Artist-archaeologist Fyodor Solntsev in collaboration with the Holy Synod. The history of the discovery and study of Russian medieval painting

Branches 1-6. Moscow, type. Augusta Seeds, 1849-1853. Dep. 1: Holy icons, crosses, temple utensils and vestments of spiritual dignity. 1849. 229 p. [Album of illustrations.] Drawn by Academician F. Solntsev. 112l. illustrations. Dep. 2: The ancient royal rank, royal utensils and clothes. 1851. III, XIV, 119p. [Album of illustrations.] 147 sheets. illustrations. Dep. 3: Armor, weapons, carriages and harness. 1853. XXIII, 151 p. [Album of illustrations.] 147 sheets. illustrations. Dep. 4: Ancient grand ducal, royal, boyar and folk clothes, images and portraits. 1851. II, 88 p. [Album of illustrations.] 72 sheets. illustrations. Dep. 5: Ancient dining room and household utensils. 1853. IV, XX, 108 p. [Album of illustrations.] 72 sheets. illustrations. Dep. 6: Monuments of ancient Russian architecture. 1853. 110, II p. [Album of illustrations.] 39 leaves. illustrations. A total of 508 numbered chromolithographs. Titles in Russian and French. 511 x 362 mm. Antiquities of the Russian state - a scientific work prepared by F. G. Solntsev, describing the main archifacts of the history of Russia. This one of the most expensive Russian publications is a monument to events and eras of great historical significance.

Since 1830, for more than twenty years, F. G. Solntsev made numerous trips to ancient Russian cities, monasteries and churches, where he carefully recorded monuments of history and culture. The result of this titanic work was the publication described above, consisting of 6 sections - albums, which included 508 sheets of large format color chromolithographs of domestic cultural monuments, notebooks of text printed material for each of the six sections in the fourth part of the sheet and an additional volume in the 4th part sheet to the III branch: Yakovlev, Lukian P. "Russian ancient banners". Moscow, Synodal Printing House, 1865,384 p.from 11thcolor and tonedrawings. The appearance of this publication is associated with the development in the 19th century of the so-called "artistic archeology", the founder of which is considered to be the artist F. G. Solntsev (1801-1892). Today - the most expensive Russian printed edition ever officially sold at world auctions:$749240!

Bibliographic sources:

1. The Paul M. Fekula collection. A catalogue. Vol.I. New York City, 1988, No. 6194

2. Vengerovs A.A. and S.A. "Bibliochronika", vol. I, Moscow, 2004, No. 64

3. "The magic of the book." GIM collection. Exhibition catalogue. Moscow, 2003, p.s. 64-67

4. Sobko M. P. F. G. Solntsev and his artistic and archaeological activity // Bulletin of Fine Arts. 1883. T. I. Issue. III.

5 Colas, Rene. Bibliographie generale du costume et de la mode. 2 vols. Paris, 1933. No. 138

6. Scientific and reference literature, art. Catalog-price list for the purchase and sale of used and antique books. Second edition, revised. Moscow, 1989, No. 2045

At the origins of this amazing publication was the President of the Academy of Arts, Director of the Public Library A.N. Olenin. In 1841, while preparing a draft set of engraved images of monuments of culture and life of Ancient Russia, Aleksey Nikolayevich wrote: “The purpose of this work is that our ancient Russian customs, customs, rituals, spiritual, military, secular, common folk clothes, as well as dwellings and the buildings, the degree of knowledge and enlightenment, industries, arts, crafts and various objects in the community have become known - by sculpture or drawing - in all their accuracy and with the preservation of their character or appearance. To implement this plan, Olenin proposed the candidacy of his longtime pupil at the Academy of Arts, a former serf, who at the age of 32 became an academician of painting, Fyodor Grigoryevich Solntsev (1801-1892). Olenin entrusted Solntsev with a sketch of "Ryazan antiquities" - gold and silver jewelry accidentally discovered in 1822 by two peasants near Staraya Ryazan. The result obtained exceeded all expectations, and in 1830, Solntsev, recommended by Olenin, was sent on a special expedition to ancient Russian cities and monasteries "to copy our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness and other items, belonging to history." The Armory and the cathedrals of the Moscow Kremlin, Vladimir, Yuryev-Polsky, Novgorod St. Sophia Cathedral, Yaroslavl, Torzhok, Pskov, Pechory, Kiev, Ryazan, Suzdal, New Jerusalem - this is not a complete list of places where the artist worked. "It is only thanks to him that many important historical objects have been preserved, if not in originals, now lost, then at least in true copies." This assessment of Solntsev's activities was given at the end of the 19th century. As you know, April 17, 1843 Olenin dies. However, a year later, on April 27, 1844, by order of Nicholas I, a special committee was created to publish Antiquities of the Russian State. Its chairman was an archaeologist, historian and philanthropist, head of the Moscow Society for the History and Antiquities of Russian Count S.G. Stroganov.

The committee also included the historian I.M. Snegiryov, writer, playwright, director of Moscow theaters and the Armory M.N. Zagoskin, writer A.F. Veltman, who since 1842 served as assistant director of the Armory. The Stroganov Committee took upon itself the preparation of the scientific and reference apparatus. Solntsev was also appointed a member of this committee and prepared the main thing - drawings for reproduction. Emperor Nicholas I, who patronized the project, allocated 100,000 rubles in gold. 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.

An additional volume was compiled by Lukian Yakovlev, assistant director of the Moscow Armory. The beginning of L.P. Yakovlev in the museum dates back to 1860. The order dated July 12, 1860 by the Moscow Palace Office on the enrollment of the staff captain of the Life Guards of the Finnish Regiment L.P. Yakovlev to the post of assistant director of the Armory with the rank of major. He began his activity with the study and analysis of weapons and related documentary data from the archives of the Armory, which was located at that time in the museum building6. By the end of 1862, Yakovlev had already done a lot of work on compiling a new Inventory of the Chamber's exhibits. A draft version of the chamber’s accounting statement for 1861-1862 has been preserved, which indicates that the department of weapons, assistant director Major Yakovlev, compiled a new complete preliminary catalog, brought to a perfect end and submitted for approval a detailed historical description of ancient banners and armor, which is Book I III parts (meaning the III part of the Inventory of the Moscow Armory) and embracing 1139 items; a draft description of white (i.e. cold) weapons was drawn up; all firearms were prepared for inventory, and from that number they were completely described: all matchlock weapons - 20 pieces, 43 wheeled pistols, 139 old Russian squeakers, 31 carbines and 165 pistols; all weapons were dismantled and partly placed according to the new catalog ... The report gives an idea of ​​the amazing performance of L.P. Yakovlev, who in about two years made not only more than two thousand new descriptions, but at the same time was engaged in the systematization of weapons, exhibiting and monitoring the restoration of museum objects. At the end of 1862, the Inventory of Armor and Banners of the Moscow Armory, completed by Yakovlev, was presented to Alexander II, who ordered "to publish a description of ancient Russian banners in the form of an addition to the III Department of Antiquities of the Russian State." On January 15, 1863, Yakovlev was awarded the rank of lieutenant colonel for compiling a detailed inventory of banners and armor. Continuing to work on the Inventory, by 1866 Yakovlev completed the description of edged, throwing and firearms. The transcribed and bound volumes of these Inventories are dated 1862, 1863 and 1866, respectively. Thus, by the beginning of 1867, the main part of the unique collection of weapons was described. Unfortunately, out of all this vast material, during the life of Yakovlev, only one book, "Russian Ancient Banners", which we have already mentioned, was published. In 1867 L.P. Yakovlev fell seriously ill and was fired. The first volume of Antiquities was published in 1849. The last - the sixth - in 1853. Each volume of drawings had an additional volume with explanations. 508 drawings make up only a 10th share 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: 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, and so on. 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.

Solntsev, Fedor Grigorievich- artist-archaeologist, academician of historical and portrait painting, honorary free member of the Imperial Academy of Arts, was born on April 14, 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 soiled and painted. S. stayed in the village with his mother until 1815. The father, noticing passion in his son, took him to St. Petersburg. In the same 1815, S. entered the Academy of Arts as a pensioner, where he found rapid progress: 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.

Solntsev spent 9½ years at the academy. 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, Solntsev painted the painting "The Savior with the Pharisees according to the Gospel parable about 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, Solntsev 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. Solntsev refused a business trip, left the boarders of the Academy and began to live by lessons and by painting 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, Solntsev 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).

Solntsev 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, Solntsev, by the Highest command, 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, Solntsev diligently set to work and a month and a half later sent Olenin nine drawings, including two printed ones, painted by him and depicting a cone. Prince Yaroslav Vsevolodovich In addition, Solntsev 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 Solntsev received from him. At the end of August 1830, Olenin wrote to him: “I instruct you to mark in great detail with a pencil on the drawings themselves: a) how, according to local legend, a weapon or any other object, or a special part of it, was called? : helmets, shishaks, prilbits, 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. c) On all the details you have drawn and on the copy-books, clearly put numbers or letters so that they can be cleanly, unmistakably placed when finishing objects (here in St. Petersburg) 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. Solntsev 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, Solntsev traveled to Yuryev-Polsky and on the way stopped by the village of Lykovo, near which, in the tract of Zary, in the Lesnichy Ravine, the remains of a cone led were found. Prince Yaroslav Vsevolodovich Solntsev 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, Solntsev 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 Solntsev knew our chronicles and how skillfully he determined the antiquity of the found thing. Solntsev 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, Solntsev set about 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 Solntsev through Olenin became known to Emperor Nicholas I: 27 Apr. 1833 Solntsev was assigned to the Academy and to the office of His Majesty. In the summer of 1833 Solntsev 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 Solntsev to his monastery to copy antiquities. Having received formal permission from the metropolitan, Solntsev copied all the more or less noteworthy antiquities in Novgorod. 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, Solntsev presented Olenin with 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, Solntsev was supposed 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 the rules for you again," Olenin says in a letter, "for the best performance of the work assigned to you, recalling 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 quite 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 in the Armory, in the cathedrals of the Assumption, Archangel, etc. During his studies, Metropolitan Filaret, who was interested in his work and showed him his favor, never came. 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. About his Moscow works S. constantly informed Olenin, 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 indistinctly that the most curious parts of each object are visible, and that its distinctive character is most strictly preserved in each of them. 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 Solntsev was in drawing antiquities, but 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 Tula, Tver, Novgorod, and other provinces. These watercolor drawings were presented to the sovereign 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 Solntsev who paid special attention to the Kiev Sophia Cathedral, where he discovered the 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. April 27, 1844 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 domestic 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: 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, and so on. 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, the doors of the times of the Terrible, various banners, armor, items of royal use, etc. He renewed the royal towers 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 the Virgin, 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 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 over the course of 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 Tretyakov Gallery there is a watercolor by Solntsev: "The Appearance of an Angel to the High Priest Zacharias".

Solntsev Fedor Grigorievich

Solntcev Fedor

(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 Grigoryevich 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.

Solntsev F.G. (fragment of engraving, Pozhalostin)

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 - a pleasing longevity, lived with great benefit for the dear Fatherland.

____________________________

Solntsev Fedor Grigorievich

The life and works of the artist Fyodor Solntsev
Solntsev was one of those best and few
who taught us all to appreciate and love
real indigenous Rus'.
V.V. Stasov

In one of the halls of the State Tretyakov Gallery, a small painting "A Peasant Family" is exhibited, made in 1824 by a graduate of the Academy of Arts as a program for the Small (second) gold medal. A traditional program task with an uncomplicated plot, a simple but well-thought-out compositional structure, warm coloring - a real academic work. She earned the recognition and approval of the members of the commission, her author received a gold medal, and the young artist - the right to a pensioner's trip, which he did not use. This painting is from the end of the 19th century. took P.M. Tretyakov, students of the Academy of Arts made educational copies from it. And who could have imagined then, in 1824, that the great path of an outstanding Russian artist would begin with this uncomplicated programmatic work, without which a conversation about the culture of the 19th century is unthinkable today. in general, about Russian architecture and Russian literature in particular. The name of this artist is Fedor Grigoryevich Solntsev (1801-1892).

Russian science is indebted to the works of Solntsev for the collection of Antiquities of the Russian State and Kerch and Phanagoria Antiquities. According to Solntsev's drawings, the towers and churches of the Moscow Kremlin were restored, the halls of the Kremlin Palace were decorated. He owns the honor of opening and restoring the mosaics and frescoes of St. Sophia of Kyiv, the Assumption Cathedral of the Kiev-Pechersk Lavra, the Dmitrovsky Cathedral in Vladimir.

In 1876, during the celebration of the 50th anniversary of the artistic and archaeological activity of F.G. Solntsev, the editor-in-chief of the famous Russian Antiquity magazine, Mikhail Ivanovich Semevsky, said: “Solntsev’s drawings, in scientific and artistic terms, are a picturesque chronicle of Ancient Rus', a source of revival of the national style. And if Karamzin in the annals and other archeographic monuments of our Fatherland found living colors for the style of his history; if Pushkin found in folk tales a lively, fresh stream, with which he updated the language of Russian poetry, then the artist Solntsev, with his works, awakened in Russian artists a sense of national self-consciousness and respect for the images bequeathed to us by our ancestors.

Fedor Grigoryevich Solntsev was born on April 14, 1801 in the village. Verkhne-Nikulsky, Mologa district, Yaroslavl province, in the family of landowners (serfs) of Count Musin-Pushkin. After the birth of his son Fyodor, his father, Grigory Kondratievich, left for St. Petersburg and began working as a cashier at the imperial theaters. Soon the older brother, Denis, also moved to the northern capital. Fedor and his mother Elizaveta Frolovna remained in the village. Thanks to the efforts of his mother, who was a literate woman, he began to learn to read. But study in general was given with difficulty. It was much more interesting to draw or copy popular prints, to play on the banks of a stream that flows into the famous Sit River.

When, in 1815, his father, as usual, visited his family, he was complained about a negligent child, who was only interested in drawing various rural and church objects. Grigory Kondratievich, apparently possessing a good instinct, took the child with him to St. Petersburg. Here, on Admiralteiskaya Square in the house of Count Kutaisov, living with his brother and father, Fedor Grigorievich began to study arithmetic, French and German, study a number of general subjects, as well as drawing.

While Fyodor Grigorievich was slowly studying with his brother, his father was busy about getting him into the Academy of Arts. This happened in the same year, 1815. Once, on the orders of Grigory Kondratievich, he went to the inspector of academic classes, the famous artist K.I. Golovachevsky, Fyodor Solntsev was immediately enrolled in the number of his own pupils. In 1815 he was assigned to the first drawing class. Less than six months later, Solntsev was in the full-scale class. Moving into the third age, F.G. Solntsev chose historical and portrait painting as his specialty, and began to work under the guidance of famous Russian painters, professors S.S. Schukina, A.A. Egorova and A.G. Varnek. Solntsev worked a lot and interestingly, took part in the painting of the Kazan Cathedral. Soon the director of the Imperial Public Library A.N. Olenin, who in 1817 became President of the Academy of Arts. "A lover and connoisseur of antiquities", widely erudite in matters of literature and art, historian, archaeologist and ethnographer, he attracted the young artist to perform various works and orders, aiming at artistic and archaeological research. A.N. Olenin contributed to the formation and formation of a unique historical painter, an expert in archeology and the history of Russia.

In 1829, almost five years after Solntsev graduated from the Academy of Arts, Olenin invited him to work on publishing a book about Ryazan antiquities. F.G. Solntsev made drawings of Ryazan antiquities: precious plaques, barmas, rings. He later recalled this work: “Aleksey Nikolaevich suggested that I draw “Ryazan antiquities”. I set to work. It was necessary to draw in the office of Alexei Nikolaevich. By the way, I had a badge drawn, and this drawing was lying on the table. Once a professor of perspective, M.N., came to Alexei Nikolayevich. Vorobyov. Noticing a badge on the table and mistaking it for a real one, he wanted to move it with his hand, but, seeing his mistake, he said: "Is it really drawn!" On this occasion, Alexei Nikolaevich remarked: “Yes, art cannot be better praised.”

Work on the Ryazan antiquities finally connected the life and work of Fedor Grigorievich with archeology.

The most important stage in the creative biography of F.G. Solntsev were the 30s of the XIX century. At that time he worked in Moscow, taking drawings from the most ancient things kept in the Armory of the Moscow Kremlin and its cathedrals, making watercolor sketches of various views of Moscow. Some of these drawings were made for the Russian historian, a full member of the Imperial Society of Russian History and Antiquities - Ivan Mikhailovich Snegirev. In an introductory article to one of them, the publisher August Semyon noted:

“A description of the antiquities of the first throne, the royal capital of Russia, worthy of the greatness of the subject and the reverent attention of the Russian people and the Russian land to the shrine and monuments of Moscow, has long been the common desire of all enlightened people. The study of Patriotic monuments is the duty of everyone who loves his Fatherland. Preserving them in descriptions and images from accidental death and destruction of time should be revered as a testament of our respect for the ancestors and the honor of the people.

By a happy chance, the long-desired enterprise found a zealous patron in the former, forever unforgettable mayor of Moscow, Prince D.V. Golitsyn. The description of the monuments of Moscow antiquity was entrusted to I.M. Snegirev. The curious descriptions of Mr. Snegirev were enriched with drawings by the excellent isographer of Russian antiquities, Academician F.G. Solntseva.

The elegance of the decoration of the drawings and the fullness and distinctness of the descriptions aroused the consonant praise of all our not only Russian, but also foreign newspapers and magazines, which unanimously recognized the Monuments of Moscow Antiquity as the first magnificent publication that has come out in Russia until now.

This joint work of outstanding Russian researchers I.M. Snegirev and F.G. Solntsev, along with the "Monuments of Old Russian Architecture" F.F. Richter and "Russian antiquity" A.A. Martynov and I.M. Snegirev laid the foundation for the education of Russian architects in terms of national heritage.

In May 1830, the work of the artist F.G. Solntsev over "copying our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness and other items belonging to historical, archaeological and ethnographic information", located in Moscow and stored in the Armory. The work of Solntsev in the Kremlin and in the Armory was assisted by outstanding public and state figures of the 19th century: Metropolitan of Moscow Filaret (Drozdov), the president of the Moscow palace office, Prince V.V. Yusupov, historian M.P. Pogodin and, of course, A.N. Olenin.

Created by F.G. The collection of drawings of Russian antiquity by the Sun (and there were more than three thousand by the end of the 40s) attracted the attention of Emperor Nicholas I, and he granted about one hundred thousand silver rubles for their publication. Such a donation by the emperor for publication caused a lively response in the public and scientific circles of Russia. In the Moskvityanin magazine, the historian M.P. Pogodin noted that "lovers of Patriotic antiquity and history bless the royal generosity" and "impatiently await a magnificent publication." And 20 years after the publication of Antiquities of the Russian State by M.P. Pogodin writes: “The most important and at the same time the most magnificent edition of our monuments, actually archaeological, is in the Antiquities of the Russian State. Archeology has received a rich benefit in this magnificent edition!”

V.V. Stasov, delivering a speech in memory of F.G. Solntsev, highly appreciated the "Antiquities of the Russian State". He said: "The book was to the general taste, it constituted an epoch in Russian historical self-consciousness and had a tremendous influence on the growth of all our last artistic generations."

Proceedings of F.G. Solntsev was promoted in every possible way by Emperor Nicholas I, who brought national traditions to the fore. Among them, a certain attention was paid to Russian historical relics.

The enormous work done by Solntsev to restore the Terem Palace of the Moscow Kremlin was highly appreciated by the emperor. He was awarded a diamond ring and awarded the Knight of the Order of St. Vladimir 4 degree.

Nicholas I gave a number of orders related to national antiquity. In Kyiv, in 1832, the remains of the Golden Gate were opened, and since 1835 a special Commission for the Investigation of Antiquities has been operating. The collected collections arrived at Kiev University, where on March 17, 1837, an archaeological museum was opened. In 1847, the work of the Kyiv civil governor I.I. Funduklei "Review of Kyiv", and in 1848 - "Review of the graves, ramparts and settlements of the Kyiv province." Most of the buildings and things were presented in drawings and drawings. Engravings for the book were created according to the drawings of F.G. Solntseva.

It was F.G. Solntsev is credited with the discovery and restoration of the famous frescoes and mosaics of the 11th century. in the Kiev Sophia Cathedral, the existence of which until 1843 no one suspected. “For a long time, ancient images of angels, seraphim and cherubim were noticeable in one of the side sections of the Cathedral, on the south side, on the vault, and one could look closely and read Greek inscriptions here,” Archpriest I.M. Skvortsov in his book on the restoration of the cathedral, published in 1854. But this was only a part of the 8-century-old frescoes that had to be looked for on all the walls of the Cathedral. In 1843, “when in the altar of the limit of the Monks Anthony and Theodosius, after an accidental fall of the plaster, there were traces of fresco images, who was in Kyiv on some business, Academician F.G. Solntsev had the idea of ​​the existence of such images throughout Yaroslav's temple. This idea was confirmed when they tried to clean the newest whitewash and tint in different places. Thus, this matter seemed worthy of the attention of the Most High, it was reported to the Sovereign Emperor, and His Majesty deigned to instruct the Holy Synod to find funds both for the discovery and renewal of ancient frescoes on all the walls and pillars of the Kiev Sophia Cathedral. As a result, a Committee was drawn up for the renewal of this council in all its parts; moreover, in accordance with the highest will, the entire picturesque part is entrusted to the main supervision of Academician Solntsev.

Restoring the frescoes and revealing the mosaics of St. Sophia Cathedral, F.G. Solntsev copied his painting with jeweler's care. In March 1853 he submitted 80 drawings to the Imperial Russian Archaeological Society for publication. The Archaeological Society agreed to take over the work of publishing, deciding to lithochrome and engrave the drawings. At the same time, the emperor ordered that the publication of new drawings by F.G. Solntsev was a continuation of the Antiquities of the Russian State. But due to lack of funds, the process of preparing the publication dragged on for many years and began only in 1866. In 1871, the first issue of "Antiquities" was published - "The Kiev Sophia Cathedral".

From 1830 to 1853 F.G. Solntsev traveled a lot in ancient Russian cities, researching and copying ancient objects and monuments, making ethnographic sketches. “From that time to the present, from the antiquities of the Kerch, Moscow, Trinity-Sergius Lavra, New Jerusalem and their environs, in Ryazan, Vladimir, Kiev, Novgorod, Pskov, Smolensk, Chernigov, Vitebsk, Mogilev and many other county towns, as well as in the sacristy of the Imperial Winter Palace in St. Petersburg, made by Solntsev in watercolor and presented to the Sovereign Emperor up to 2000 drawings. In addition, he is engaged in watercolor painting and other Highest orders, as well as for the newly built Kremlin Palace in Moscow. Under his supervision, ancient painting was restored in the Kiev-Assumption Lavra Cathedral and in the Vladimir Dmitrovsky Cathedral, and ancient frescoes were restored in the Kiev-Sophia Cathedral.

Solntsev was most graciously awarded orders for his labors: St. Vladimir 4th degree, St. Stanislav 2nd degree with a crown and St. Anna of the 2nd degree, and for the painting performed in the program from the Imperial Academy of Arts he was awarded the Academician.

In 1836 F.G. Solntsev was awarded the title of academician for his work. From 1844 to 1867 he taught iconography at the St. Petersburg Theological Seminary, for which he received the Order of St.. Anna of the 2nd degree and the Order of St. Vladimir 3rd degree. In 1858-1866. under his supervision, more than 200 iconostases were made for the churches of the western Russian provinces by order of the Ministry of State Property. He himself made sketches of images, crosses, banners, and so on.

Working with monuments of ancient Russian art and household items, studying the monuments of Russian antiquity, F.G. Solntsev constantly came into contact with Russian handwritten books, from which he drew the information necessary to date the objects under study, to determine the place of their creation and purpose.

While working in the Moscow Kremlin in the 30s. 19th century with items of Russian antiquity from the Armory, the artist's attention was attracted by such masterpieces of Russian literature as the Izbornik of Svyatoslav in 1073, the Royal Letters. In the Moscow Synodal Printing House, he drew attention to the unique St. George's Gospel, to early printed books. F.G. Solntsev copied the most interesting materials: screensavers, capital letters, writing samples from various eras, i.e. everything that could be useful to the artist for understanding, characterizing and reproducing this or that era. In the collection of drawings and watercolors by F.G. Solntsev, stored in the Department of Manuscripts of the Russian National Library, turned out to be a number of sheets representing ancient Russian book art. It can be assumed that F.G. Solntsev thought about systematizing the visual material contained in handwritten and early printed books, thought about creating an album on the history of Russian book ornament.

From the end of the 30s, when Emperor Nicholas I accepted F.G. Solntsev, under his patronage, for members of the imperial family, the artist created prayer books and other books of spiritual content. One of them was the book "Holidays in the House of the Orthodox Tsar of Russia."

For members of the imperial family F.G. Solntsev also wrote: 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".

For several years, F.G. Solntsev often visited M.P. Volkonskaya, daughter-in-law of the head of the Palace Chancellery, Chief Marshal P.M. Volkonsky, who took care of the artist after the death of A.N. Venison. Artists, writers, composers gathered in the house of Maria Petrovna, among them Professor N.I. Pokhvisnev, L. Kikina, L. Lvov, M.A. Mezhakova, P.V. Basin. In the circle of M.P. Volkonskaya in the 50s of the XIX century. under the leadership of Solntsev and with his direct participation, a handwritten book "Prayer Book with the Monthly Book" was created.

This handwritten book was written about in the journal "Capital and Estate", drawing attention to the obverse Monthly Book, located at the end of the book. These are images of saints, as well as master and twelfth holidays. “One can imagine how much work it cost, for example, to place on a space less than four inches high and about three inches wide - an image of daily saints celebrated throughout the whole month. In order to highlight the faces and vestments of half-height figures, it was necessary to use a magnifying glass and have a real supply of patience, and, with all possible diligence, it was impossible to complete the table with all the saints of thirty days and the images of the twelve holidays that were part of them in less than two or three months.

By order of Princess L.N. Menshikova F.G. Solntsev created a unique, extraordinary beauty handwritten book "The Gospel of John". Academicians G.G. worked on the book together with Solntsev. Gagarin and Premazzi.

The logical outcome of the appeal to the Russian manuscript tradition was the creation in the early 60s. 19th century on the instructions of the Holy Synod of the large facial Saints. When preparing Svyattsev, the artist used nine icon-painting originals of the 14th-15th centuries. and completed the work of a historian and ethnographer. He also used a lot of pictorial images - icons, drawings, his own drawings. In 1866 the Saints were printed. They consisted of 12 sheets, 48 ​​weeks each, and each week 100 figures of saints. Nestor Kukolnik, anticipating the release of Svyattsev, wrote that "the publication would be of great benefit to artists in their execution of church painting." Solntsevsky Saints "represented a whole reference lexicon, an archaeological museum."

It became quite logical for F.G. Solntsev's work on the design and illustration of various printed publications - books and magazines - using the principles of designing Russian handwritten books.

In the 1940s, while working in Kyiv, the artist met Metropolitan Filaret (Gumilevsky). This acquaintance grew into a close collaboration. For the works undertaken by Filaret, F.G. Solntsev made more than 400 drawings. The works of Metropolitan Filaret were repeatedly reprinted in the second half. XIX - beginning. XX centuries and all the time they came out with illustrations by F.G. Solntseva. Many of these illustrations were used for other editions, carried out by order of the Holy Synod. Drawings for various kinds of publications dedicated to saints glorified by the Russian Orthodox Church, F.G. Solntsev performed many times. Among them are illustrations created at the request of I.P. Khrushchov for his books about the holy ascetics published in the series "People's Readings". Drawings by F.G. Solntsev were used in the reprint of "Reflections on the Divine Liturgy" by N.V. Gogol.

Love for Russian history, for “Russian antiquities” brought together and made friends F.G. Solntsev with M.I. Semevsky - editor of the journal "Russian Antiquity". For more than 30 years (until his death) the artist created intros, vignettes and endings for the design of this magazine.

Feeling of love for the ancient Russian book tradition F.G. Solntsev tried to instill in his students, among whom was A.P. Ryabushkin. Together they wrote congratulatory addresses, arranging them in the Russian style. A.P. Ryabushkin independently created several handwritten books. Old Russian handwritten tradition and handwritten book tradition, the development of which in the XIX century. assisted F.G. Solntsev, contributed to the fact that Russian artists began to create handwritten books, among them V.M. Vasnetsov, M.V. Nesterov, D.S. Stelletsky.

In 1876, the fiftieth anniversary of the artistic and archaeological activity of F.G. Solntseva. From the Imperial Archaeological Society F.G. Solntsev received a large gold medal engraved on the occasion of the 50th anniversary of artistic and archaeological activity with his portrait. And in the journal "Russian Antiquity" M.I. Semevsky published the artist's memoirs "My Life and Artistic and Archaeological Works". In November 1886, the Academy of Arts celebrated the 50th anniversary of receiving F.G. Solntsev the title of academician.

Little is known about the last 15 years of the artist's life and work. And these years were full of daily painstaking work for the Synod and the Synodal Printing House, for the Russkaya Starina magazine, for various publishing houses, and the execution of private orders. During these years, Solntsev continued to carry out a great patronage work for scholarship holders from state peasants - students at the Imperial Academy of Arts.

Solntsev worked until the very last day, until his death. In the "Formal list of the service of the former member of the Imperial Academy of Arts for the compilation of a complete collection of archaeological and ethnographic drawings of a professor and an honorary free member of the Academy," the last entry made in 1892 reads: "He died by the will of God."

The artist was buried with honors at the Volkovo cemetery.

__________________________________

Irina Bogatskaya

Antiquities of the Russian state in the work of Fyodor Solntsev. "RI" No. 1/2005.

Fedor Grigoryevich Solntsev (1801-1892) - Russian graphic artist was born on April 14, 1801 in the village of Verkhnenikulsky, Mologsky district, Yaroslavl province, in the family of peasants, Count Musin-Pushkin. In 1815 he was appointed to the Academy of Arts. The President of the Academy of Arts, director of the Imperial Public Library A.N. Olenin, he began to attract Solntsev to perform various works and orders, aiming at artistic and archaeological research. In 1829 F.G. Solntsev made drawings of Ryazan antiquities: precious plaques, barmas, rings. This work finally connected the life and work of Fyodor Grigoryevich with archeology: his contemporaries called him exclusively an artist-archaeologist, and later his half-century artistic and archaeological activity was awarded the gold medal of the Imperial Russian Archaeological Society. Since the end of the 20s. 19th century F.G. Solntsev became the main assistant to A.N. Olenin in the publication of archaeological works. At the beginning of 1830 he painted "Kerch" and "Fanagoria Antiquities". In the 20s of the XIX century. A.N. Olenin attracted Solntsev to work on the creation of projects for various uniforms.

The 30s of the XIX century became a new stage in the creative biography of F.G. Solntseva. He worked in Moscow, taking drawings from the most ancient things kept in the Armory of the Moscow Kremlin and its cathedrals, making watercolor sketches of various views of Moscow. Some of these drawings were made for the works of the Russian historian, a full member of the Imperial Society of Russian History and Antiquities - Ivan Mikhailovich Snegirev, who was engaged in the study of Russian antiquities. Created by F.G. Solntsev's collection of drawings of Russian antiquity from the 6th to the 18th century was used in the publication of "Antiquities of the Russian State" (1849-1853). The publication consisted of 500 large format drawings.

From 1830 to 1853 F.G. Solntsev traveled a lot in ancient Russian cities, researching and copying ancient objects and monuments, and making ethnographic sketches. In 1847, the work of the Kyiv civil governor I.I. Fundukleya "Overview of Kyiv", Most of the buildings and things that were described in the "Overview of Kyiv" are presented in drawings and drawings. Engravings for the book were created according to the drawings of F.G. Solntseva. F.G. Solntsev restored the frescoes and uncovered the mosaics of the Kyiv Sophia Cathedral (11th century), copied its murals with jeweler's care. In March 1853 he submitted 80 drawings to the Imperial Russian Archaeological Society for publication. Due to the lack of funds, the process of preparing the publication dragged on for many years and began only in 1866. In 1871, the first issue of "Antiquities" was published - "The Kiev Sophia Cathedral".

In 1836 F.G. Solntsev was awarded the title of academician. From 1844 to 1867 he taught iconography at the St. Petersburg Theological Seminary, for which he received the Order of St.. Anna of the 2nd degree and the Order of St. Vladimir 3rd degree. In 1858-1866. under his supervision, more than 200 iconostases were made for the churches of the western Russian provinces by order of the Ministry of State Property. He himself made sketches of images, crosses, banners, and so on.

The collaboration of the artist with the publishing department of the Holy Synod was fruitful. To the edition of the Lives of the Saints Honored by the Orthodox Church, undertaken in 1885 by the Archbishop of Chernigov Filaret, F.G. Solntsev made 400 drawings. According to Solntsev's drawings, Antimins was published. With his illustrations, the books "Explanations to the Liturgy" by Dmitrievsky, "Explanations to the Liturgy" by N.V. Gogol and others.

Since the late 30s, when Emperor Nicholas I received F.G. Solntsev, under his patronage, for members of the imperial family, the artist created a number of handwritten books: 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". In the 50s of the nineteenth century. the “Prayer Book with the Monthly Book” was created by order and with the participation of Princess M.P. Volkonskaya. An analysis of the painting technique shows that two artists worked on the design. The main work was carried out by F.G. Solntsev and only a small part - P.V. Basin. Around the same years, in 1854, by order of Princess Leonilla Nikolaevna Menshikova F.G. Solntsev created a unique handwritten book "The Gospel of John", which in 1887, according to the will of the princess, entered the Department of Manuscripts of the Imperial Public Library.

The second half of the artist's life was filled with equally important and serious works. From the 50s. 19th century F.G. Solntsev took part in painting works to correct the interior in the Alexander Nevsky Lavra Cathedral. In 1861-1862. he renewed the Holy Trinity Alexander Nevsky Cathedral, and in 1863-1864. supervised the renovation of the Lavra Church of the Holy Spirit.

In the 1860s strong friendship and cooperation connected F.G. Solntsev with journalist, publisher and writer M.I. Semevsky. For 30 years, the Russian Starina magazine was published in the design of the artist Solntsev. In 1873, a special commission of 5 members was formed under the Imperial Russian Archaeological Society, chaired by N.I. Stoyanovskiy, for the publication of numerous works by Olenin, who died in 1843. Some of them were published already in 1877. 100 illustrations included in the "Archaeological Works" belonged to F.G. Solntsev. (Antiquities of the Cimmerian Bosporus, stored in the Imperial Museum of the Hermitage. Fig. F.G. Solntsev. St. Petersburg, 1854. 2 vols.; Olenin A.N. Archaeological works in 4 vols., edited by N.I. Stoyanovskiy co 100 photographs by F. G. Solntsev, St. Petersburg, 1877, 1881, 1882.)

Fedor Grigoryevich Solntsev lived a long life - almost the entire 19th century. Before his eyes, one historical era was replaced by another, and the artistic activity of this modest worker of art had a strong impact on the entire era, on the work of entire generations, affirming the “Russian style”.

http://www.artcyclopedia.ru/solncev_fedor_grigorevich.htm

Fedor Grigoryevich Solntsev was born in 1801 in the village of. Verkhne-Nikulsky, Mologa district, Yaroslavl province, in the family of landlord peasants, Count Musin-Pushkin. In 1815, his father took his son with him to St. Petersburg, where he worked in the house of Count Kutaisov. Here Fedor Grigoryevich began to study arithmetic, French and German, to study a number of general subjects, as well as drawing. In the same year he was assigned to the first drawing class. Less than six months later, Solntsev was in the full-scale class. Moving into the third age, F.G. Solntsev chose historical and portrait painting as his specialty, and began to work under the guidance of famous Russian painters, professors S.S. Schukina, A.A. Egorova and A.G. Varnek. Solntsev worked a lot and interestingly, took part in the painting of the Kazan Cathedral.

Solntsev F.G.

Soon the director of the Imperial Public Library A.N. Olenin, who in 1817 became President of the Academy of Arts. In 1829, almost five years after Solntsev graduated from the Academy of Arts, Olenin invited him to work on publishing a book about Ryazan antiquities. In May 1830, the work of the artist F.G. Solntsev over "copying our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness and other items belonging to historical, archaeological and ethnographic information." Created by F.G. The collection of drawings of Russian antiquity by the Sun (there were more than three thousand by the end of the 1940s) attracted the attention of Emperor Nicholas I, and he granted about one hundred thousand silver rubles for their publication. From 1830 to 1853 F.G. Solntsev traveled a lot in ancient Russian cities, researching and copying ancient objects and monuments, making ethnographic sketches.

Solntsev was most graciously awarded orders for his labors: St. Vladimir 4th degree, St. Stanislav 2nd degree with a crown and St. Anna of the 2nd degree, and for the painting performed in the program from the Imperial Academy of Arts he was awarded the Academician.

Solntsev in Venev?

Galina Vladimirovna Aksenovabiography researcher F.G. Solntsev believes that the artist did not visit Venev, but made his famous "Venev" drawing somewhere else. However, one should not discard the fact that Fyodor Grigoryevich's main mentor, Alexei Nikolaevich Olenin, president of the Academy of Arts, was a Venevian landowner. In 1842, Solntsev undertook a trip to the Tula region and created a series of drawings of the inhabitants of the Tula province without indicating the counties, with one exception. Two works are signed "Kashirsky district of the Tula province 1842."

Solntsev Fedor Grigoryevich (1801-1892) - archaeologist and artist, art historian, restorer.

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 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. 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 order, 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 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 the Grand Duke Svyatoslav with John Tzimiskes". A year later, this picture (located in the Museum of Emperor Alexander III) was completed, and S. made an academician. Almost simultaneously with this, S. was engaged in the restoration of the ancient royal chambers 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 escaped the eyes of the Sovereign. Fulfilling 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 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 Kyiv 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 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 churches, made drawings of the interior of the Kiev-Pechersk Lavra Cathedral, participated in a temporary commission for the analysis of ancient acts of South-Western Russia, established in 1844, and was appointed a member of the committee to publish 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 pushed S. into the background. Nevertheless, from 1853 he worked for St. Isaac's Cathedral in St. Petersburg, carried out orders from 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 received official business trips (for example, to Vladimir on the Klyazma) and was assigned to 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 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. 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, both Russian icon painting and the ornamentation of buildings and utensils, mainly church ones, owe him a lot.

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. ("Russian Antiquity", 1876, No. 1, 2, 3, 5 and 6);
F. Bulgakov "Our Artists" (vol. II, St. Petersburg, 1890).
E. Tarasov
Brockhaus-Efron Encyclopedic Dictionary

* * *
He studied at the Academy of Arts under A.G. Varnek. Encouraging the student's inclination to ethnographic studies, the president of the Academy A.N. Olenin organized his first expeditions to Russian cities (1830), measurements and drawings brought from there formed the basis of the "Byzantine projects" of the architect K.A. Ton. As a result of subsequent expeditions, he released a multi-volume album "Antiquities of the Russian State" (six volumes in 1849-1853, four in 1871-1887). He taught icon painting at the St. Petersburg Theological Seminary. The main painter at the royal buildings erected by Ton (Great Kremlin Palace, 1837-1850; Armory, 1844-1850). He painted watercolors on historical subjects, decorated with frames with ornaments and antiques. The favorite artist of Nicholas I, Solntsev worked directly for the royal family: he decorated home albums with watercolors, painted porcelain service "in the old Russian style" (the so-called Solntsevsky)
"Russian Art" Illustrated Encyclopedia. Shamrock, Moscow. 2001

The great Russian critic V.G. Belinsky, analyzing the poems of M.Yu. Lermontov, wrote: “Our century is a century primarily historical. All thoughts, all our questions and answers to them, all our activity grows out of historical soil and on historical soil” (1). Indeed, thanks to the development of literature and art, the efforts of the great and talented organizers of Russian education and science, the efforts of Russian statesmen, among whom were State Chancellor N.P. Rumyantsev and director of the Imperial Academy of Arts A.N. Olenin, a genuine interest in national history, in the antiquities of the state, has increased. Archeology (or ancient studies) - the science of all historical antiquities without exception - goes its own way of formation and development. One of the most important components of the historical and artistic knowledge of the past was created and methodologically developed by A.N. Olenin artistic archeology. The concept of "artistic archeology" included not only accurate scale sketches of archaeological antiquities and monuments of ancient Russian architecture, but also their detailed source study and description, as well as the solution of dating and attribution issues, i.e. carrying out the so-called external criticism of the source. The artist F.G. Solntsev. This artist also has the honor of developing (together with Metropolitan Philaret (Drozdov) and Archimandrite Photius) a new icon-painting canon that corresponded to ancient Russian traditions, the developments of the post-Petrine era and the trends of modern times.

The creative path of F.G. Solntseva

The artist, painter, icon painter, graphic artist, illustrator Fyodor Grigoryevich Solntsev (1801-1892), nicknamed by his contemporaries "an artist-archaeologist" for his great achievements in the field of artistic archeology, became one of the founders of the Russian style in Russian art of the 19th century. Russian science is indebted to the works of Solntsev for the collection of Antiquities of the Russian State (2). Based on Solntsev's drawings, the towers and churches of the Moscow Kremlin were restored, and the halls of the Imperial Kremlin Palace were decorated. He owns the honor of opening and restoring the mosaics and frescoes of St. Sophia of Kyiv, the Assumption Cathedral of the Kiev-Pechersk Lavra, the Dmitrovsky Cathedral in Vladimir.

In 1876, during the celebration of the 50th anniversary of the artistic and archaeological activity of F.G. Solntsev, the editor-in-chief of the famous Russian Starina magazine, Mikhail Ivanovich Semevsky, pointed out that “the artist Solntsev, with his works, awakened in Russian artists a sense of national identity and respect for the images bequeathed to us by our ancestors” (3).

Fyodor Solntsev was born on April 14, 1801 into a family of serfs. Father, Grigory Konstantinovich, served in the palace department as a cashier at the imperial theaters. Mother, Elizaveta Frolovna, was a peasant, lived and died in the village. Verkhne-Nikulsky, where she was buried in the village cemetery.

In 1815, Fyodor Solntsev, at the insistence of his father, left the village and moved to St. Petersburg. With the assistance of the artist K.I. Golovachevsky in the same year entered the Imperial Academy of Arts in the class of historical, portrait and miniature painting. His teachers were famous Russian painters, professors S.S. Schukin, A.E. Egorov and A.G. Warnek, the curator was the President of the Academy A.N. Olenin. For his diploma work "A Peasant Family Before Dinner" (1824), he was awarded a gold medal of the second denomination. Having received the title of an artist of the 14th class and a certificate of the 1st degree (4), he remained a boarder in the class of portraiture and was assigned to serve in the Academy of Arts "in terms of archaeological and ethnographic".

In the boarding years, active classes in church painting begin. First of all, the young artist took part in the painting of the St. Petersburg Church of the Righteous Zechariah and Elizabeth at the Patriotic Institute and painted the image of the Evangelist Matthew in the sail of the Kazan Cathedral. For the Church of the Holy Trinity in the village of Verkhne-Nikulsky in 1827, he created several images and sketches for wall paintings. Only one of the icons has been preserved: this is the “Archangel Gabriel”. The gospel theme "Repay Caesar's to Caesar's, and God's to God" formed the basis of the composition of the final boarding work - watercolor "The Savior and the Pharisees" - which was awarded the gold medal of the first dignity.

The first fame for the artist came after the execution and publication of drawings of objects from the Ryazan treasure, made specifically for the scientific research of A.N. Olenin, published in 1831 (5) and entered into history under the name "Ryazan Antiquities".

In 1836, Fyodor Solntsev received the title of academician for the programmatic watercolor work “The Meeting of Prince Svyatoslav Igorevich with the Greek Emperor John Tzimisces on the Danube in 971”.

1830s - 1850s were filled with scientific and artistic trips to ancient Russian cities, monasteries and churches, artistic research of ancient objects and monuments, fixation, measurement of ancient monuments of architecture, painting, church utensils, old books, household items. Among the cities were Vladimir, Suzdal, Yuryev-Polsky, Kolomna, Alexandrov, Zvenigorod, Tver, Torzhok, Ostashkov, Tula, Voronezh, Novgorod, Pskov, Ladoga, Belozersk, Smolensk, Orel, Old and New Ryazan, Yaroslavl, Kostroma, Kazan, Kiev, Chernigov, Poltava, Mogilev, Vitebsk.

The beginning of work on the artistic fixation of church and archaeological monuments was a business trip to Moscow in 1830, by order of the Academy of Arts, “to copy our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness and other items belonging to historical, archaeological and ethnographic information. Over the next ten years, F.G. Solntsev annually came from St. Petersburg to Moscow. Here he painted "antiquities" kept in the Armory, the cathedrals of the Moscow Kremlin and Moscow churches and monasteries, made watercolor sketches of various views of Moscow, having received a personal order from Emperor Nicholas I to fix "the image of the Don Mother of God, the royal place, all head decorations, the so-called the crown of Monomakh, the crowns of Astrakhan, Siberian and Kazan and various other things ”(6).

In 1835-1838, on the eve of the start of work on the construction of the Imperial Palace and the new building of the Armory, F.G. Solntsev participated in restoration work in the Moscow Kremlin, renovating the ancient Terem, the Church of the Nativity of the Virgin, Lazarus Sunday, the Church of the Nativity and the Exaltation of the Cross.

Since the 1830s, the artist F.G. Solntsev began to work closely with the architect K.A. Ton, working in Moscow and St. Petersburg. For the new Imperial Palace, which was being built in the Moscow Kremlin, Solntsev, as the main artist "in terms of painting", designed parquets, front doors of the order halls (Georgievsky, Alexander and Ekaterininsky), tapestries, curtains and carpets. Artistic parquets of the front "order" halls of the palace, made according to the sketches of F.G. Solntsev (1843-1845), the beauty and complexity of the work have no analogues.

By the beginning of the 1840s. academician of painting F.G. Solntsev created about three thousand drawings representing the antiquities of the Russian state: these are views of various cities, monasteries, temples, ancient buildings, their interiors, sketches, measurements and plans of ancient architectural structures, clothes, vestments, church utensils, old books, household items, ethnographic sketches, etc. From the drawings of Moscow and Russian antiquities for the edition of Antiquities of the Russian State undertaken on the initiative and at the personal expense of Emperor Nicholas I by the commission (S.G. Stroganov, M.N. Zagoskin, I.M. Snegirev and A.F. Veltman) 509 drawings were selected, chromolithographed in France. According to their content, the drawings were divided into several sections in accordance with the content of the text volumes: 1 vol. - church utensils and vestments, 2 vol. - royal vestments, 3 vol. - weapons, 4 vol. - table utensils, 5 - Russian architecture ( 7). The publication saw the light in 1849-1853.

The artist is known for his restoration work (8). In 1842, he participated in the restoration of the ancient wall painting of the Novgorod Znamensky Cathedral; in 1843-1853 carried out work on the discovery and renewal of ancient painting of the Kyiv Sophia Cathedral and restored the frescoes of the Assumption Cathedral of the Kiev-Pechersk Lavra; in 1844 - supervised the restoration work in the Dmitrovsky Vladimir Cathedral; in 1844 and 1859 - discovered ancient frescoes in the Assumption Vladimir Cathedral; in 1859 - frescoes of the Church of the Intercession on the Nerl and the Vladimir Assumption Monastery (9).

With great interest and love, the artist worked on the creation of handwritten books. He created personal liturgical and personal books for members of the imperial family, on private orders and in literary and artistic circles.

Among the items of decorative and applied art created according to the drawings and sketches of F.G. Solntsev, the famous "Kremlin" (1837-1838) and Konstantinovsky sets (1847-1848), drawings of furniture in the Old Russian style in memory of the deceased daughter of Nicholas I Alexandra Nikolaevna for the prayer room of the Alexander Palace in Tsarskoye Selo.

Fyodor Solntsev became the creator of eight drawings of caskets-arks intended for storing state letters, such as a letter confirming Ivan IV in the rank of tsar, records of the annexation of principalities and regions to Moscow, statutory and princely contractual letters, royal letters (1852-1853). Caskets were made of bronze in 1857-1858. in St. Petersburg at the factory of F. Chopin

From 1858 and almost until his death, through the Ministry of the Interior, F.G. Solntsev carried out patronage work for scholarship holders from state peasants - students at the Imperial Academy of Arts. Among his students is the Russian artist A.P. Ryabushkin and engraver I.P. pozhalostin.

Fedor Grigorievich died on March 3, 1892. He was buried in St. Petersburg at the Volkovo cemetery. On his tombstone there is an inscription: “Professor of the Imperial Academy of Arts Fyodor Grigoryevich Solntsev. An archaeologist who paved the way for the success of Russian church icon painting.

Fedor Solntsev and Church construction in the 19th century

The beginning of the work of F.G. Solntsev, commissioned by the Holy Synod, put research into the state of “murals in the Novgorod Znamensky Cathedral” (10) and the development of sketches for iconostases and murals of cathedrals under construction in St. Petersburg.

In 1839-1847. the artist took part in the construction project by K.A. Tones of a large five-domed church in the name of St. Mitrofan of Voronezh at the Mitrofanevsky cemetery. He developed sketches for a five-tiered iconostasis and vault painting (11). New carved linden iconostases and wall paintings based on a sketch by F.G. Solntsev were created in 1850-1851. for the Church of the Nativity on Rozhdestvenskaya Street (12). In 1862-1863. F.G. Solntsev worked in the Alexander Nevsky Lavra, creating sketches for murals for the walls and ceiling of the Church of the Assumption of the Blessed Virgin Mary, as well as sketches for the murals of the Cathedral of the Holy Trinity (13). P.S. worked on the implementation of all three projects. Titov. In 1869, according to the sketch of F.G. Solntsev painted the ceiling of the Church of the Ascension of the Lord in Voznesensky passage (12). Over the creation and decoration of temples, together with F.G. Solntsev (as in the years of study at the Academy) often worked with A.V. Notbek, A.T. Markov, M.I. Scotty.

For the churches of St. Petersburg, the artist also made sketches of salaries, crosses, painted icons. He painted icons for the Church of the Hieromartyr Myron, which was built on the Obvodny Canal in 1849-1855. For the Cathedral of St. Spyridon of Trimifuntsky (Admiralty) in 1863, an image of the Savior was created (15). The most interesting work was the creation of a sketch of the setting for the miraculous icon of the Mother of God "Joy of All Who Sorrow" - one of the most revered icons of St. Petersburg, which was kept in the Sorrowful Church. The richest golden riza with precious stones, made according to the drawing of F.G. Solntsev in the workshop of F.A. Verkhovtseva, decorated it in 1859) (16). In the 1870s F.G. Solntsev, along with others, presented his icons to the Church of the Holy Trinity at the Holy Trinity Community of Sisters of Mercy. In 1885, according to a drawing by F.G. Solntseva made a beautiful altar cross from wood, which Princess E.M. Oldenburgskaya in the same year presented the church of the Great Martyr Catherine at the Imperial School of Law. In 1863 he created drawings for the construction of a new carved iconostasis for the chapel of St. Savva of the Consecrated Catherine's Church of the Novospassky Monastery in Moscow.

F.G. Solntsev worked on the creation of sketches of iconostases for the cathedrals of ancient Russian cities, including the cathedral in the name of the Kazan Icon of the Mother of God in Kirillov. Carved iconostases made according to his drawings were brought to Kirillov from St. Petersburg in 1859.

In the 19th century the construction and improvement of new churches in Russia was in charge of the Ministry of State Property. It was to this Ministry that on July 28, 1858, by the Highest command, F.G. Solntsev with the aim of "producing iconography for newly built rural churches." In the same year, in connection with the action of reunification with the Orthodox Church of one and a half million Uniates of Lithuania, Belarus and Ukraine under Emperor Nicholas I, he became in charge of the production of iconostases for the churches of the Western provinces, where the restoration and repair of destroyed churches and Uniate and Catholic churches were rebuilt as Orthodox in order to strengthen the position of the Orthodox population. This service continued for eight years, until 1866. During this time, under his supervision, more than 200 iconostases were made for churches in the western provinces. Sketches by F.G. Solntsev did it himself, and the paintings were carried out by N.A. Maykov, A.A. Vasiliev, P.S. Titov.

Often F.G. Solntsev carried out private orders for the creation of icons and sketches of church utensils, as evidenced by numerous entries in his diaries, for example, he created drawings of “Mr. Colonel Ilovaisky”, “Prince Volkonsky”, “for Mr. Korablev”, “Priest Polisadov”, “Mr. Verkhovtsev”, “to the Community of Sisters of Mercy”, “to the Church of the Nativity of Christ, which is on the Sands”, “for Mr. Shiryaev”, “for Ms. Vsevolozhskaya”, “on Mount Athos”, “Ms. Zbomirskaya”, “ for the Pochaev Lavra" (17).

In 1885-1892. F.G. Solntsev made drawings of icons and church utensils for the church in the name of St. Alexander Svirsky on the Vaulov estates of Senator V.P. Mordvinova. According to these drawings, his student: “icon painter Platon Ivanovich Brusnikov” and “academician Vasily Vasilyevich Vasiliev” painted images of the holy ascetics of Orthodoxy. Some of these icons ended up in private collections and museums after the 1917 revolution and the closure and destruction of churches and monasteries. Several icons and drawings ended up in the Rostov Museum. Among others, three icons of St. Alexander Svirsky "in life" have been preserved. On the back of one of them, an entry was made: “This image of the miracles of St. Alexander Svirsky was written for the church named after this saint of God in the estate of Vladimir Pavlovich Mordvinov, the village of Vaulovo, Romanov-Borisoglebsky district, Yaroslavl province, according to the drawing of Professor Feodor Grigorievich Solntsev and under his supervision in St. Petersburg in January 1892 icon painter Platon Ivanovich Brusnikov" (18).

F.G. Solntsev and the development of the canons of icon painting

In 1843 F.G. Solntsev created a drawing of the Antimins, approved by the Holy Synod. Engraved, on the recommendation of F.G. Solntseva, L.A. Seryakov (19), Antimens was replicated for several years. Further revisions of Antimins were also entrusted to F.G. Solntsev, as evidenced by some reports to the Holy Synod. For example, on July 17, 1864, from the economic department, the Chief Prosecutor received for consideration “a new drawing of Antimins with the changes indicated” by the Chief Prosecutor (20). Active participation in reviewing and editing the works of F.G. Solntsev was received by the Metropolitan of Moscow Filaret (Drozdov). In his reflections on the drawing of Antimins, he noted that it was compiled “in accordance with the definition of the Synod” and pointed out to the artist that “the faces of Joseph and Nicodemus express pious attention”, but “the faces of the holy women are not so remarkable.” The Metropolitan expressed dissatisfaction with “the face of the holy Apostle John”, which “represented a childlike appearance, without expressing any spiritual character. No love for the Lord, no sorrow.” The most serious remark was regarding the order in which the figures were placed: “According to the ancient custom, the faces of husbands and wives were not mixed, but separated. Therefore, it was better to place John directly next to Joseph, and Mary Cleopova, who breaks them, further after the Mother of God ”(21).

One of the most serious issues in the art of the 19th century was the canons of icon painting. Much attention was paid to them both by the Holy Synod and at the Stroganov School, which trained icon painters, scientists and artists. Great attention was paid to this problem by the Society of Lovers of Old Russian Art, created at the Moscow Public and Rumyantsev Museums. Its members studied the history of icon painting and made recommendations in connection with the prospects for its development in the second half of the 19th century (22). So V.I. Butovsky, as the director of the Stroganov School and a member of the Society of Old Russian Art Lovers, prepared and published the Stroganov icon-painting original. At the end of the XIX century. Russian scientist N.V. Pokrovsky made a remarkable monument of Russian ecclesiastical art "The Siysk icon-painting original" (23) a property of science and artists.

The artist did not leave theoretical works on the theme of the features of the icon painting of the new time, and he did not specifically deal with solving theoretical problems. With his work, he tried to answer this question, showing "how correctly, in reasonable proportions, to combine the traditions of icon painting of Moscow Rus' with the innovations of modern times." Having chosen his path, the artist, according to the historian and art critic B.V. Sapunov, proved with his work that “direct perspective, chiaroscuro, subtle color transitions, three-dimensional images on one icon can coexist with reminiscences of icon painting of past centuries - reverse perspective, flat representation of elongated figures, conditional landscape and other components of ancient Russian icon painting” (24).

The logical result of the restoration and icon painting work of F.G. Solntsev, the result of the development of sketches of iconostases for the churches under construction and reconstruction of the Western provinces of Russia, for the churches of Moscow and St. Petersburg, the result of the study of icon-painting originals at the disposal of the painters, was the creation of large obverse Saints. In the early 60s. 19th century on the instructions of the Holy Synod, he began to create them.

"Face Saints" by F.G. Solntseva

The idea of ​​an urgent need for artists to have facial Saints, and not just textual icon-painting originals with a description of the appearance of the saints, was expressed by F.G. Solntsev in a conversation with Archimandrite Photius during a visit to the Yuryevsky Novgorod Monastery in 1833 (25). The conversation that took place between Solntsev and Archimandrite Photius is extremely interesting, since it allows us to understand the artist who conceived the creation of facial calendars corresponding to the current state of various strata of society. Solntsev, as an iconographer, was looking for "a successful synthesis of elements of traditional icon painting with the innovations of modern secular painting" (26).

During a conversation with Archimandrite Photius, explaining to him the purpose of the Novgorod trip, Fyodor Solntsev noted that "I came to look for antiquities, so that later I could draw up a complete pictorial course of archeology and ethnography for artists." Answering the artist, the abbot of the monastery brought "an original icon-painting, which contained instructions on how to depict the saints." "I looked at the original<...>and noticed, - writes Solntsev, - "... this is not enough for an artist. The artist must also be a tailor; he needs to know what kind of vestment, in what century they wore it; but here there are no descriptions of costumes and church vestments" "(27) . Archimandrite Photius agreed with this remark of the artist.

In a review preceding the release of the new printed Saints, the playwright and poet Nestor Kukolnik (1809-1868) wrote that "the publication would be of great benefit to artists in their performance of church painting" (28).

The need for their speedy development became tangible in connection with the creation of a drawing class and the beginning of teaching icon painting in the seminary. In March 1845, he sent a note addressed to the Chief Prosecutor N.A. Protasov. On its basis, the Office of the Orthodox Confession of the Holy Governing Synod drew up a letter with the following content:

“Academician Solntsev, who teaches drawing art at the St. which are not fully preserved until now in some Russian monasteries. Having the intention of compiling a complete collection of such originals, drawing them correctly and carefully, but also coloring them in the ancient Greek style, Solntsev asks for permission to apply to him and, together, for evidence, according to which he could take from the monasteries known to him, for consideration or personally, or through correspondence, old books and calendars, with the return of these after the need has passed. When this work is completely finished, then Solntsev asks to buy it for the local seminary for guidance and to allow him to use the publication of it to the public as a publisher.

The Spiritual and Educational Administration of the Holy Synod, finding the publication of the complete collection of the faces of the holy saints of God undertaken by Academician Solntsev very useful in relation to the class of drawing art opened in the local seminary, would consider for its part to give him permission to do so, however, so that he making drawings, prior to publication, submitted them for consideration by the Spiritual censorship in accordance with the established procedure. As for the alleged borrowing of ancient books and calendars from monasteries, then, due to the attention to the special importance of these objects as monuments of antiquity, it is obligatory to charge Solntsev so that, if required, he would always be referred to the Spiritual Educational Administration, which is on vacation they must ask permission from the Holy Synod” (29).

On April 3, 1845, the Synod made a positive decision on the submitted petition. “The Holy Synod,” the Decree said, “finding the publication of the complete collection of the faces of God’s saints undertaken by Academician Solntsev very useful in relation to the class of drawing art opened in the local seminary, in accordance with the opinion of the Spiritual and Educational Administration determines: to allow Academician Solntsev to publish a collection of the faces of saints saints" (30).

In preparing the facial Saints, the artist used nine icon-painting originals of the 14th-15th centuries (31) and completed the work of a historian and iconographer. He also used a lot of pictorial images - icons, drawings, his own drawings. Members of the Society of Old Russian Art, describing the work carried out by Solntsev and pointing to its significance, noted: “Facial Saints are an urgent need for churches, icon painters, and the public. The ancient obverse originals are in many respects unsatisfactory, moreover, they constitute a bibliographic rarity. No matter how Mr. Solntsev fulfilled his task, his Saints, in any case, will bring undoubted benefit. ...According to the finished originals of Svyattsev by F.G. Solntsev, one can see that the famous academician-icon painter devoted his whole life to the study of everything related to this subject. In order to preserve the ancient character of the Suns in the images in the very types of depicted faces, their staging, vestments and clothes, I had to make a lot of research and was guided by many ancient monuments, such as the surviving Kiev wall icon painting and mosaics, Greek calendars of the 11th century,<...>Saints of Novgorod, Belozersky, Tikhvin, Suzdal, Stroganov and published on paper in 1714 during the reign of Peter I, as well as ancient icons preserved in our churches, old manuscripts and utensils and biographies of the holy fathers ”(32).

The saints were published in 1866. They consisted of 12 sheets, 48 ​​weeks each, and each week 100 figures of saints. Solntsevsky Saints, according to V. Vladimirsky, “represented a whole reference lexicon, an archaeological museum” (33). Fedor Grigorievich himself, recalling the work on them, called them "almost his largest work for the Holy Synod" (34). In the XIX - early XX centuries. Saints F.G. Solntsev's works were repeatedly reprinted in color and black-and-white versions with a different set of images of saints.

Analyzing the icon painting style of F.G. Solntsev and noting the organic connection between the tradition of the ancient Russian icon and the innovations of academic painting, B.V. Sapunov showed how the artist managed to achieve this. He wrote: “By the nature of the writing, the miniatures repeat the scheme of compositions of the ″chosen saints″ on the menaine icons of Moscow Rus'. The same frozen figures, elongated proportions, the same "breams" - "slides" of ancient Russian icons. The same traditional reverse perspective. But the faces of the saints are made in accordance with the norms of academic painting of the new time” (35).

The illustration of the works of Archbishop Philaret (Gumilevsky) became a kind of continuation of the work on the month-word row of icons. For the publication of his works “Lives of the Saints Honored by the Orthodox Church”, “Saints of the South Slavs” and “Lives of the Holy Ascetics of the Eastern Church”, he completed more than 400 drawings (36).

Iconographic heritage of F.G. Solntsev could be huge. But, unfortunately, only a small part of his work has survived, especially sketches of icons and church paintings and icons themselves. Many of the temples, in the creation of the image of which the artist took part, were destroyed. His drawings were lost or sold to private collections.

The sources at our disposal allow us to say that one of the important problems for F.G. Solntsev was working on the development of the icon-painting canon of the Russian Orthodox Church of the period of a new historical era.

1. Russian writers about literary work. - L., 1954. - T. 1. - S. 564.

2. Antiquities of the Russian state. Rice. F.G. Solntseva. - M., 1849-1853. - Issue. I-VI.

3. A large gold medal presented by the Imperial Archaeological Society to Professor F.G. Solntsev May 20, 1876 // Russian antiquity. - 1876. - T. XVI. - S. 305.

4. Petrov P.N. Collection of materials on the history of the Imperial St. Petersburg Academy of Arts for 100 years of its existence. - St. Petersburg, 1865. - Part II: 1811-1843. - S. 187, 214; 1866. - Part III: 1852-1864.

5. Olenin A.N. Ryazan Russian Antiquities or News of the ancient and rich grand ducal or royal decorations found in 1822 near the village of Staraya Ryazan. SPb., 1831.

6. Solntsev F.G. Solntsev F.G. My life and artistic and archaeological works // Russian antiquity. - 1876. - T. XV I. - S. 275-277.

7. See: Antiquities of the Russian state. Rice. F.G. Solntseva. Descriptions of A.F. Veltman and I.M. Snegirev. - M., 1849-1853. - Issue. I-VI.

8. Restoration works of F.G. Solntsev were differently evaluated both by his contemporaries and modern specialists. See: Vzdornov G.I. The history of the discovery and study of Russian medieval painting. XIX century. - M., 1986; Farmozov A.A. Russian society and protection of cultural monuments. - M., 1990; Lisovsky V.G. Academy of Arts. SPb., 1997; Timofeeva T.P., Novakovskaya-Bukhman S.M. Church of the Intercession on the Nerl. M., 2003; Trifonova A. Ancient Novgorod by Fyodor Solntsev // Motherland. - 2007. - No. 6. - S. 117-118.

9. See: Lebedintsev P.G. Restoration of the Kiev-Sophia Cathedral in 1843-1853. Kyiv, 1879; Lebedintsev P.G. Resumption of wall painting in the great church of the Kiev-Pechersk Lavra in 1840-1843. // Kyiv Diocesan Gazette. - 1878. - No. 11. - Det. II. - S. 335-345; Monuments of architecture in pre-revolutionary Russia: essays on the history of restoration. / Under. ed. A.S. Shchenkov. - M., 2002.

10. Sobko N.P. F.G. Solntsev and his artistic and archaeological activities ... S. 481.

11. See: Historical cemeteries of St. Petersburg. Handbook-guide. SPb., 1993. S. 100; Antonov V.V., Kobak A.V. Shrines of St. Petersburg. Historical and Church Encyclopedia in three volumes. SPb., 1996. T. 3. S. 177.

12. Antonov V.V., Kobak A.V. Shrines of St. Petersburg... 1994. Vol. 1. S. 220-221.

13. Antonov V.V., Kobak A.V. Decree. op. pp. 36, 45.

14. Ibid. S. 167.

15. Ibid. S. 130.

16. Antonov V.V., Kobak A.V. Decree. op. S. 151.

17. Sobko N.P. About artists and figures of the Academy of Arts, extracts from reports. Solntsev Fedor Grigorievich, painter // OR RNB. F. 708 (N.P. Sobko). No. 875. Ll. 92 - 141.

18. Vaulovsky Assumption Skete for Women / Comp. T.I. Ornatskaya. - M., 2003.

19. L.A. Seryakov recalled: “Upon arrival from abroad, the first work in St. Petersburg was for the Holy Synod on the recommendation of Academician F.G. Solntseva: I was ordered to make an engraving of Antimins based on a drawing by Fyodor Grigorievich, for which I received 900 rubles. Then I was overwhelmed with work ... ". See: Seryakov L.A. My working life. The story of the engraver, academician L.A. Seryakova. 1824-1875 // Russian antiquity, 1875. T. XIV. No. 11. S. 514.

20. RGIA. F. 832. Op. 1. D. 87. 1864. L. 39-39v.

21. RGIA. F. 832. Op. 1. D. 87. 1864. L. 40-40v.

22. For more on this, see: Aksenova G.V. IN AND. Butovsky - the first director of the Stroganov School // Problems of the new and recent history of Russia. Sat. Art. M., 1999. S. 138-151.

23. Pokrovsky N.V. Siysk icon-painting original. SPb., 1895-1898.

24. Sapunov B.V. F.G. Solntsev - an iconic figure in the art of the Synodal period // Museum Notes. Articles and reports of the Museum Department of the Institute of Biology of the Internal Troops of the Russian Academy of Sciences. Rybinsk-Mikhailov Posad, 2007. Issue. I. S. 69-70.

25. See: Solntsev F.G. My life... T. XV. S. 152.

26. Sapunov B.V. Orthodoxy and the Russian mentality. SPb., 2001 (manuscript). C. 3.

27. Solntsev F.G. My life... T. XV. S. 152.

28. Art newspaper. SPb., 1837. No. 16. S. 256.

29. On the permission of Solntsev to publish a collection of faces of saints // RGIA. F. 796. Op. 126. No. 403. Ll. 1-2.

30. On the permission of Solntsev to publish a collection of faces of saints ... L. 3-3 rev.

31. Solntsev F.G. My life... T. XVI. S. 300.

32. Facial Saints according to the drawings of Academician Solntsev // Collection for 1866, published by the Society of Ancient Russian Art at the Moscow Public Museum. M., 1866. S. 156-157.

33. Vladimirsky V. (priest Vasily). Notes on the Saints of the city of Solntsev // Soulful reading, 1866. No. 7. Book. 2. Separate II. pp.104-107.

34. Solntsev F.G. My life... T. XVI. S. 300.

35. Sapunov B.V. F.G. Solntsev - an iconic figure in the art of the Synodal period ... S. 71.

36. Filaret (Gumilevsky). Lives of saints honored by the Orthodox Church. SPb., 1892; St. Petersburg, 1900. 12 vols.; Philaret (Gumilevsky). Saints of the South Slavs. SPb., 1893; Philaret (Gumilevsky). Lives of the Holy Ascetics of the Eastern Church. SPb., 1885; SPb., 1898.

Aksenova Galina Vladimirovna

Candidate of Historical Sciences, Associate Professor