Solntsev folk clothes artist. Russian artists

Solntsev, Fedor Grigorievich

Artist-archaeologist, academician of historical and portrait painting, honorary free member of the Imperial Academy of Arts, b. 14 Apr. 1801 in the village of Verkhnenikulsky, Mologsky district, Yaroslavl province, mind. March 3, 1892, in St. Petersburg. His father was a peasant of Count Musin-Pushkin. Soon after the birth of his son, he left for St. Petersburg, got a job as a cashier at the imperial theaters and held this position until his death (1840). Boy-S. remained in the village with his mother, who in the sixth year began to teach him to read and write, although without success. Then he studied with the old man-manager of the estate, Count Musin-Pushkin, and also with little success. The old teacher often punished the boy, especially for notebooks, which always turned out to be dirty and painted. S. stayed in the village with his mother until 1815. Father, noticing son's passion, took him to St. Petersburg. In the same 1815, S. entered the Academy of Arts as a pensioner, where he found rapid success: he stayed in the drawing class for less than six months and was transferred to a plaster class, where he also stayed for a short time and switched to natural, choosing historical and portrait painting as his specialty. S. stayed at the academy for 9½ years. In the full-scale class, he received two silver medals. For the painting "Peasant Family" (1824), he received a second gold medal and was left by a pensioner for further improvement. To receive the first gold medal, S. painted the painting "The Savior with the Pharisees according to the Gospel parable of the coin" (1827). Professors S. S. Shchukin, A. E. Egorov and, to some extent, A. G. Varnek had the closest relationship to his artistic work in special classes. The Council of the Academy awarded Solntsev the first gold medal for the last picture, and it was decided to send him abroad, only not to Italy, but to China, to Beijing, for 4 years. With a letter of recommendation from the vice-president of the Academy, A. N. Olenin, S. went to Fr. Ioakinf Bichurin, who had just returned from China, in order to question him and obtain the necessary information about the country where he was sent. Bichurin dissuaded the young artist from the trip, threatening him with the fact that he would have to stay in China for an infinite number of years, because it was difficult to get out of there. S. refused a business trip, left the boarders of the Academy and began to live by lessons and by the fact that he painted portraits. He did not show himself to Olenin for a long time, fearing his wrath.

Olenin drew attention to S. mainly about his painting "Peasant Family". Having created a new science for us, "Domestic Archeology", Olenin set out to make him an illustrator of his scientific works on Russian archeology. Needing money, S. finally decided to turn to Olenin for a job. Olenin treated him kindly and instructed him to paint academic uniforms and the painting "The Battle of Lipetsk". For all this, S. received 500 rubles. After that, Olenin invited him to draw the "Antiquities of Ryazan", found in 1822 (13 gold plaques studded with precious stones and pearls, barms, various rings, rings, and many others). S. painted with such skill and so it seems that the professor of perspective, M. N. Vorobev, noticing (in Olenin's office) a badge on the table, mistook it for a real one and wanted to move it with his hand - and it turned out to be Solntsev's drawing. Fulfilling Olenin's instructions and often visiting him, S. became his man in his house and met here with Krylov, Bryullov, Pushkin, Gnedich, Zhukovsky, and others. were completed at the beginning of 1830. Olenin was finally convinced of the talents of his student and his commitment to the cause to which he directed him, and therefore soon led him to the road where S. became so famous and did so much. On May 9, 1830, S., by the Highest order, was sent to Moscow and other cities and monasteries to copy older robes, weapons, church and royal utensils, belongings, horse harness, and so on. ancient items. Olenin supplied him with instructions on the subject of upcoming classes and letters of recommendation. Upon arrival in Moscow, S. diligently set to work and a month and a half sent Olenin nine drawings, including two printed ones, painted by him and depicting a cone. Prince Yaroslav Vsevolodovich In addition, S. sent 6 drawings on transparent paper from various decorations, incised with gold, and from some ancient weapons. Olenin in his letter (dated July 24, 1830) thanked him for what he sent and ordered him to go to Vladimir, to Yuryev-Polsky and to the Trinity-Sergius Lavra. The money for these business trips was issued from the Academy of Arts. Before leaving Moscow, S. sent Olenin a few more drawings and, among other things, armor or mirrors of Tsar Alexei Mikhailovich. At the same time, he offered to copy and led children's armor. Prince Dmitry Donskoy. Olenin thanked him in his letter, but gave him a warning - to be careful and "it's bad to believe all the names given in the armory to various items of our ancient weapons, utensils, clothing and belongings." He especially advised to beware in testimonies about the belonging of certain things to such and such, as if, the famous nobleman, prince or tsar, and reports how P. S. Valuev, who was in charge of the Moscow armory workshop, had a passion to arbitrarily attribute ancient objects to different persons , famous in history - or how Svinin, with his ardent imagination, fantasized about archaeological finds. Olenin teaches Solntsev to act as follows: "If there is no confirmation in the oldest inventories of the armory workshop that such and such a thing or object belongs to just such a thing, then every time you should write: armor, armor, armor, mirror, chain mail, helmet, cone , prilbitz, etc., outfit, dress, armchairs, etc., attributed to such and such a person. Imaginary children's armor c. book. Olenin asks Dmitry Donskoy not to copy and assures him that they never belonged to Dmitry, "because in the century in which he lived (1349-1362), not only in Russia, but nowhere in Asia and Europe did they use this kind of armor ". Olenin possessed extensive historical and archaeological knowledge and taught Solntsev a lot: in the first years of Solntsev's archaeological activity, he was his unconditional leader in getting to know the archaeological material. Olenin even tried to instill in him the method of studying and copying antiquities. Here is an example of the detailed advice S. received from him. At the end of August 1830, Olenin wrote to him: “I instruct you to indicate in pencil in great detail on the drawings themselves: a) how, according to local legend, a weapon or some other object, or Somehow, in the head weapon: helmets, cones, shoulder pads, shoulder pads, bowls, and parts of them: visors, nose bridges, masks, naushi or lanitniks, butt pads and chain mail nets for them, etc., etc. b) write all these names to you in a special notebook, with references or pointing in pencil to the objects you have drawn under these names. in St. Petersburg) cleanly, unmistakably place and, finally, d) for the proper effect, at the final finish, you will need to have special drawings made with paints, although in a small form, of the general appearance and color of the object you draw or some important part of it". This instruction comes down to subtle details. S. confesses that he fully followed the instructions of his leader, and feels great gratitude to him. In the same letter where the above instructions were given, Olenin orders Solntsev to go to Vladimir and draw a view of the cathedral there, on a small scale, and draw the details of its external appearance; then visit the Trinity Lavra, where it was necessary to copy antiquities of any archaeological interest. From Vladimir, S. went to Yuryev-Polsky and on the way stopped by the village of Lykovo, near which, in the tract of Zhara, in Lesnichy Ravine, the remains of a cone led were found. Prince Yaroslav Vsevolodovich S. was supposed to check, by asking local residents, how and under what circumstances the cone was found. Examining the tract of Zhara, he makes the assumption that the battle described in the annals took place here, that Yaroslav was taken by surprise, unarmed, and his cone was trampled into the mud and thus survived to this day. That it really belonged to Yaroslav, S. concluded from the fact that Michael the Archangel is depicted in front of the cone with the inscription: "Archangel-Michael, help your servant Theodore" (i.e. Yaroslav, since this is his Christian name). This and other examples indicate how well S. knew our chronicles and how skillfully he determined the antiquity of the found thing. S. did not get to Yuryev-Polsky this time, as cholera appeared. Olenin ordered him to return to Moscow and from there to Petersburg. Everywhere he was detained by quarantines, and they were not allowed into Moscow at all, and, having traveled around it, he reached St. Petersburg, where acquaintances were already serving requiems for him. Under the direct supervision of Olenin, S. began putting his drawings in order. For this trip (to Moscow and Vladimir) he received a diamond ring from the sovereign. In the winter of 1831-1832, S. continued to put in order the drawings made during the trip. In the summer of 1832, he lived at Olenin's dacha (in Priyutin) and painted bas-reliefs and military fittings for the Alexander Column. Then he copied the image of Isaac of Dalmatia, from which Wekler typed a mosaic. At this time, the work of S. through Olenin became known to Emperor Nicholas I: 27 Apr. 1833 S. was assigned to the Academy and to the cabinet of His Majesty. In the summer of 1833, Mr.. S. was sent to Novgorod for archaeological studies. Upon arrival there, he had to wait for permission from the metropolitan, and this would have taken a long time if he had not been helped by the archimandrite of the Derevenets monastery, Fr. Ephraim, who invited S. to his monastery to copy antiquities. Having received formal permission from the metropolitan, S. sketched in Novgorod all the more or less remarkable antiquities. By the way, he reported to Olenin that in the sheds of St. Sophia Cathedral, under heaps of lime, he found broken carved gates (made of wood), made at the behest of Ivan the Terrible. Arriving in St. Petersburg, S. presented Olenin more than a hundred drawings, and he brought them to the imp. Nicholas I, who was very pleased with the drawings and ordered to ask the artist what he wants as a reward. S. didn't want anything. But a pensioner's salary was assigned to him, an award was sent, and royal favor was declared. Drawings from Novgorod antiquities are placed in the Moscow Armory. Some time later, Olenin sent Solntsev back to Moscow "to continue his artistic studies in the field of Russian antiquities." Previously, S. had to call in Novgorod to check some items and from there go to Torzhok "to copy the remaining sights in this ancient city." - "I will not prescribe rules for you again," says Olenin in a letter, - "for better execution assigned to you, remembering the old Russian proverb: "To teach a scientist is only to spoil." So already at that time, Olenin recognized Solntsev's independence, knowledge and skill, and seemed to recognize him as fully prepared for archaeological studies. S. stayed for a month in Novgorod and Torzhok, where he copied several old outfits of women belonging to the merchant class. By August 1834, he arrived in Moscow, where he began to study at the Armory, in the cathedrals of the Assumption, Archangel, and others. During his studies, Metropolitan Filaret never came, who was interested in his work and showed him his favor. S. went to the Trinity-Sergius Lavra, where, among other things, he copied the salary of the gospel of Prince Vasily Dmitrievich. The military governor-general Prince D.V. Golitsyn, who knew his drawings and appreciated him so much, was extremely attentive to the artist and even wanted to send some of them to Paris for engraving. However, this intention did not come true, since the drawings had to be reduced, and they were published with the text in Moscow at the expense of the Moscow University, at the request of Prince. Golitsyn. S. constantly informed Olenin about his Moscow work, asking him for advice. By the way, he informed him that in the armory there was supposedly a scepter of Vladimir Monomakh. Olenin instructed him to make a strict and detailed examination of all the royal utensils belonging to the scepter: the crown, barmas and orb; cope with archival documents and draw conclusions about the antiquity of these things. S. brilliantly fulfilled this order and made an unexpected discovery. Drawing the scepter, he considered everything in detail: it was necessary to draw the image of the twelve annual holidays separately, which were on top of the scepter. One of the holidays closed was decorations. S. moved these decorations and saw the inscription of 1638. Olenin instructed him to check this inscription. S. turned to the archives of the Ministry of Foreign Affairs and there, from one case, he learned that when Tsar Mikhail Feodorovich happened to be crowned, there was neither a scepter nor an orb. Therefore, a baking sheet (sample drawing) was sent to Greece, from which they made a scepter and an orb. In the same way, Monomakh's bars were made on a baking sheet in Greece, during the time of Mikhail Feodorovich. Thus, S. proved that not only according to the year he discovered on the scepter, but also according to the archival description, according to the work and the edge of the stones - the scepter, power and barms, the so-called Monomakhs, did not belong to Monomakh at all. In November 1834, Mr.. S. asked permission to visit St. Petersburg in the winter. In addition to household chores, he wanted to put his work in order, finish the drawings he had begun and check them with those previously made and kept by Olenin. For his archaeological and ethnographic activities, S. April 7, 1835 received the Order of St.. Anna 3rd degree. After resting among relatives in St. Petersburg and correcting unfinished drawings, S. in the early summer of 1835 again went to Moscow. It should be noted that from that time, for 8 years, although S. visited some other cities, such as Ryazan, Yuryev-Polsky, Smolensk, etc., he had his main stay in Moscow. Arriving in Moscow, he made an image of St. Boris, which he found in the synodal sacristy, portraits of Tsar Feodor Ivanovich, Skopin and some other drawings. In October 1835 he sent all these drawings to Olenin. In the same month, S. received from Olenin approved by the Council of the Academy of the program given to him to obtain the degree of academician. The program drawn up by Olenin was as follows: "Present on the largest sheet or on two sheets of Bristol paper in watercolor a collection of various ancient works of art found in Russia - and especially Russian antique products, weapons, utensils and clothes of church and royal and some current old-fashioned costumes that have survived among the common people. Arrange and group all this in a pleasant way (in one frame), but, moreover, so clearly and unconfusedly that the most curious parts of each object are visible, and that in each of them its distinctive character is most strictly preserved. To complete the given program, Solntsev had to draw Russian antiquities, especially old Russian costumes. Therefore, in order to combine ancient Greek art with our ancient Russian art in one image, S., among other things, decided to paint in watercolor a painting depicting "Date of Prince Svyatoslav Igorevich with the Greek Emperor Tzimiskes." No matter how experienced S. in the matter of copying antiquities, the implementation of the program, in his own words, was not easy for him. Olenin took an active part in his work: he helped him with advice, instructions, assisted him with everything he could, for example, made extracts for him from Greek writers describing the weapons of his time, etc. S. overcame all obstacles: in a year the program was completed (in 1836), and S. received the title of academician. Almost simultaneously with the preparation of the program S. engaged in the restoration of the ancient royal towers in the Kremlin. These towers consisted of nine rooms and were extremely neglected: some carpenters lived in them. Emperor Nicholas I, a lover and connoisseur of Russian antiquity and historical monuments, decided to restore the royal towers, a precious monument of the 17th century. The vice-president of the Moscow palace office, Baron Bode, invited Solntsev to make drawings for the renewal of the towers. Prior to this, the sovereign did not like the presented 14 projects. S. made drawings and presented to Bode, and this one directly sent them to the sovereign. Some time later (1835), Olenin informed Solntsev that the sovereign was extremely pleased with his drawings. In the spring of 1836, Mr.. S. received from Bode an offer to start work on the drawings he had compiled. When restoring the towers, S. for the first time clearly and clearly revealed his brilliant knowledge in the field of pictorial archeology. He began with the door architraves, which were molded and fixed with white adhesive paint. What could not be disassembled, he supplemented, in accordance with the general character of the surviving decorations. He did the same with the furnishings of the towers. In the attics and cellars of country palaces (Izmailovsky, Kolomensky, etc.), he found some ancient things, for example. chair, armchair; according to them, S. made as many copies as required for all 9 rooms; the cornice of the bed was found, for which the columns matching the pattern were made; pillowcases, pillows, a carpet embroidered by Tsarevna Sofya Alekseevna, a table of Tsar Alexei Mikhailovich were found, in the village of Kolomenskoye they found a tiled stove and, having repaired some damaged tiles, put it into action; Some other antiques were also found. Having collected all this belongings, supplementing the missing things with new ones, made according to drawings carefully compiled by Solntsev from various ancient decorations and objects, the tower was thus renewed. Solntsev's assistants were: a student of the Moscow Architectural School Gerasimov and a freelance painter Kiselev. By the end of 1836, the work was completed. At this time, Emperor Nicholas I arrived in Moscow and examined the towers, called to life after a long abandonment and desolation. The sovereign was very pleased with the towers, treated Solntsev kindly, introduced him to the Empress, granted him the Order of St. Vladimir 4th degree and a diamond ring. Even earlier, the Sovereign noticed Solntsev; now he finally paid attention to him and greatly appreciated his talents. The sovereign apparently liked Solntsev's vast archaeological knowledge, his love and understanding of Russian antiquities. When examining any antiquities, the Sovereign constantly turned to Solntsev for clarification, if he was present. Many of the things in the Armory and in the Annunciation Cathedral, the Sovereign instructed Solntsev to copy. For example, the image of the Don B. Mother, the royal place, all the head ornaments, the so-called Monomakh's crown, crowns - Astrakhan, Siberian, Kazan and various other things. By the way, the scientific merit of Solntsev must be considered his discovery that the Astrakhan crown was made under Mikhail Feodorovich, and the Siberian one for Alexei Mikhailovich on the occasion of their funeral. Olenin thanked Solntsev for such a discovery, and the envious Malinovsky, who looked after the archive, forbade Solntsev from being allowed into the archive. In 1836, Mr.. S. also traveled to Pskov, together with the artist Bryullov, who at that time was elevated to the rank of professor at the Academy and, in the form of a program for this title, set about executing a huge picture: The Siege of Pskov. For this work, he needed to visit Pskov, while he expressed a desire to send Solntsev with him. Olenin gave the latter a lot of assignments in terms of copying antiquities. According to Solntsev, Bryullov interfered with him very much, carried him around with guests or forced him to sit next to him as a nurse. Nevertheless, S. copied the well-known breach in the wall of Batory. In the Pechersk Monastery, where they also went, S. copied ancient sabers, reeds, spears, pipes and some other things, and all this was stealthily copied from Bryullov. Since 1837, S., although from time to time he traveled to other cities to study antiquities, however, had his main stay in Moscow. Here he still had a lot of work to do, both on the direct orders of the Highest, and on the instructions of Olenin. So, immediately after the resumption of the towers, the Sovereign ordered Solntsev to renew the Church of the Nativity and the Exaltation of the Cross located in them. Then, when marching iconostases, according to legend, of Peter the Great, the Terrible and Elizabeth Petrovna were found in St. Petersburg, the Sovereign ordered them to be renewed. Also, by the Highest order, S. took part in the construction of the Grand Palace, built on the site of the former, after 1812. , half wooden. Having opened, while digging ditches for the foundation of the Grand Palace in Moscow, a church filled with empty tar barrels, S. resumed it. This is a church in the name of the Resurrection of Lazarus. The emergence of the Russian architectural style also partly obliged Solntsev, because the architect Ton, who became famous for the construction of temples and buildings in the Russian style, compiled his first project of a Russian temple of the 17th century according to the drawings of Solntsev and Efimov. For the interior decoration of the Grand Palace S. worked quite a lot. He prepared drawings for the parquet floors of the palace, made drawings of carpets for rooms, drawings of wooden doors for the halls of the palace (St. All this was examined and approved by the sovereign himself. For almost two years (1839-1840) S. was busy making drawings for the new Grand Kremlin Palace. Simultaneously with work on the interior decoration of the Grand New Palace (1837-1838; 1839-1840), S. was engaged in archaeological research, on behalf of Olenin, not only in Moscow, but also in other cities; traveled to Alexandrov, Suzdal, Vladimir and other cities and carried out his orders so conscientiously and with such knowledge that Olenin was constantly pleased with him and thanked him. Especially S. pleased him with the discovery of a "new archaeological treasure"; - those were the bronze doors of the temple of the times of Vasily, the archbishop of Novgorod. On these doors, 12 annual feasts and many saints are carved with gold wire. On behalf of Olenin, S. painted for Academician Imper. Brosse Academy of Sciences, - the ark, located in the sacristy of the Assumption Cathedral in Moscow, is the same ark in which the nail from Christ's Cross was kept (1838). By the end of this period of Solntsev's activity, an extremely large number of his drawings had accumulated, and Olenin tried to lithograph them for the proposed publication of Antiquities of the Russian State. But these attempts and undertakings failed and dragged on until 1846. In 1839-1840, S. was busy preparing drawings for the new Grand Kremlin Palace. But at the same time, Olenin repeatedly gave him various instructions, for example. S. made an exact copy of the drawings depicting the Grand Duke Svyatoslav Igorevich, as well as drawing "Ambassadors of Moscow in Florence, in the XVI century." S. also confirmed with various mandrels that the "Tatar" shishak, located in the Armory under the name "Erichonets", really belonged to the Grand Duke Alexander Nevsky, but was subsequently decorated with various stones and notches made of gold, with Tatar inscriptions. Not content with reproducing antiquities, S. painted the costumes of peasant women in the Tula, Tver, Novgorod, and other provinces. These watercolor drawings were presented to the Emperor in 1842. For all these works, S. complained: 17 April. 1839 - Order of St. Stanislav of the 2nd degree, and on August 22, 1841 he received a distinction for impeccable service with a letter for XV years of archaeological and artistic activity. The year 1843 was difficult for Solntsev, since this year his patron, leader and friend, collaborator in his activities, A. N. Olenin, died. In his memoirs, S. constantly speaks with reverence about his teacher in archeology. Since then, the Sovereign took Solntsev under his personal protection and gave him a number of assignments and business trips, but not to Moscow, but to Kyiv.

From here begins a new period of activity of the famous artist-archaeologist. The sovereign sent him to Kyiv for the usual research on Russian antiquities. At the end of 1842, someone reported to the Sovereign that during the amendments and alterations of the Kyiv Assumption Cathedral, carried out by order of the Metropolitan of Kiev Filaret, they allegedly began to spoil the one-of-a-kind painting of the 17th century. To verify this circumstance, the Academy appointed Professor A. T. Markov, about which he presented a special report to the sovereign. The sovereign crossed out the name of Markov and inscribed the name of Solntsev. From that time on, S. received all subsequent business trips directly from the Sovereign. Arriving in Kyiv, S. immediately set about examining the painting of the cathedral and found that no damage was noticeable, but that ancient painting was being resumed somewhat brightly. At the request of the Metropolitan, S. showed the painters how to restore ancient painting, and reported to the Minister of the Court, Prince Volkonsky, that no damage was found. Three weeks later, in June 1843, S. received an order from Prince Volkonsky: to inspect, after the end of the assignment entrusted to him, both in Kiev, and in Vitebsk, Mogilev and Chernigov, on the way back, and remove drawings from the antiquities available there. Solntsev fulfilled this order and, returning to St. Petersburg, presented his drawings to Prince Volkonsky. In less than a few days, Solntsev was again ordered to immediately go to Kyiv and wait for the Sovereign there. It should be noted that whenever the Sovereign visited Kyiv, S. had to be there and explain to him all the sights. Thus the Emperor valued and believed in his archaeological knowledge.

It was S. who drew special attention to the Kiev Sophia Cathedral, where he discovered ancient painting of the 11th century. She was hiding under the new plaster. Such a precious archaeological discovery is one of the most important merits of Solntsev. It was in 1843. The sovereign, having learned about the discovery, became very interested in it and ordered the restoration of ancient painting. Since then, the famous paintings and mosaics of the Kiev Sophia Cathedral of the 11th century have become known in archeology. On April 27, 1844, Mr.. S. was appointed a member of the committee established in Moscow for the publication of drawings taken by him, under the leadership of Olenin, from Russian antiquities. But their actual publication began in 1846 and lasted until 1853. Emperor Nicholas I donated 100,000 rubles for the publication of Antiquities.

Text processing was entrusted to Zeltman and Snigerev. The text of the description of the drawings does not differ in merit. The editors of the Antiquities publication were so hostile to Solntsev that they did not allow his name to be signed on the first prints from the drawings. Emperor Nicholas drew attention to this, ordered the publication commission to be reprimanded and ordered that Solntsev's name be displayed on each sheet of drawings. On March 24, 1844, S. was appointed to the St. Petersburg Theological Seminary as a mentor and observer in the class of icon painting and remained in this position until 1867. In the summer of 1844, S. worked on the renewal of the ancient painting of the Kiev Sophia Cathedral. Curiously, Metropolitan Filaret was against the resumption, on the grounds that this "will lead the Old Believers to encouragement in their false wisdom." On September 24, 1844, for the corrections made to the painting in the Kiev Assumption Cathedral and for the resumption of the entire St. Sophia Cathedral, S. was awarded a diamond ring; in 1847 he received the Order of St. Anna 2 st. for teaching at the St. Petersburg Theological Academy; in 1849 - for the work on the construction of the Moscow Kremlin Palace, the Order of St. Anna 2 st. with crowns, a gold medal and 1200 rubles. awards. In 1852 for service at St. Petersburg. spirit. Seminary Solntsev declared royal favor. Work on the restoration of ancient painting in the Kiev Cathedral continued until 1851, when they were completed. An inscription in ligature on one of the arches of the cathedral reads that "this temple was renovated according to the ancient frescoes that were discovered and decorated with new picturesque under the guidance of Academician Solntsev ... Summer of R. Chr. 1851". In addition to these works, S. was engaged in others: he made drawings of some churches, the interior of the Kiev-Pechersk Lavra Cathedral and participated in the "Temporary Commission for the Analysis of Ancient Acts of South-Western Russia", established in 1844, under the chairmanship of Bibikov. S. was also interested in caves, where he found several ancient glass dishes and caps in which myrrh-streaming chapters were once kept. In general, S. visited Kiev every summer from 1843 to 1853 and brought with him to St. Petersburg each time from 80 to 100 drawings, handed them over at the report to Prince Volkonsky, and he handed them over to the Sovereign. At first, these drawings were kept in the Public Library, and then, by order of Nicholas I, they were placed in the Moscow Armory. At each visit to Kyiv, Emperor Nicholas I talked with Solntsev, caressed him and gave him gifts. As a reward for his work, the Emperor wanted to send him to Palestine and Rome for rest and improvement. But this did not materialize after the death of Emperor Nicholas I. Solntsev's official business trips ended in 1853, when the Crimean campaign began. The new reign, occupied with reforms, was also little interested in archaeological discoveries, and S. recedes into the background, although his activities are far from over. But the best, brilliant period of life has passed, and the approaching old age required rest, or at least a weakening of activity. Until 1853, S. went to look for and copy Russian antiquities in the following cities: Pskov, Novgorod, Ryazan (new and old), Moscow, Trinity Lavra, New Jerusalem, Alexander Sloboda, Vladimir on Klyazma, Suzdal, Tver, Izborsk, Pechora, Kiev, Orel, Yuryev Polsky, Vitebsk, Mogilev. It can even be said that there seems to be no such ancient Russian city, historical place, monastery or temple that S. would not have visited. He had to work hard, search a lot and carefully, according to documents, study the history of the objects found, "another thing," he says, "it used to seem very interesting in archaeological terms, but if you look at it more closely, look into the inventory, and it turns out that something not old at all, but made relatively recently. In his archaeological searches, S. often encountered obstacles erected by ignorance and enmity of the keepers of antiquities. When Solntsev did not have letters of recommendation or official instructions, he resorted to trickery: he pretended to be some wandering pilgrimage, got acquainted with the rector of a church or monastery, and then already had the opportunity to examine objects of interest to him; in order to arrange in his favor, he had to paint portraits of the abbots of the church, priests, monks for free. Sometimes they gave him antiques, and over time, Solntsev formed a small museum of antiquities, for which he was given 20 thousand rubles. However, in 1848, most of this collection was stolen from him in his St. Petersburg apartment. Among other things, two squeakers, two berendeykas, reeds, throwing spears, several ancient arrows, sashes, two coats, two cones, several women's jewelry, etc. were stolen. Since 1853, S. did not receive any business trips, taught at the seminary, worked for St. Isaac's Cathedral and fulfilled orders from the Holy Synod. The synod treated Solntsev very well. Relations began in 1842, when the Synod wanted to instruct him to correct the ancient wall paintings in the Novgorod Znamensky Cathedral. Although this failed, but next year S. wrote an antimension, printed photographs from which are still sent to all Orthodox churches in Russia. Since 1844, S. worked especially hard for the Synod: he painted various saints, made drawings for a prayer book that was sent as a gift to Napoleon III, prepared drawings for a large-format Gospel, wrote rims, decorations for various letters, etc. S. wrote for the Synod the holy calendar, on which he worked for 1½ years, they consisted of 12 sheets of 48 weeks each, and 100 figures in each week. For all these works, the Synod declared its blessing to Solntsev. From 1858, Mr.. S. served 8 years in the Ministry of State Property, in charge of the production of iconostases for the churches of the western provinces. During his service, up to 200 iconostases were made and sent. S. made here sketches for images of saints, crosses, banners, etc. Since the same 1858, he was entrusted with the supervision of the students of the Academy from the former state peasants. The title of trustee of peasant artists remained with him until his death. In 1859, Mr.. S. was again sent to Vladimir, "to inspect the local cathedral and other ancient churches, for the discovery of ancient, painted on the walls, icons and wall painting in general." In the same year, S. received a gold medal for his work on St. Isaac's Cathedral and was assigned to the archaeological commission (December 20, 1859) to search for ancient wall paintings in ancient Orthodox churches. In 1863, he was elected by the Academy of Arts as an honorary free fellow. In 1876, Mr.. fiftieth anniversary of the day, as S. received the title of academician. The Archaeological Society, in retribution for more than half a century of archaeological and artistic activity of Feodor Grigorievich, presented him with a gold medal with his portrait. The Academy of Arts also joined in honoring the venerable archaeologist: S. was elevated to the rank of professor and received 2,500 rubles. awards. In 1886, in memory of 60 years of service as an academician, S. received the rank of real state councilor. In 1888, for thirty years of leadership of peasant boys, pupils of the Academy, S. received the Order of St.. Stanislav 1st class. Despite his advanced age, S. was always busy: people who visited him found him in his office drawing or reading; he continued to work on icons for St. Isaac's Cathedral (in the 70s) with mosaics and paints. S. has always been distinguished by piety, and in the last years of his life he especially liked to go to services in the Alexander Nevsky Lavra, even not on holidays; served to the poor, who positively besieged his house in the morning. Along 3rd Street and Degtyarnaya Street (on Pesky, where Solntsev's house was), the beggars were lined up and waited for Solntsev, who gave them all a dime each. In dealing with friends and relatives, S. was very affectionate and amiable, he liked to joke and tell anecdotes from his long and interesting life. He died in extreme old age, at the age of 92, in St. Petersburg. The merits of Solntsev for Russian art, for the Russian style and for Russian archeology are enormous. During his more than half a century of indefatigable activity, he repeatedly visited the most ancient cities and monasteries of Russia for archaeological research and everywhere found, critically studied and preserved in his excellent drawings the most diverse monuments of the religious, state and domestic life of our ancestors, going back to the XII and XI centuries. Seven huge volumes of the monumental edition: "Antiquities of the Russian State" are decorated with over 500 drawings, executed by Solntsev alone.

These drawings make up only a tenth of the total number of Solntsev's works, executed with extraordinary grace, vividness of colors and accuracy. The brush of Solntsev resurrected in living images all aspects of the life of pre-Petrine Rus'. In Solntsev's drawings, a lover of antiquity will find icons most revered by the people; there are also altar and pectoral crosses, church utensils, vestments of the clergy; objects of ancient royal use: crowns, sceptres, orbs, barmas, etc.; military armor, horse harness, all kinds of weapons; the oldest grand ducal, royal, boyar and local folk attire, and not only in the images of clothes, but in portraits, are, for example: Prince Repnina, Skopin-Shuisky, tsars: Mikhail Feodorovich, Alexei Mikhailovich, Theodore, John and Peter Alekseevich, patriarchs Literature: Filaret, Nikon: queens and princesses of the 17th century. and many others. etc. Further, Solntsev's drawings reproduced ancient dining and household utensils, armchairs, benches, tables, supplies, etc., and finally, monuments of ancient Russian architecture in all the smallest details; here are the facades of temples and private buildings, sections, plans, separate parts: windows, doors, lattices, vaults, domes with scales. S. greatly contributed to the creation of a unique Russian style in architecture and craftsmanship: carpentry, turning, pottery, enamel, gold and silversmithing. In 1846-1848, on the occasion of the wedding of Grand Duke Konstantin Nikolayevich, Solntsev was instructed to make drawings for various utensils: porcelain, crystal, bronze, gold and silver things in the Russian style, which was then an innovation. The English store refused to make things according to the prepared drawings, finding that they would not be beautiful enough, and ordered samples from England. But Sazikov fulfilled orders according to Solntsev's drawings, and the things turned out to be better than those exhibited by the English store. Subsequently, Russian manufacturers and even an English shop often turned to Solntsev with a request for drawings. Drawing from life domestic antiquities, S. has never been the only diligent copyist. On the contrary, he subjected the copied objects to a critical assessment, checked the time of construction of temples, manufacture of utensils, forging and chasing weapons, armor and vestments, rereading the annals, many monastic charters, letters, acts, inventories, etc. These purely scientific works were rewarded with chronological discoveries: S. accurately determined the identity of the found shishak is great. book. Alexander Nevsky, the helmet of Yaroslav Vsevolodovich, doors from the time of Grozny, various banners, armor, items of royal household, etc. e. He renewed the royal chambers of the 17th century; through his diligence and art, some of the shrines of ancient Kyiv were saved and restored. The artistic and archaeological works of Solntsev are all the more worthy of respect because in them he had no predecessors and almost no successors. He did not follow the beaten path, but he paved it himself and, not weakening in the fight against many obstacles, steadily moved towards his goal. For such a feat, in addition to talent and willpower, it was necessary to passionately love both the motherland and science. All Solntsev's activity proves that he loved them with ardent love. The list of Solntsev's works, except for small ones and works for medals and the title of academician:

1) Evangelist Matthew full-length, with angels on the cornices, glue paints, on the ceiling of the church in the women's patriotic society. 2) Evangelist Matthew, written in a sail vault, on fake marble in the Kazan Cathedral. 3) Gold bars found in Ryazan. 4) Phanagoria and Kerch antiquities. 5) Drawings from various remnants of antiquity in Moscow, Vladimir, Novgorod, Tver and other cities. 6) A project for the renewal of rooms in the Terem Palace and the Churches of the Nativity of B-tsy, Lazarus Resurrection and the Exaltation of the Life-Giving Cross. 7) For the newly rebuilt Kremlin Palace, drawings: carpets, parquet floors, doors, and other interior decorations. 8) Restoration of ancient iconostases on silk fabrics. 9) Drawings for eight bronze arks (for storing state letters). 10) Drawings for porcelain tea sets in the old Russian style (for the marriage of Grand Duke Konstantin Nikolayevich). 11) Prayer book drawn on parchment for Imperial. Alexandra Fedorovna. 12) Prayer book for Imperial. Maria Alexandrovna. 13) Prayer books to the guardian angels for Grand Duchess Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna. 14) The same prayer book for Imper. Maria Alexandrovna and, moreover, the lives of selected saints, including 169 faces and several images of the Mother of God. 15) Book: "Holidays in the House of the Russian Orthodox Tsar" (for Imperial Maria Al.). 16) Full life (in drawings) of St. Sergius of Radonezh from 30 subjects and the Service of St. Mary Magdalene, Eye 30 sheets. 17) "Russian saints, intercessors before God for the Tsar and Holy Rus'", a book with 50 images and prayers with ornaments (to the 25th anniversary of Aldra II). 18) Album for Imperial. Alex. III, entitled: "Significant days in the house of Emperor Al-dra III". 19) 37 watercolor drawings for Gilles's essay, related to the publication of "Antiquities of the Cimmerian Bosphorus". 20) Full calendar for 52 weeks (to General Khrulev). 21) Full calendar, in a smaller size (for the Holy Synod). 22) Drawings for various prayer books, akathists, antimensions, etc., which Solntsev compiled for the Synod for 40 years, 23) Prayer book for the book. Volkonskaya (morning prayers, liturgies and evening prayers) and complete calendars, in miniature, watercolor, on parchment, more than 100 sheets. 24) 24 sheets of drawings for the Liturgy of Dmitrevsky. 25) 400 persons in the "Russian Saints" published by Philaret, archbishop. Chernigov. 26) Restoration of ancient painting and mosaics in the Kiev Sophia Cathedral. 27) 3000 drawings of Russian antiquities, drawn during trips to the ancient cities of Russia. Of these, 700 were published in chromolithography in the "Antiquities of the Russian State", and the rest are stored in the Moscow Armory. 28) After the death of Solntsev, the heirs left 300 drawings of Russian national clothes and various headdresses. 29) In the Moscow gallery br. Tretyakov there is a watercolor by Solntsev: "The Appearance of an Angel to the High Priest Zacharias".

Archive of the Academy of Arts. Cases: No. 21 (1825), № 81 (1830), № 42 (1836), № 48 (1838); № 42 (1843) № 89 (1844) № 1 (1858) No. 105 (1858) No. 93 (1859) No. 26 (1361), Pres. No. 11a (1825) No. 31 (1828) No. 9 (1830), Nos. 12-14 (1831), No. 32 (1832) and No. 14 (1839). - "Russian Antiquity", 1876, vols. 15-17 (I - III. V, VI), memoirs of Solntsev himself. - "Russian Antiquity", 1887, v. 54 (713-377: Belozerskaya, Biographical sketch of F. G. Solntsev). - Bulletin of Fine Arts, vol. I, 1883, p. 471-482 (Article by Mr. Sobko). - Izvestiya Imp. Russian Archaeological. Islands, VIII, 298 (Decree on knocking out a gold medal in honor of Solntsev). - Verkhovets, F. G. Solntsev, artist-archaeologist. Brochure. SPb. 1899, - Petrov, Mater. for ist. I. Ak. Hood. II, 132, 167, 172, 190, 194, 195, 214, 222, 295, 328, 342, 431; III, 423, 430.

E. Tarasov.

(Polovtsov)

Solntsev, Fedor Grigorievich

Painter and archaeologist (1801-1892). His father, a serf, c. Musin-Pushkin, placed his son in his own students of the Academy of Fine Arts. (in 1815). Here, studying under the guidance of S. Schukin and A. Egorov, S. quickly showed success in painting. At the end of the academic course, in 1824, for the painting "Peasant Family", he received a small. gold. medal, and in 1827, for the painting "Give Caesar's to Caesar, and God's God" - a large gold medal. After that, S. left the Academy and for some time earned a living by drawing lessons, painting portraits, etc. The then president of the Academy, A. Olenin, began to direct S. on the road on which S. later gained fame. Thanks to Olenin, the young artist became an archaeologist-draughtsman and was chained for the rest of his life to the study and depiction of various ancient monuments. In 1830, by the Highest command, he was sent to Moscow and other places of the Empire "to copy our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness and other items." S. carefully reproduced in watercolor any old thing that has any historical significance, and sent all his drawings to Olenin, who constantly supervised these works (especially the first years) and gave him detailed instructions. For his work S. ranked in 1833 to the Academy and to the Cabinet of His Majesty. From that time on, a series of S.'s trips to the ancient cities of Russia began to copy domestic antiquities. Until 1836 he worked in Novgorod, Ryazan, Moscow, Torzhok and other cities; in Moscow he studied at the Armory, in the Assumption and Archangel Cathedrals and in other places. Drawing and examining in detail the royal utensils in the Armory, he made the discovery that the so-called crown and barm of Monomakh were made during the reign of Tsar Mikhail Fedorovich, in Greece. Besides, he did. trips to Ryazan, Yuryev-Polsky, Smolensk and other cities. At the end of 1835, he received from Acad. program for obtaining the title of academician: to paint a picture "Meeting of Grand Duke Svyatoslav with John Tzimiskes". A year later, this picture (find in the museum of Emperor Alexander III) was completed, and S. was made an academician. Almost simultaneously with this, S. was engaged in the restoration of the ancient royal towers in the Kremlin, composed projects for their restoration, and by the end of 1836, the towers were completely renewed. Emperor Nicholas, who unconditionally believed in the knowledge of S., instructed him to copy many of the things in the Armory and in the Cathedral of the Annunciation. Of the huge number of Solntsevo drawings depicting antiquities - and there are more than 3000 of them in total - not one has passed the eyes of the Sovereign. Fulfilling his order, S. determined, among other things, that it was so. the so-called crown of the Astrakhan kingdom was made under Mikhail Fedorovich, and the Siberian crown - under Alexei Mikhailovich. From 1837 to 1843, Mr.. S. worked mainly in Moscow, although he visited other ancient cities. At the same time, he took part in the construction of the Moscow Grand Palace, built on the site of the former one, which burned down in 1812. When, in 1843, Olenin died, the Sovereign undertook to lead S. himself and sent him to Kiev to copy and restore local antiquities . From here begins a new era of S.'s career, which lasted ten years. In the summer he usually worked in Kyiv, and in the winter he moved to St. Petersburg, where he brought with him each time from 80 to 100 drawings, which were presented to him by the Sovereign. Examining the Kiev Sophia Cathedral, he discovered wall frescoes of the 11th century there. Not limited to this discovery, which can be considered one of the most important merits of S., he proceeded, by the Highest command, to restore the interior of the aforementioned cathedral, if possible, in the form that it had, and completed this work in 1851. Moreover, S. photographed views of some churches, made drawings of the interior of the cathedral of the Kiev-Pechersk Lavra, participated in a temporary commission to analyze the ancient acts of the South-West. Russia, established in 1844, and was appointed to the committee for the publication of his drawings. This edition lasted from 1846 to 1853 and amounted to six huge volumes of "Antiquities of the Russian State", in which most of the drawings (up to 700) belong to S. The Crimean War, the death of Emperor Nicholas I and the onset of the era of reforms in the reign of his successor on the throne - all this pushed S. into the background. Nevertheless, from 1853 he worked for St. Petersburg. St. Isaac's Cathedral, performed the orders of St. synod, what, for example, are the drawings of antimensions, images of saints for placement in prayer books, calendars, etc.; for eight years he was in charge of making iconostases for churches in the west. provinces. Since 1859, S. again receives official business trips (for example, to Vladimir-on-Klyazma) and is ranked among the imp. archaeological commission. In view of his merits, the Academy is thin. in 1863 gave him the title of her honorary free companion. In 1876, the 50th anniversary of S.'s activity was solemnly celebrated, and a gold medal knocked out in his honor was presented to him, and he was elevated to the rank of professor. Not possessing a particularly bright artistic talent, S. took a very prominent place in the history of Russian art with his tireless activity in the field of studying the artistic monuments of Russian antiquity: he executed an uncountable number of drawings of all kinds of Russian antiquities, of which many were later published and made a precious contribution to our archeology. Also very curious are the drawings of the common people, now for the most part already disappeared costumes from different areas of Russia, which S. studied and reproduced with love during his travels; finally, both Russian icon painting and the ornamentation of buildings and utensils, mainly church ones, owe him a lot.

Solntsev Fedor Grigorievich Full members of VASKhNIL, RAAS - List of full members of the National Academy of Sciences of Ukraine since 1918. The list includes 597 scientists. The specialization of academicians is indicated according to scientific activity and it may differ from the activity in which the scientist ... ... Wikipedia

) - the largest Russian specialist in artistic archeology (artist, architect and historian), head of the famous publication Antiquities of the Russian State. He was in charge of the decoration of the Grand Kremlin Palace.

Origin

Creation

At the end of the academic course, in 1824, for the painting "Peasant Family", he received a small gold medal, and in 1827, for the painting "Repay Caesar's to Caesar, and God's God" - a large gold medal.

In 1830, by the highest order and order, Olenina went to Moscow and other places “to copy our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness, etc. items." For all the time he has drawn more than 3,000 high-precision sketch drawings, characterized by great detail. They depicted historical household items, icons, buildings, clothing, weapons, armor, etc. About 700 of these sketches made up the bulk of the publication. "Antiquities of the Russian state", conceived by Olenin and implemented after his death by Emperor Nicholas I with a circulation of 600 copies.

In 1836, for the painting “Meeting led. book. Svyatoslav with John Tzimiskes" Fedor Grigorievich was made an academician. In addition, Solntsev took part in the painting and restoration of many Temples. In 1836-1849, together with the architect P. A. Gerasimov, he restored the Terem Palace in the Moscow Kremlin. In 1876, in honor of the 50th anniversary of his activity, he was elevated to the rank of professor.

He died in 1892 and was buried at the Volkovskoye Cemetery in Saint Petersburg. The memorial room of the artist-archaeologist F. G. Solntsev is located in Bork (Yaroslavl region).

Major writings

• "Ryazan Antiquities"
• "Monuments of Moscow antiquity"
• "Antiquities of the Russian state" (from 1846 to 1853).
  • Issue "Kiev Sophia Cathedral" (1871)
• "Clothes of the Russian State"
• "Kerch and Phanagoria Antiquities"
• "Motifs of ornaments taken from old Russian works"
• "Review of Kyiv" by the Kyiv civil governor I. I. Funduklei (1847)
• "Review of the graves, ramparts and settlements of the Kyiv province" (1848)
• a number of handwritten books for the royal family:
  • Prayer book for Empress Alexandra Feodorovna, wife of Nicholas I;
  • Prayer Book for Empress Maria Alexandrovna, wife of Alexander II;
  • Prayer books to guardian angels for Grand Duchess Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna;
  • Lives of selected saints;
  • "Holidays in the House of the Orthodox Tsar of Russia";
  • Life of Sergius of Radonezh; Service of St. Mary Magdalene;
  • "Russian saints, intercessors before God for the Tsar and Holy Rus'";
  • "Significant days in the House of Emperor Alexander III".
• "Gospel according to John" commissioned by Princess Leonilla Nikolaevna Menshikova (1854)
• Solnevsky "Saints"
• illustrations for the works of Metropolitan Filaret
• Memoirs "My life and artistic and archaeological works"

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Notes

Literature

• Evtushenko M. M. Fyodor Grigoryevich Solntsev: New data for the artist's creative biography // Russian Art in the Hermitage. - SPb., 2003. - S. 240-249.
• Tarasov E.// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.

Links

• Solntsev F. G.// Russian antiquity, 1876. - T. 15. - No. 1. - S. 109-128; No. 2. - S. 311-323.

An excerpt characterizing Solntsev, Fedor Grigorievich

The Cossack was summoned, questioned; the Cossack commanders wanted to take advantage of this opportunity to beat off the horses, but one of the commanders, who was familiar with the higher ranks of the army, reported this fact to the staff general. Recently, the situation at the army headquarters has been extremely strained. Yermolov, a few days before, having come to Bennigsen, begged him to use his influence on the commander-in-chief in order to make an offensive.
“If I didn’t know you, I would think that you don’t want what you ask. As soon as I advise one thing, the most illustrious one will probably do the opposite, ”Benigsen answered.
The news of the Cossacks, confirmed by sent patrols, proved the final maturity of the event. The stretched string jumped off, and the clock hissed, and the chimes began to play. Despite all his imaginary power, his mind, experience, knowledge of people, Kutuzov, taking into account the note of Bennigsen, who personally sent reports to the sovereign, expressed by all the generals the same desire, the desire of the sovereign assumed by him and the reduction of the Cossacks, could no longer keep inevitable movement and gave orders for what he considered useless and harmful - blessed the accomplished fact.

The note filed by Bennigsen about the need for an offensive, and the information of the Cossacks about the uncovered left flank of the French, were only the last signs of the need to give the order for the offensive, and the offensive was scheduled for October 5th.
On the morning of October 4, Kutuzov signed the disposition. Tol read it to Yermolov, suggesting that he deal with further orders.
“All right, all right, now I have no time,” said Yermolov and left the hut. The disposition compiled by Tol was very good. Just as in the Austerlitz disposition, it was written, although not in German:
“Die erste Colonne marschiert [The first column goes (German)] here and there, die zweite Colonne marschiert [the second column goes (German)] here and there”, etc. And all these columns are on paper came at the appointed time to their place and destroyed the enemy. Everything was, as in all dispositions, beautifully thought out, and, as in all dispositions, not a single column came at the right time and in the right place.
When the disposition was ready in the proper number of copies, an officer was called and sent to Yermolov to give him the papers for execution. A young cavalry officer, Kutuzov's orderly, pleased with the importance of the assignment given to him, went to Yermolov's apartment.
“Let’s go,” replied Yermolov’s orderly. The cavalry guard officer went to the general, who often visited Yermolov.
- No, and the general is not.
The cavalry guard officer, sitting on horseback, rode to another.
- No, they left.
“How could I not be responsible for the delay! That's a shame!" thought the officer. He traveled all over the camp. Who said that they saw Yermolov drive somewhere with other generals, who said that he was probably at home again. The officer, without dinner, searched until six o'clock in the evening. Yermolov was nowhere to be found and no one knew where he was. The officer had a quick bite to eat with a comrade and went back to the vanguard to Miloradovich. Miloradovich was also not at home, but then he was told that Miloradovich was at General Kikin's ball, that Yermolov must be there too.
– Yes, where is it?
- And over there, in Echkin, - said the Cossack officer, pointing to a distant landowner's house.
- But what about there, behind the chain?
- They sent two regiments of ours to the chain, there is such a spree now, trouble! Two musics, three songbook choirs.
The officer went behind the chain to Echkin. From afar, driving up to the house, he heard the friendly, cheerful sounds of a dancing soldier's song.
“In the sledge and ah ... in the sledges! ..” - he heard with a whistle and with a torban, occasionally drowned out by the cry of voices. The officer felt cheerful at the sound of these sounds, but at the same time he was afraid that he was to blame for not transmitting the important order entrusted to him for so long. It was already nine o'clock. He dismounted from his horse and entered the porch and the hall of a large, intact landowner's house, located between the Russians and the French. In the pantry and in the antechamber, footmen bustled with wines and food. There were song books under the windows. The officer was led through the door, and he suddenly saw all the most important generals of the army together, including the large, conspicuous figure of Yermolov. All the generals were in unbuttoned coats, with red, animated faces, and laughed loudly, standing in a semicircle. In the middle of the hall, a handsome short general with a red face was briskly and deftly making a trepak.
– Ha, ha, ha! Oh yes, Nikolai Ivanovich! ha, ha, ha!
The officer felt that, entering at that moment with an important order, he was being doubly guilty, and he wanted to wait; but one of the generals saw him and, having learned why he was, told Yermolov. Yermolov, with a frown on his face, went out to the officer and, after listening, took the paper from him without saying anything to him.
Do you think he left by accident? - said that evening the staff comrade to the cavalry guard officer about Yermolov. - These are things, it's all on purpose. Konovnitsyn to roll up. Look, tomorrow what porridge will be!

The next day, early in the morning, the decrepit Kutuzov got up, prayed to God, dressed, and with the unpleasant consciousness that he had to lead the battle, which he did not approve of, got into a carriage and drove out of Letashevka, five versts behind Tarutin, to the place where the advancing columns were to be assembled. Kutuzov rode, falling asleep and waking up and listening to see if there were shots on the right, was it starting to happen? But it was still quiet. The dawn of a damp and cloudy autumn day was just beginning. Approaching Tarutin, Kutuzov noticed cavalrymen leading horses to a watering hole across the road along which the carriage was traveling. Kutuzov took a closer look at them, stopped the carriage and asked which regiment? The cavalrymen were from that column, which should have been already far ahead in the ambush. “A mistake, perhaps,” thought the old commander-in-chief. But, driving even further, Kutuzov saw infantry regiments, guns in the goats, soldiers for porridge and with firewood, in underpants. They called an officer. The officer reported that there was no order to march.

Solntsev (Fyodor Grigorievich) - painter and archaeologist (1801 - 1892). His father, a serf, c. Musin-Pushkin, placed his son in his own students of the Academy of Arts (in 1815).

Solntsev (Fyodor Grigorievich) - painter and archaeologist (1801 - 1892). His father, a serf, c. Musin-Pushkin, placed his son in his own students of the Academy of Arts (in 1815). Here, studying under the guidance of S. Schukin and A. Egorov, S. quickly showed success in painting. At the end of the academic

in 1824 for the painting "A Peasant Family", he received a small gold medal, and in 1827 for the painting "Give Caesar's to Caesar, and God's God" - a large gold medal. After that, S. left the Academy and for some time earned a living by drawing lessons, writing portraits.

etc. The then President of the Academy A. Olenin began to direct S. on the road on which S. later became famous. Thanks to Olenin, the young artist became an archaeologist-draughtsman and was chained for the rest of his life to the study and depiction of various ancient monuments. In 1830, according to the Highest

by his command, he was sent to Moscow and other places of the Empire "to copy our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness and other items." S. carefully reproduced in watercolor any old thing that has any historical significance, and

He sent his drawings to Olenin, who constantly supervised these works (especially in the early years) and gave him detailed instructions. For his work S. ranked in 1833 to the Academy and to the Cabinet of His Majesty. From that time on, a whole series of S.'s trips to the ancient cities of Russia began to draw

domestic antiquities. Until 1836 he worked in Novgorod, Ryazan, Moscow, Torzhok and other cities; in Moscow he studied at the Armory, in the Assumption and Archangel Cathedrals and in other places. Drawing and examining in detail the royal utensils in the Armory, he made the discovery that the so-called

e crown and bars of Monomakh were made under Tsar Mikhail Feodorovich, in Greece. In addition, he made trips to Ryazan, Yuryev-Polsky, Smolensk and other cities. At the end of 1835, he received from the Academy a program for obtaining the title of academician: to paint the painting "Meeting of Grand Duke Svyatoslav with John

m Tzimiskes". A year later, this picture (located in the museum of Emperor Alexander III) was completed, and S. was made an academician. Almost simultaneously with this, S. was engaged in the restoration of the ancient royal towers in the Kremlin, composed projects for their restoration and, according to them, the tower by the end of 1836 were completely renewed.

Emperor Nicholas, who unconditionally believed in the knowledge of S., instructed him to copy many of the things in the Armory and in the Cathedral of the Annunciation. Of the huge number of Solntsevo drawings depicting antiquities - and there are more than 3000 of them in total - not one escaped the eyes of the Sovereign. Fulfilled

On his instructions, S. determined, among other things, that the so-called crown of the Astrakhan kingdom was made under Mikhail Feodorovich, and the crown of Siberia - under Alexei Mikhailovich. From 1837 to 1843, Mr.. S. worked mainly in Moscow, although he visited other ancient cities. At the same time, he took part

That is, in the arrangement of the Moscow Grand Palace, built on the site of the former one, which burned down in 1812. When, in 1843, Olenin died, the Sovereign undertook to lead S. himself and sent him to Kiev to copy and restore local antiquities. From here begins a new era of S.'s career, which lasted

ten years. In the summer he usually worked in Kyiv, and in the winter he moved to St. Petersburg, where he brought with him each time from 80 to 100 drawings, which were presented to him by the Sovereign. Examining the Kiev Sophia Cathedral, he discovered wall frescoes of the 11th century there. Not limited to this discovery, which

can not be considered one of the most important merits of S., he set about restoring the interior of the aforementioned cathedral, if possible, in the form that it had, and completed this work in 1851. Moreover, S. took pictures of some temples, made drawings interior of the Kiev-Pechersk Cathedral

th Lavra, participated in the temporary commission for the analysis of ancient acts of South-Western Russia, established in 1844, and was appointed to the committee for the publication of the drawings he had taken. This edition lasted from 1846 to 1853 and amounted to six huge volumes of Antiquities of the Russian State, in which

most of the drawings (up to 700) belong to S. The Crimean War, the death of Emperor Nicholas I and the onset of the era of reforms in the reign of his successor on the throne - all this relegated S. to the background. Nevertheless, from 1853 he worked for the St. Petersburg St. Isaac's Cathedral, executed orders from C

the Holy Synod, such as, for example, drawings of antimensions, images of saints for placement in prayer books, calendars, etc.; for eight years he was in charge of making iconostases for churches in the western provinces. Since 1859, S. again receives official business trips (for example, to Vladimir

on Klyazma) and is included in the Imperial Archaeological Commission. In view of his merits, the Academy of Arts in 1863 gave him the title of its honorary free associate. In 1876, the 50th anniversary of S.'s activity was solemnly celebrated, and a gold medal knocked out in his honor was presented to him, and he was elevated to the

title of professor. Not possessing a particularly bright artistic talent, S. took a very prominent place in the history of Russian art with his tireless activity in the field of studying the artistic monuments of Russian antiquity: he executed an uncountable number of drawings of all kinds of antiquities Ross

ii, of which many were later published and made a precious contribution to our archeology. Very curious are also drawings of the common people, now for the most part already disappeared, costumes from different areas of Russia, which S. studied and reproduced with love during his travels; finally, he has a lot

both Russian icon painting and the ornamentation of buildings and utensils, mainly church ones, are indebted to them. Wed N. Sobko "FG Solntsev and his artistic and archaeological activity" ("Bulletin of Fine Arts", vol. I, p. 471); "My life and artistic and archaeological works", the story of F. G. S. ("Rus

Solntsev Fedor Grigorievich (1801-1892)

A nation that is getting on its feet always shows an increased interest in its past. It was after the Napoleonic Wars, when Russia began to play a prominent role in solving European problems, that Russian society began to need to know more about itself.

A graduate of the Academy of Arts, Fyodor Grigorievich Solntsev, did a lot to study ancient Russian art, who, under the guidance of Varnek and Egorov (1815-1825), mastered everyday art and icon painting.

While still at the Academy, Fyodor Solntsev painted the painting "A Peasant Family Before Dinner" (1824), for which he received a gold medal. Tempting prospects open up before the young artist. Moreover, the family of Nicholas I favors him. Perhaps the emperor himself had a decisive influence on the creative life of F. Solntsev. In 1830 he was sent on an artistic and archaeological expedition to the ancient cities of Russia. From the business trip of F.G. Solntsev brings over 3,000 watercolors related to ancient Russian art. From now on, he is the main connoisseur of antiquities of the Russian state, and therefore, as an authoritative expert, he is attracted to restoration work and new buildings in the Byzantine-Russian style.

The artist still does not part with oil and watercolor paints, but his main merits are related to artistic and archaeological activities. It was for her that he received the title of professor in 1876. And in 1885, the public of St. Petersburg warmly celebrated the 50th anniversary of the assignment of F.G. Solntsev the title of academician - pleasing longevity, lived with great benefit for the dear Fatherland.