wife E.M. Khitrovo 19 .

In the first half of the 19th century, many Russian people with means lived abroad for a long time, where they made up art collections. Unfortunately, not all of these collections came to Russia, many of them were sold at will or after the death of their owners.

Grand Duchess Maria Nikolaevna, after the death of her husband, Maximilian of Leuchtenberg, settled in Florence, at Villa Cuarto. There she became intimately acquainted with artists, and devoted much of her time and energy to collecting paintings 20 .

BEHIND. Volkonskaya 21, daughter of the famous collector and patron of the book. A.M. Beloselsky-Belozersky, whose house she called "the refuge of everything elegant" 22 , collected works of art, including ancient monuments. Contemporaries spoke of her collection with admiration. The poet M. Venevitinov wrote about the salon Z.A. Volkonskaya “She decorated her house with originals and copies of the most famous works of painting and sculpture, the rooms of her house, a real museum, she painted frescoes in the style of different eras” 23. In 1829 Z.A. Volkonskaya left for Italy forever. The garden of her Roman villa was decorated with antique statues and bas-reliefs. In the arches of the ancient aqueduct located on the territory of the villa, grottoes were built, in which there were copies of the famous ancient statues 24 .

The son of a diplomat and collector N.N. Demidov, A.N. Demidov-San Donato lived most of his life abroad, where he collected an outstanding collection of works of art, which, after his death, was sold at auction, at which, according to a contemporary, “there was something to envy, get carried away or admire! Many of the items in this memorable auction reached prices that were truly fabulous” 25 .

Ways of forming collections. In the first half of the 19th century, an antique and art market was developed in Russia, as well as a market for old manuscripts 26 . The description of Moscow shops, for example, was given by P.P. Svinin: in the stores of Lukhmanov, Shulgin, Shukhov and other "paintings, marbles, bronzes, crystals<…>mountains with Chinese porcelain, collections of precious snuff boxes, ancient magnificent vessels made of silver and amber, statues and vases made of basalt and malachite<…>great rarities and jewels, which can not only be bought for a reasonable price, but also exchanged for things that are no longer liked and no longer needed.

There were other ways to form congregations. So, the historian M.P. Pogodin replenished his collections while traveling in Russia and the Slavic countries. He visited all significant cities and monasteries of Russia. He acquired a number of items at fairs, including the famous Nizhny Novgorod fair 28 . Ancient coins, manuscripts and other antique items could be bought at the crowded market. There were also connoisseurs of antiquity, who specifically sought out rarities for collectors.

Simultaneously with the growth in demand, the development making fake antiquities causing great damage to collectors. So, in Moscow, the manufacturer of fake ancient Russian manuscripts A.I. Bardin, whose products ended up in the collections of even such connoisseurs of antiquities as the historian M.P. Pogodin, collector and connoisseur of antiquities P.F. Karabanov 29 . In the collection of S.G. Stroganov, which had a high artistic and scientific value, there was a bronze figurine of Apollo, which was initially highly appreciated by contemporaries, including St. Petersburg archaeologist L. Stephanie, who devoted an entire study to it, but turned out to be a fake of the 18th century

Collectors were guided in their activities by various motives.. In the first half of the 19th century, such an important motive for compiling a collection appeared as the desire to support and encourage young artists to create. The most striking example of such collecting is the meeting of the Minister and member of the State Council F.I. Pryanishnikov in Petersburg. He began to collect paintings by Russian artists, wishing to support them 31 . Pryanishnikov's gallery was highly appreciated by his contemporaries, noting that he "realized a marvelous idea: to put together wonderful works of exclusively Russian artists" 32 . In 1854, while in St. Petersburg, Pryanishnikov's collection was examined by P.M. Tretyakov, who at the same time had the idea to create a gallery of national art. The only one of all private art galleries, the Pryanishnikov Gallery was bought by the treasury during the life of the owner, but was left for his lifetime use until his death in 1867. After the death of Pryanishnikov, the gallery was initially attached to the Museum of the Academy of Arts, but then it was decided to transfer it to the Moscow Rumyantsev Public Museum 33 .

Circle of collectibles corresponded to the interests of Russian society in the field of culture. A collector of wide and diverse interests, in many ways an innovator, was S.G. Stroganov, who was the first in Russia to start collecting paintings of the early Renaissance (“primitives”). In his collection there were also Western European paintings, antique works, numismatic monuments, characteristic of the collections of his time. In addition, he was interested in new collectibles: Chud antiquities, icons, mostly in Stroganov's writing, Mexican antiquities 34 .

In the first quarter of the 19th century the main directions of Russian collecting largely determined by the patriotic mood of Russian society, the growth of national consciousness, caused by the victory over Napoleon. A new impetus was given to the emerging in the second half of the 18th century collecting monuments of Russian antiquity. This type of collecting developed against the backdrop of increased interest in national history. An important event in the life of Russian society was the publication in 1818 of eight volumes of N.M. Karamzin. The controversy around this work involved wide sections of the educated part of society, not only in scientific publications, but also in monuments of the epistolary genre, diaries and epigrams. Pushkin and Zhukovsky 35 expressed their opinions about History.

An outstanding statesman and diplomat, Chancellor N.P. Rumyantsev 36 . In 1814 he retired, settled in St. Petersburg, in his mansion on the Promenade des Anglais, and devoted himself to scientific pursuits and collecting. N.P. Rumyantsev not only collected collections of antiquities himself, but united around him a circle of scientists - N.N. Bantysh-Kamensky, K.F. Kalaidovich, P.M. Stroeva, F.P. Adelunga, A.A. Vostokov and others. They searched for documents on the history of Russia in foreign archives, examined domestic archives 37 . Scientists have discovered unique monuments of ancient Russian writing, among them the Izbornik of Svyatoslav of 1073, the Sudebnik of 1497 and others. At the expense of N.P. Rumyantsev, publications of documents were undertaken: “Ancient Russian poems collected by Kirshey Danilov”, “Monuments of Russian literature of the XII century”, “Belarusian archive of ancient letters” 38 . After Rumyantsev's death, his collections were in his mansion on the Angliyskaya Embankment and were available for viewing, but from the 1850s, access to them was discontinued due to the dilapidation of the building. Therefore, at the initiative of the Moscow educational district, the Rumyantsev collection was transported to Moscow in 1861, where it was subsequently merged with the Moscow Public Museum. In 1862, the joint Moscow public Rumyantsev Museum was opened.

But the victory in the war with France caused significant damage to collecting. When Napoleon's troops approached Moscow, F.V. Rostopchin, who at that time was the Moscow Governor-General, himself set fire to the house in Voronovo, where his art collections were located, so that the enemy would not get it 39 . The fire of Moscow in 1812 destroyed the most valuable manuscript collections and book depositories of Moscow: the historian K.F. Kalaidovich, P.G. Demidova, D.P. Buturlin, professor of Moscow University F.G. Bauze and many others 40 .

The ideas of patriotism, the pathos of Russia's victory in the war against Napoleon were reflected not only in the selection of items in the collections, but also in how these items were exhibited. By placing objects in the room, the collector acted as an interpreter of his collection, giving the exposition an ideological sound. An example of this is the collection of the hero of the war with Napoleon, General A.I. Osterman-Tolstoy, who was forced to leave his military career after the Battle of Kulm in 1813, during which he lost his arm. After being wounded, the general spent a long time abroad: in France, Switzerland, Italy, Germany, where he communicated with many famous artists and sculptors, both foreign and Russian, who worked abroad, ordered them works of art, including his own portraits. Collections collected by A.I. Osterman-Tolstoy, were located in St. Petersburg, in his house on the Promenade des Anglais. The White Hall, designed as a pantheon of Russian military glory, was, according to the description of a contemporary, "more like a temple than a room." The exposition of this room reflected the patriotic moods of Russian society in the first quarter of the 19th century, as well as the fate of the general himself, the brightest pages of which were connected with the war against Napoleon 41 .

In line with patriotic sentiments, the growth of national identity was collecting Russian art. The collection of the St. Petersburg collector A.R. Tomilov, in whose house the artists gathered: O.A. Kiprensky, A.G. Varnek, A.O. Orlovsky and others. A.R. Tomilov was one of the first to understand the significance of sketches and began to collect them. He showed interest in the works of realist artists of the 1830s and 1840s, which did not immediately attract the attention of collectors 42 .

Private collections of the first half of the 19th century occupied an important place in various spheres of Russian cultural life. At that time, there was an acute shortage of museums in Russia. The idea of ​​creating a Russian national museum arose as one of the manifestations of the growth of national consciousness after the victory over Napoleon. In 1817 - 1821, members of the circle of N.P. Rumyantseva - B. Wihman and F.P. Adelung - came up with projects to create a single all-Russian museum of antiquities, designed to promote historical knowledge 43 .

An important event in the cultural life of Moscow was the opening in 1802 of an art gallery at the hospital, created on the initiative and on the basis of the collections of cousins: D.M. Golitsyn, Ambassador Extraordinary of Russia in Vienna, and A.M. Golitsyn. The gallery existed until 1817-1819, when it was sold out. The gallery catalog has not been preserved 44 . This was the first time in Russia creating a museum based on a private collection for charitable purposes.

Writer and diplomat P.P. Svinin 45 opened a museum in 1826 on the basis of his private collection in St. Petersburg, in a house near the palace of Grand Duke Mikhail Pavlovich (now the State Russian Museum). P.P. Svinin wrote: "I already have such works of painting and sculpture that it is not a shame to put them among the works of the best masters of all known schools, that they would not be eclipsed in the first galleries." The Svinyin Museum also included a numismatic collection. The mineralogical collection supplemented the artifacts and complemented the idea of ​​Russia 46 . In 1829, due to financial difficulties, P.P. Svinin was forced to sell his collection. He offered the treasury to purchase it, but the purchase was delayed, and in 1834 the Russian Museum was sold at auction 47 .

In the Porechye estate in the 1840s, it was founded by Count S.S. Uvarov, President of the St. Petersburg Academy of Sciences, Minister of Public Education, one of the largest private museums in Russia, accessible for inspection 48 . In 1853, the "Index of the Porec Museum for Visitors" was published, which listed the main and most interesting items. The collection was supplemented by a library decorated with marble busts of historical figures. An organic addition to the museum was an extensive botanical garden.

A.F. Rostopchin is a collector, philanthropist, bibliophile, writer, son of F.V. Rostopchin, having inherited and significantly expanded his father's art collection, opened a public art gallery in his own mansion in Moscow in 1850. A catalog of the museum was published in French. However, two years later, due to financial difficulties, the gallery was closed 49 .

Recognizing the need for a public museum for Russia, Nicholas I created it on the basis of the imperial collections. In 1852, the museum was opened in a building known as the New Hermitage (architect L. Klenze). The construction of the building, the formation of collections and other issues of organizing the museum were under the personal control of the emperor 50 .

During the creation of the museum, an inventory of works of art in the Hermitage was carried out, and paintings that were the personal property of the imperial family were identified. Thus, it was emphasized that the paintings on display in the New Hermitage cease to be the personal collection of the tsar, although they are the property of the imperial house 51 .

The creation of the museum on the basis of the imperial collection inspired collectors to transfer the collections, in the form of a gift or will, to the name of the emperor. Thus, there was the process of transition of private collections into the category of museums. His huge collection, which included paintings by Italian, Spanish, Dutch, Flemish and Dutch artists, as well as sculpture and gems, bequeathed to Nicholas I D.P. Tatishchev, who was in the diplomatic service for a long time in Naples, Madrid, The Hague and Vienna 52. The collection was supplied with a catalog and a postscript: “I allow myself to make this loyal offering, because these things have already become known among European artists and patrons of the fine arts, who unanimously spoke of their merits with great praise” 53 . The Moscow collector N.F. bequeathed his famous home museum of Russian antiquities to Nicholas I. Karabanov. A contemporary described Karabanov's collection as "the only private collection in our time in its completeness, diversity and richness" 54 .

Private collections were transferred to the Hermitage not only by donation or bequest, but also by purchase and sale. So, in 1851, for the New Hermitage, A.N. Demidov-San Donato was bought for 100 thousand rubles in silver, a collection of ancient sculpture collected by his father, envoy to Florence N.N. Demidov 55 .

Another way to make collections available for review and useful to the public was transfer of collections to educational institutions.

In 1821 A.N. Olenin handed over to the Academy of Arts, of which he was president, his collection of weapons, which became part of the Rustkamera he created, its items served artists and sculptors to create works of art on historical subjects 56 .

In 1852 F.F. Vigel, a writer and bibliophile, donated his collection to Moscow University, which included engravings and lithographs of cultural figures associated with Moscow University, writers and poets, actors, military leaders. The collection included an engraved portrait of A.S. Pushkin by N.I. Utkin from the original by O.A. Kiprensky. The collection was kept in excellent condition, the portraits were arranged in separate folders, with the owner's handwritten signatures and explanations 57 .

The lack of museums was to some extent made up for by private collections., which were not always complete and systematic, but in them things could be examined, touched, picked up 58 . The daughter of the sculptor F.P. Tolstoy, M.F. Kamenskaya, who had the opportunity during receptions to get acquainted with the collection in the mansion of I.S. and A.G. Laval on the English Embankment in St. Petersburg, noted that "it seems that no one, except Countess Laval, had such a multitude of Etruscan vases and things collected in one collection" 59 .

The general public had the opportunity to see works from private collections, previously inaccessible, on temporary exhibitions, organized on the initiative of the emperor's son-in-law, Maximilian Leuchtenberg at the Academy of Arts, in St. Petersburg, in 1851 and 1861. Their participants were the largest collectors, including members of the imperial family 60 .

collection centers were the capital of the Russian Empire - St. Petersburg and the ancient capital of Russia - Moscow.

From Petersburg collectors- members of the royal family, first of all, should be called the eldest daughter of Nicholas I, Grand Duchess Maria Nikolaevna and her wife, Duke Maximilian of Leuchtenberg, who at one time held the post of President of the Academy of Arts. In St. Petersburg, their collections were in the palace at the intersection of the Moika and Voznesensky Prospekt, built according to the project of the architect A.I. Stackenschneider. The basis of the collection was the collection of Father Maximilian of Leuchtenberg, Prince Eugene of Beauharnais, Viceroy of Italy (stepson of Napoleon I). The collection of the Duke of Leuchtenberg included paintings and family heirlooms: portraits of Josephine Beauharnais by F. Gerard, and Eugene Beauharnais by Stieler, as well as battle paintings. Maximilian Leuchtenberg added to his father's collection, including paintings by Russian masters. Of the works of sculpture, we note the work of Canova "Three Graces" and "Mary Magdalene". Maria Nikolaevna and Maximilian Leuchtenberg also owned the Sergievka estate in old Peterhof. The interiors of the palace in Sergievka and the park were decorated with sculptures by Russian and Western European masters in originals and copies, as well as marble, bronze and galvanoplastic copies of antique works. Opposite the main entrance to the palace was a marble bust of Prince Eugene de Beauharnais. Unfortunately, not all sculptures from Sergievka have been preserved; many of them can now be seen only in old photographs and postcards 61 .

In the second quarter of the 19th century, among Moscow collectors the leading place was taken by the professor of Moscow University, the publisher of the magazine "Moskvityanin", the famous historian and philologist, the collector-scientist M.P. Pogodin, who collected the famous Ancient Storage, which included manuscripts, early printed books, autographs of scientists, writers, statesmen, both past and contemporaries. M.N. Pogodin also compiled collections of medals, seals, weapons, items from the Chud mounds. The section of Old Russian church and civil life was diverse, including Old Believer casting, Old Russian sewing, jewelry, more than 200 icons. In 1852, the Treasury purchased the Ancient Storage 62 .

The conditions for collecting also developed in large university cities, where it was possible to acquire books, art values, historical and natural scientific monuments, where there were learned societies, including university professors, who were able to become interested in and appreciate the efforts to collect collections. The collections of Professor of Therapy, Pathology and Clinic, Rector of Kazan University K.F. Fuchs 63 . In an article dedicated to Fuchs, he was characterized as "a doctor, a learned traveler, a naturalist, a linguist, an anthropologist, a numismatist, an archaeologist, an ethnographer, a historian, a writer." Fuchs's broad interests were reflected in his collections of Oriental coins, Old Believer manuscripts and early printed books, as well as extensive collections of natural sciences - mineralogical, botanical, etc. cupboards and chests in which this scientific wealth was carefully preserved” 64 .

Manor collecting takes on a different character than in the Enlightenment. Gone are the luxurious estates of Catherine's time, which were one of the characteristic features of the culture of the second half of the 18th century. In the first half of the 19th century, the Russian noble estate entered a new stage of development. The flora of manor parks is enriched, special importance is attached to rare, exotic plants, often in combination with the serious passion of the owner of the estate for botany and the formation of a special library. Architecture, landscape gardening, the life of the inhabitants of the estate are now subject to the aesthetics of romanticism. Memorial corners are created in the parks associated with events of family importance, reminiscent of relatives and friends - the "semantics of feelings" is cultivated. Memorial motifs in the estate, collecting rare plants - all this made collecting an organic part of the estate culture, revealing its contradictions 65 .

On the one hand, among the paintings in the landowners' houses one could see works of various artistic merit - from outstanding works of art to paintings created by self-taught serf artists. The most common were portraits of emperors and family portraits. On the other hand, many estates were known for their richest highly artistic collections, collected by their owners, intelligent people.

Many estates became centers of Russian culture, the atmosphere of which inspired writers and poets to create works of art. The annals of Russian culture included estates associated with the name of A.S. Pushkin: Mikhailovskoe, Trigorskoe, Boldino. A.S. Pushkin called the "Russian Parnassus" the estate that belonged to the poet P.A. Vyazemsky, Ostafievo. Here he worked on the "History of the Russian State" N.M. Karamzin. D. Davydov, E.A. Baratynsky, N.V. Gogol, V.A. Zhukovsky and other poets and writers 66 .

An example of an outstanding estate collection is the collection of the Baryatinsky princes in the estate of Maryino, Kursk province. The formation of his collections is associated with the name of I.I. Baryatinsky, in his youth a brilliant military man and diplomat. I.I. Baryatinsky collected family portraits in Maryina, as well as works by Russian and Western European artists, sculpture by Italian masters and the Danish sculptor Thorvaldsen, and a huge collection of engravings and drawings by Russian and Western European masters, including Rembrandt. During the 19th century, Maryin's collection was replenished. Let us especially note a series of paintings on the themes of the Caucasian wars, collected by A.I. Baryatinsky, an active participant in these wars 67 .

The estate Krasny Rog of the Bryansk province belonged to the writer A.A. Perovsky (a prose writer who wrote under the pseudonym Anthony Pogorelsky) The youthful years of the poet and writer A.K. Tolstoy (nephew of A.A. Perovsky), who later inherited this estate. The works of art that made up the collection of the estate were mainly acquired by A.A. Perovsky during his journey with the young A.K. Tolstoy in Italy in 1831. The collection, which included sculptures, paintings by Renaissance masters and Italian artists of the 18th-19th centuries, as well as a library, were located in the manor in a building called the Hunting Castle 68 .

Great opportunities for collecting opened up on the outskirts of the Russian Empire. This was especially evident in Novorossiya. , where, in the Northern Black Sea region, were the ruins of ancient Greek colonies. Novorossiysk Governor-General M.S. Vorontsov contributed to the study of the history of Novorossia, and was the honorary chairman of the "Odessa Society of History and Antiquities" established in 1839 69 . Works of art and collections of manuscripts, notes, old geographical maps 70 were in his Odessa house and in the Alupka Palace 71 .

In the first half of the 19th century in Russia, rethinking the legacy of antiquity. Travels, visits to authentic ancient monuments contributed to the figurative perception of antiquity. The ruins of Pompeii were especially arousing, allowing the tragic scenes of the death of the city to be recreated. The traveler could feel himself, wandering through the ruins of the ancient city, "descended into the realm of the dead, or wandering half asleep, as sometimes happens at the moment of waking up" 72 .

An important role in the perception of antiquity by Russian people was played by travel to the Crimea, acquaintance with the monuments of the Black Sea Greek colonies 73 . M.I. Kutuzov, in a letter to his daughter, E.M. Khitrovo, asked: “Have you been to Sevastopol? There are remarkable ruins of ancient Chersonesos” 74 . I.A. Stempkovsky, a connoisseur and collector of ancient antiquities, actively advocated a scientific approach to archeology, and subsequently founded the Kerch Museum 75 . House of the collector of ancient monuments I.P. Blaramberg, the first director of the Kerch Museum, was the center of the scientific life of the city, where lovers of antiquities, scientists, and travelers around the Crimea gathered 76 . THEM. Muravyov-Apostol in 1820 mentioned Blaramberg as "a pleasant and intelligent person", and highly appreciated his collection of antiquities 77 . P.A. Dubrux, a French soldier who was captured in 1812 and remained in southern Russia, studied archaeological sites. The results of his research have not lost their relevance to this day. Dubrux compiled his own collection of antiquities. Unfortunately, during his lifetime, he remained unappreciated by scientists, who undeservedly spoke of him with disdain 78 .

The interest of Russian society in the first half of the 19th century in antiquity manifested itself in the creation of collections a special subject complex - the "antique collection". Mandatory in it were sculpture and fragments of ancient statues and architectural decoration, works of arts and crafts, including Italian ceramics (known at that time as "Etruscan vases"). Characteristic of the collections was a small collection of antiquities from Pompeii and Herculaneum 79 . Genuine antique works often coexisted with plaster casts that decorated interiors, being included in antique collections 80 . An example of such a collection is that which belonged to the architect O. Montferrand, which he collected from 1816, turning his house in St. Petersburg into a small museum 81 .

Russian society actively responded to all the events taking place in the world, especially those that were associated with the knowledge of the new. So, after the Egyptian campaign of Napoleon in 1798 - 1801, the interest in ancient egypt. In 1827, the Egyptologist Grenville spoke at the Academy of Sciences, demonstrating a mummy from his collection, specially brought to St. Petersburg 82 . In 1825, the Egyptian Museum was created in St. Petersburg, which was originally located on the first floor of the Kunstkamera building, and since 1852 - in the New Hermitage 83 . An important event that maintained interest in Ancient Egypt was the delivery in 1832 to St. Petersburg of the sphinxes found in Thebes, the artistic and historical significance of which was highly appreciated by F. Champallion 84 . A.S. traveled in Egypt and Nubia. Norov 85 , through whose efforts an outstanding monument of ancient Egyptian art was delivered to St. Petersburg in 1837 - the temple statue of Mut-Sokhmet 86 . In 1840 A.S. Norov published notes about his travels 87 .

A small collection of ancient Egyptian objects was owned by the architect O. Montferrand. His collection included two sarcophagi, a figurine of an Egyptian woman, limestone bas-reliefs depicting a sacrifice to the god Ra and worship of Osiris, a diorite bas-relief, and small plastic items 88 . Apparently, the interest in Ancient Egypt was reflected in Montferrand's unrealized project to install a granite statue of "God Osiris, patron of sciences and arts" on the Neva embankment 89 .

Collectors play an important role in the preservation and systematization of monuments, especially monuments of primitive culture. Since the beginning of the 19th century, European science has been searching for an “antediluvian man”. Since the 1830s, science and society have been shaken by news of the sensational discoveries of Boucher de Perth. Information about the finds of ancient people appeared in the journals "Library for Reading", "Picturesque Review", "Bulletin of Natural Sciences", in the "Mining Journal". In the 1820s-1830s, the Yenisei governor A.P. Stepanova . In the 1840s, stone tools originating from Karelia were assembled by Lieutenant General of the Corps of Mining Engineers N.F. Butenev 90 . In 1862, with the help of Academician K.M. Baer Butenev's collection was acquired by the ethnographic museum of the Academy of Sciences. A.M. also had a collection of primitive antiquities. Raevskaya 91, wife of N.N. Raevsky Jr., hero of the war of 1812. Her collection was highly appreciated by contemporaries. Subsequently, when the active study of primitive man began in the second half of the 19th century, private collections would become the main scientific material.

In the first half of the 19th century, the development numismatic collecting. In compiling collections, true collectors often invested not only a lot of money, but also their soul, their true love for collecting. Collector S.A. Eremeev wrote about his hobby: "You have to be a numismatist to spend thirty years of your life behind coins in order to comprehend how you can suffer from numismatics" 93 .

An outstanding event that occurred at the turn of the 18th - 19th centuries, which significantly changed the view of scientists about Ancient Rus', contributed to an increase in interest in numismatics: the discovery of ancient Russian coins of the 10th - 11th centuries, the existence of which was not previously known to scientists. Despite the fact that these were isolated finds, each of them was a scientific sensation. These coins came to the Imperial Hermitage and to major collectors. A large hoard of ancient Russian coins was found in 1852 near the city of Nizhyn. Most of the coins from it then replenished the collections of A.D. Chertkova, A.S. Uvarova, S.G. Stroganov and other outstanding numismatist collectors. At present, almost all the coins of this hoard are in the Numismatics Department of the State Hermitage 94 .

An important role in the development of Russian numismatics was played by the Münzkabinet of the Imperial Hermitage, where outstanding numismatists and collectors worked: E.E. Koehler, a specialist in Russian numismatics F.I. Circle 95 .

In the first half of the 19th century, a new step was taken in the systematization of Russian coins based on the catalog of A.D. Chertkov. It was published in 1834, and then additions to it were published in 1837, 1838, 1842. This systematic catalog for a long time became the main guide for amateur numismatics 96 .

Large collectors are known who systematized coins on a scientific basis. Such a collector of Greek, Roman and Oriental coins was Lieutenant General I.A. Bartholomew 97 . An extremely complete collection (about 50,000 Russian and Western European coins and medals) belonged to Ya.Ya. Reichel 98 . The collector-numismatist was the historian, bibliographer, linguist F.P. Adelung, an active participant in the creation of the Rumyantsev Museum, whose collection included Greek and Roman coins 99 .

However, not all collectors were distinguished by a sincere interest in numismatics. Since numismatic collecting became more and more popular, becoming a fashion, some representatives of society, wanting to have a collection, but not finding interest in compiling it, ordered remakes from the mint. So, A.A. Arakcheev in 1824 ordered a new collection of coins from the Mint on gilded and silvered copper mugs. Alexander I, having learned about this, gave the order to make the same order in gold and silver as a gift to A.A. Arakcheev.

The development of numismatic collecting gave rise to the manufacture of counterfeit collectible coins. It received special development after the publication of the catalog by A.D. Chertkov, on the basis of whose illustrations fakes were made 100 .

The main directions and nature of collecting in the first quarter of the 19th century were largely determined by the hopes for reforms that were expected from Alexander I, and the patriotic upsurge after the victory over Napoleon. In this regard, national themes are of great importance in collecting, collecting domestic antiquities is put on a scientific basis. In the second quarter of the 19th century, in connection with the strengthening of civic positions, the desire to make the collections available for inspection by the general public, for the benefit of science and public education, was activated. The development of the cultural needs of society makes the lack of museums in the country obvious. In this regard, there is a tendency to transfer collections to museums and educational institutions, the creation of private museums, and exhibiting collections at temporary exhibitions.

Collecting centers are now not only St. Petersburg, Moscow and noble estates, but also university cities, lands newly annexed to the Russian Empire, especially those that are rich in archaeological monuments.

The social composition of collectors has expanded. In addition to aristocrats and high dignitaries, officials, poor nobles, representatives of officers, scientific intelligentsia actively collect, and collectors-rescuers from raznochintsy appear.

The range of collectibles has become wider. As part of the collections, a change in tastes in the field of art, an increase in patriotic sentiments, an interest in Russian history and painting, a new attitude to antiquity and other ancient civilizations, as well as to the natural sciences, found expression. In collecting, there are protective tendencies in relation to collectibles: to save, save from extinction.

Numismatic collecting actively developed, taking on an increasingly scientific character, which was largely facilitated by scientists who worked in the Münzkabinet of the Imperial Hermitage. At the same time, this type of collecting, becoming a fashion, contributed to the emergence of a large number of remakes.

As in the 18th century, representativeness, the representativeness of the collection, as well as the aesthetic appeal of the collectibles, is important. The cognitive function of collections has increased, collectors are attracted by information that can be extracted from outwardly unspectacular, but historically interesting objects. When compiling collections, systematization, a scientific approach to the formation of a collection, is becoming increasingly important.

Chapter V

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