Estate "White Villa". Memorial Museum-Estate of the Artist N.A. Yaroshenko
Estate Stepanovskoye-Pavlishchevo, Yukhnovsky district Kaluga region located 62 km southwest of Kaluga. The estate complex stands on the elevated left bank of the Techa River, a tributary of the Ugra River, and is included within the boundaries of the environmental protection zone national park"Ugra" and has the status of an Object cultural heritage regional significance. 1
Currently the estate includes main house, outbuildings, a manor park and an entrance gate with figures of deer. All surviving buildings of the estate and the main part of the park date back to the end of the 19th century.
The history of the Pavlishchev Bor estate can be traced from the second half of the XVIII century.
The first document directly related to the estate is the situation plan 2
, made in the form of a sketch, which shows the Techa River, three bridges thrown across it, and several villages along its banks. Next to one of the villages on the plan is inscribed: “the village of Zubovo, purchased by Lopukhina,” next to the others “Stepanovskoye and Pavlishchevo. Ushakova, 305 souls.” Apparently this sketch plan was made by Stepanov himself to clarify the state of affairs on the estates that once belonged to them. This assumption is confirmed by the materials of the general survey of 1782 and the “atlas of the Kaluga governorship” for the same year. 3
. In 1782 p. Zubovo and its villages really belonged to V.B. Lopukhina. Obviously, before 1782 it was sold by her to Stepanov, as indicated on the plan. The named situational plan shows another former property on the river. Teche. - “Stepanovskoe and Pavlishchevo”, listed as Ushakova. Both of these villages are parts that make up the current village of Pavlishchevo.
Documents dating back to the 1790s reveal the date and circumstances of the transfer of this estate by Stepanov. 4
In 1791, the grandfather of Elizaveta Platonovna Yaroshenko (nee Stepanova), Viktor Stepanovich Stepanov, regained one of the estates in the Meshchovsky district of the Kaluga province. Part of it was bought by him from Princess M. N. Dolgorukova, part was bought from F. F. Ushakova. In documents late XIX- at the beginning of the 20th century it is called both Stepanovskoe and Pavlishchevo. In family correspondence it was usually called Stepanovsky.
The Stepanov archive contains another document dating back to 1834, when the owner was the grandfather of E.P. Yaroshenko (nee Stepanova). The document talks about the owner of the estate and the villages that belonged to him. 5
Viktor Stepanovich Stepanov probably died in 1839. This date marks his spiritual will. 6
After him, the Meshchovo estate belonged to his son, Platon Viktorovich, and in 1873 - to the latter’s daughter, Elizaveta Platonovna. The date of inheritance is attested in the document for the purchase by peasants of land on her estate. 7
Over the three-quarters of a century that has passed since the Stepanovs acquired the Meshchovsky estate, they undoubtedly led it to economic stability, and also gave it a comfortable appearance.
The last owners of the Stepanovskoye-Pavlishchevo estate were the spouses E.P. and V.A. Yaroshenko, about whom it is worth telling in more detail.
Elizaveta Platonovna Stepanova (later Yaroshenko) was born in 1850
“Elizaveta Platonovna was a woman short, dressed very modestly. She was an educated woman who was interested in philosophy and knew a lot in this area.” 8
At the age of eighteen, by the will of her mother, she married a man who was twice her age, the adjutant of the guard, Colonel Nikolai Petrovich Schlitter. Not distinguished by a submissive character, she took this step, pursuing the only goal- get out from under the care of your power-hungry mother.
Fascinated by the idea of women's equality, she decided to get a higher legal education at one of the foreign universities. This was preceded by a visit to women's courses in St. Petersburg, “where she and her husband lived,” at which lectures were given on physics and mathematics. The teacher turned out to be Vasily Aleksandrovich Yaroshenko, who later became her second husband. In the spring of 1875, E.P. Schlitter (née Stepanova) left for Switzerland, where she first prepared and then entered one of the best universities - Berne. The Stepanov family archive contains her extensive correspondence with Vasily Aleksandrovich Yaroshenko dating back to this period. 9
She reveals the story of their love, which led Elizaveta Platonovna to leave the university, return to Russia (after staying in Bern for less than a year), divorce N.P. Schlitter and unite with V.A. Yaroshenko. Obviously, next year took place divorce proceedings- one of the local telegrams, sent by her to the St. Petersburg address of V. A. Yaroshenko, was already signed with the surname “Stepanova”. 10
The marriage between E. P. Stepanova and V. A. Yaroshenko was concluded between 1876 and 1878. 11
Information about E. P. Yaroshenko (Stepanova) and her husband V. A. Yaroshenko for the 20th century is quite brief. Documents from the Kaluga Provincial Gendarme Department about the issuance of foreign passports to them in 1913 and 1914 and the removal of police surveillance from V. A. Yaroshenko in 1915 have been preserved. 12
Elizaveta Platonovna Yaroshenko during 1898-1913. was engaged in the expansion and reconstruction of its houses on Goncharnaya Street and Khitrovskaya Square. Businesses were often conducted by trusted people, but orders came from her “household office” located on Goncharnaya Street. 13
In the issues of the address and reference book “All Moscow” E. P. Yaroshenko is listed in the list of homeowners and permanent residents of the city until 1917 inclusive 14
. Where she lived later is unknown. The letter from M. S. Voloshina to E. P. Yaroshenko is dated 1928. It was written from Koktebel, but where it was addressed is unknown. From this we can assume that Elizaveta Platonovna Yaroshenko died after 1928. 15
“Vasily Aleksandrovich Yaroshenko was tall, with a black beard and black piercing eyes. His character was strict and his speech mocking.” 16 A process engineer by profession, he enjoyed working natural sciences, devoting most of my free time to this. On the estate, Vasily Alexandrovich did not stop his studies in science and technology, and had a laboratory. After the revolution, many laboratory bottles were discovered in the basements of the house.
V. A. Yaroshenko’s health was poor (he suffered from tuberculosis). But thanks to the exceptional conditions created for him by his wife, he spent many seasons with her in Italy in their own purchased villa, which helped him live to an old age. 17
Vasily Alexandrovich died after 1915, but where and under what circumstances is unknown. 18
According to the testimony of the peasants, the owners came to Stepanovskoye-Pavlishchevo only for the summer, and the estate was called “Lesnaya Dacha”. The owners of the estate built a four-year school in the village of Pavlishchevo and took full ownership of it, helped fire victims, and generally willingly met the needs of the peasants. On holidays, the entire village was presented with gingerbread and sweets. Rumor has it that of the spouses, Vasily Alexandrovich was the more generous. It was on his initiative that when several peasant households burned down, the victims were given bricks and timber for construction, and livestock for starting a household.
So, under E.P. and V.A. Yaroshenko, the family estate changed significantly.
The first manor house in the Stepanovskoye-Pavlishchevo estate was wooden; it stood here until 1917. 19 The exact date of construction of the stone house, which has survived to this day, is missing from the documents. However, there are materials that allow one to derive a fairly reasonable dating. The text placed under the photograph depicting one of the facades of the main house is indicative. Photography can be dated back to pre-revolutionary times; the text is probably contemporary with her or made somewhat later, but no later than the 1920s. 20 In this text, V. A. Yaroshenko is named as the builder of the house (author of the project). The ownership line of the estate indicates that Vasily Aleksandrovich Yaroshenko entered it in 1876-1877, having married E. P. Stepanova. Consequently, construction of the house could not have started before this date.
In a brief “Historical Note” by V. G. Tartakovskaya, with reference to “eyewitnesses,” it is said that the construction of the house began after the death of Elizaveta Platonovna’s parents. 21 It was established that the father died in 1872, the mother after 1893. 22 However, there is no confirmation, even indirect, that the house was started after 1893.
You can try to determine the dating based on the following facts.
In 1893, Elizaveta Platonovna Stepanova (Yaroshenko), after the death of her father Platon Viktorovich, became the heir to the Meshchovsky estate and at the same time large households in Moscow: on Goncharnaya Street and on Khitrovskaya Square. 23
Archival file on the home ownership of E.P. Stepanova-Schlitter-Yaroshenko on Goncharnaya Street 24 (famous house Tutolmina) contains many documents that are interesting to us because their contents and dates, combined with materials from family correspondence, allow us to more clearly understand the biography of the last owner, as well as the time of construction of the main house on the Yukhnovsky estate. 25
Already in 1880, as in subsequent years, Yaroshenko was carried out summer period in Stepanovsky. There is an indication of this in the letters of Elizaveta Platonovna Stepanova’s (Yaroshenko) mother in 1880: “... in the summer, if my health allows, I can visit your village.” 26 In letters different persons V. A. Yaroshenko has information about the start of construction work on the estate. From them it is clear that in the summer of 1880 the owners of the estate planned a large construction project there. Ya. Panov’s wish for “successful construction of the house” apparently implies the main manor house. 27 Letters from 1881 from A. Yurkov (manager) indicate that intensive preparations for construction were carried out in December of this year. Numerous cargoes with expensive goods go to Stepanovskoye from Kaluga. building materials, most likely intended for the construction of a manor house: roofing and boiler iron, metal rails (for beam interfloor structures), oak (for parquet floors, doors, window bays), white stone is being prepared for the base, while a brick factory is being created in the estate, lime production is being established. Some work is already underway at this time: sawing oak logs, carving a plinth.
The manager asks to send a “drawing of oak boxes” that should have been made in advance. Applying for such a drawing to V. A. Yaroshenko indicates that he was the head of the construction work that had begun. 28
In an undated letter from G. Volzhinsky 29 (family friend) a St. Petersburg architect is mentioned who brought Yaroshenko drawings of the house “with winter garden and a whole labyrinth of rooms,” and it is noted that they made more and more changes to the project. Presumably, we are talking about the main house in Stepanovsky-Pavlishchevo. Obviously, the architect played the role of a technical executor, while Yaroshenko himself was the author of the project.
Last letter can be dated based on a number of features. The “Kolya and Maria Pavlovna” mentioned in it are Vasily Yaroshenko’s brother, artist N.A. Yaroshenko, and his wife. It is known that they lived in St. Petersburg until 1891. The following year, 1892, due to worsening tuberculosis of the throat, N. A. Yaroshenko moved permanently to Kislovodsk. Thus, G. Volzhinsky’s letter, addressed to St. Petersburg, should be attributed to an earlier time - the 1880s.
The surviving personal archive of the Stepanovs has an end date of 1892. There are no later documents in it. For this reason, there is no information about the further progress of construction work in Stepanovsky.
Turning to the documents of another archival fund associated with the Moscow households of E.P. Yaroshenko, one can see that after an eleven-year break it begins in 1891. a new stage of renovation and reconstruction work in the property on Goncharnaya Street, continuing until 1893. Many buildings in the property are rented out in the same way as the rooming houses that previously belonged to it on Khitrovskaya Square. The manager is instructed to “give out apartments for rent, receive money from tenants, evict those who are not in good condition, and monitor cleanliness...” 30
etc. Presumably, this was required by the owner’s budget, from which large funds had previously been allocated for the already completed construction of a manor house in Stepanovsky. Based on all the above sources and arguments, the dating of the main house in the Pavlishchev Bor estate can be considered to be the 1880s. In the memoirs of one of Yaroshenko’s pupils P. I. Vasilyeva 31
, it is said that the house was built "in the second half of the 19th century." In a brief “Historical Information” by V. G. Tartakovskaya 32
(1974) says: “The main building was apparently built in the last quarter of the XIX century (according to eyewitnesses, construction began after the death of Elizaveta Platonovna’s parents, and construction continued until the beginning of the twentieth century).” “Eyewitnesses”, that is, old-timers of the village. Pavlishchev, they didn’t know exact dates After the death of E.P. Yaroshenko’s parents, “additions” could be called other structures of the estate, which was completely rebuilt by the last owners.
The only factor in favor of a later dating of the house, the 1890s, is the existence of a close analogue of the Pavlishchev house - the Italian villa Yaroshenko in the town of Bordighera (The town of Bordighera is located on the Italian part of the Cote d'Azur, between Menton and Sa Remo. - Ed. ). Family correspondence from the early 1880s, when the design for the main manor house was apparently developed, does not report anything about it. Yaroshenko at this time spent winters in St. Petersburg, where the artist N.A. Yaroshenko also lived. Later, in 1892, the latter left St. Petersburg for Kislovodsk forever. It is possible that after his departure the brother’s family (also suffering from tuberculosis) begins to travel to Italy for the winter and spring, where they buy a villa, which became the architectural prototype of the Pavlishchevsky house. However, it cannot be ruled out that the villa was purchased earlier, during honeymoon Yaroshenko. Vasily Alexandrovich’s health was already a cause for concern then; the spouses’ trips to Bordighera were possible even in those years. The existence of the villa is known from the staff of the “Memorial Museum-Estate of the artist N. A. Yaroshenko” in Kislovodsk. Her photographs came to the museum from the niece of the Yaroshenko brothers, Natalya Nikolaevna Kupchinskaya-Trusova (1884-1969), who also spoke about the villa itself, which belonged to her relatives E.P. and V.A. Yaroshenko.
From all that has been said, we can conclude that the main house in Pavlishchev stylistically corresponds to the architecture of the 1880-1890s.
The main house is a complex, multi-volume three-story brick building with a ground floor under the entire volume, and a small attic floor in the south-eastern part. The ceilings above the ground floor are vaulted. The walls and vaults of the ground floor are brick plastered.
The front northwestern facade is designed quite strictly. The central risalit is topped with a complex pediment. The strict rhythm of the windows, highlighted by the longitudinal rustication of the second floor and the complex interfloor cornice, emphasizes the horizontality of the building. The main entrance is shifted from the central axis to the left by an angle.
Park, south-eastern, façade facing the river. Its solution is similar to the architecture of Italian villas. The central colonnade supports a huge second floor balcony. From this colonnade a wide staircase descends to the river. To the right and left of the central one there are colonnades of various sizes, numerous profiled pilasters, and triangular semi-columns. The central part of the facade is completed with a developed balustrade, the left - with an attic floor, the right - with a complex attic pediment. All this is compositionally united thanks to powerful interfloor and crown cornices and a horizontal row of large windows.
The side facades of the house are even more fragmented in their composition: long rows of windows and cornices are interrupted here, and therefore the feeling of some chaotic architectural appearance increases.
The roof of the house has a complex configuration, both in the horizontal and vertical planes.
The interior decoration of the main house has not been preserved, however, according to the available memoirs of P. I. Vasilyeva and M. S. Voloshina, one can imagine its abundance and elegance. 33
After 1917, the layout of the house underwent some changes. In two big fires - 1929 and 1997. - interfloor ceilings, roofing, and interiors burned out. It is known that during the restoration of 1955, the partially preserved original painting was replaced with a new one or rather crudely renewed. According to the testimony of old-timers, during the period when the All-Russian Central Council of Trade Unions tuberculosis sanatorium was located in the estate, decorative stucco molding was knocked down in the main house by order of the sanatorium management. This was done by teams recruited from local residents, and was aimed at destroying stucco as places where tuberculosis infection accumulated. The main building was cosmetically renovated in the 1970s and 1980s. (roofing, painting facades and interiors).
To the north-west of the main house there is a closed utility courtyard with a rectangular layout. All buildings are located strictly along its perimeter. Initially, the yard included a manager's house, a servant's room, a carriage house, a stable for trotters, a poultry house, a pigsty, a cowshed, a stable for working horses, and a warehouse for equipment.
The manager's house was the center of the courtyard. It is located along the axis of the manor house, opposite the front gate. This small brick two-story building with a mezzanine, rectangular in plan, has a traditional volumetric-spatial composition. The decor of the facades - simple window frames and cornice crackers - is simple and laconic. The original interior of the building has been completely lost. Only three tiled stoves have survived: one on the first floor and two on the second.
The inventory warehouse is located to the left of the manager's house - it is a two-story building with verandas attached on both sides (According to eyewitnesses, it had a canopy and colonnades that supported the roof of the building. - Author's note.), rectangular in plan; The first floor is brick, the second is wooden. All other buildings of the farm yard (stable for trotters, stable for working horses, poultry house) are one-story brick.
The manor park consists of regular and landscape parts.
The regular part of the park is well preserved and consists of a linden alley leading from a pond located near the Techa River to the end staircase of the main house of the estate; a large linden alley (450 m) along the river bordering the park; the remains of linden alleys at the end of the main house; green “gazebos” of linden trees and clumps of linden trees along the road leading from the bridge to the manor house.
Of particular value in the park is the descent to the river in the form of successive terraces decorated with plantings. In the floodplain of the Techa River there is a pond where there used to be a bathhouse made of white stone in the Romanesque style. There is no water in the pond now. There is also a dam from the river. The pride of the estate was the floral parterre in front of the main facade of the manor house - its layout has been preserved.
In the landscape part of the park, the oldest tree plantations are 100-120 years old. These are single spruces planted in a circle to the east of the main house, oaks and maples near the ground floor of the main entrance, single specimens in the park on the ledges of the terraces. The linden alleys to the west and east of the main building are also 90-100 years old. The western alley once led to wooden house, burned down in 1917, the eastern one - to the bathhouse on the river. Along the fence on the south side there is a second row of plantings of younger linden trees. Near the modern entrance there are plantings of silver poplar, their age is about 75-80 years.
The park has preserved pylons of the main entrance gate, topped with figures of deer (broken).
* * *
After the revolution, the Stepanovskoye-Pavlishchevo estate was nationalized. In 1918, a decree of the Council of People's Commissars was issued on the registration, registration and protection of monuments of antiquity and art owned by private individuals, societies, and institutions. The decree also affected noble estates. In 1919, works of painting were removed from the main house in Pavlishchev and entered the Kaluga art museum, opened the year before. 34
Among the requisitioned valuables were paintings by the artist N. A. Yaroshenko “Student”, “Portrait of a Nanny”, “Portrait of a Lady with a Cat”, “Portrait of a Mother”, “Portrait of a Brother”, “Reading a Newspaper”, “Eruption of Etna”, “Study mountain river." In addition to these paintings, the museum received two works from the estate painting XVII in: “Penitent Peter” by Zhacinto Brandi, “In the Tavern” by Adrian van Ostade. 35
Regarding the paintings of N. A. Yaroshenko, Kaluga art historians suggest that they were not painted by the author in Pavlishchevo, but were created in another place. 36
According to the memoirs of P. I. Vasilyeva 37
, the artist painted only one painting here - “On the Swing”. Now it is kept in the State Russian Museum. In the Stepanov family archive there is a letter from N.A. Yaroshenko, written to his brother. It is undated. In it, the artist accepts his brother’s invitation to come to Stepanovskoye. 38
In addition to the paintings, the library was removed from the main house of the estate in 1923 - it went to the Rumyantsev Museum, which, as is known, became the basis of the Russian state library; At the same time, the owners’ archive was also taken away 39
, which is now located in Russian state archive ancient acts.
In 1924-1928. Yaroshenko's estate, the Pavlishchevo estate, is on the list of eight estates that are of the greatest architectural and artistic value in the Kaluga province. They were examined, registered and taken under protection by the Department for Museum Affairs under the People's Commissariat for Education. 40
The use of the main house and the entire estate after the revolution varied. There was a rest home, a pioneer camp, a Polish prisoner of war camp, and the Pavlishchev Bor orphanage (“special home”) located here. In 1952 the estate was occupied by the tuberculosis sanatorium of the All-Russian Central Council of Trade Unions 41 , which was there for about forty years until 1989. Shortly after its opening in 1955, the main house was restored. Even earlier, in 1929 (1930), under a different tenant, the ceilings in the main house were changed. 42 It is possible that it was then that some changes took place: an interfloor ceiling was erected in the central hall (dining room), an external balcony appeared on the level of the second floor of the house (instead of one of the windows, a balcony door could have been made here). However, only detailed field studies can clarify this issue.
In 1960, the estate was included in the list of architectural monuments of local significance (Resolution of the Council of Ministers of the RSFSR No. 1327). 43
In 1989, the tuberculosis sanatorium was disbanded, and the estate buildings were transferred to the management of the Kaluga Health Department. Following this, a regional drug treatment clinic was located in the estate. He existed there until September 1995. The main house was practically not used during this period. By the end of 1990, only a few medical offices remained there.
In 1991, a commission of the regional department of culture and the Society for the Protection of Monuments noted that “the main house is almost not used, is not repaired and is being destroyed from year to year.” 44 . This situation continued in subsequent years. In 1997, as a result of a fire, the roof of the house and internal ceilings burned down. From 1995 to the present, the house, like the entire estate, has not been used.
The collected historical and archival documents, photographs and design materials for this monument, which date back to the 20th-21st centuries, allow us to speak of a fairly good supply of scientific research documentation for the necessary restoration and restoration work in the estate.
Currently, work is required to register state ownership rights to real estate objects that are part of the Pavlishchev Bor estate. The satisfactory technical condition of the objects on the territory of the estate - the main house, the manager's house, stables, warehouse for equipment - would allow them to be rented out interested parties taking into account the approved nature of their use and historical and cultural features that are subject to mandatory preservation, and thus contribute to the financing of the restoration of the main house.
NOTES
1
. Resolution of the Council of Ministers of the RSFSR dated August 30, 1960 No. 1327 (Appendix 2).
2
. RGADA. F. 1484 (Stepanovs). Op. I. D. 313. Plans (drafts) of land, estates and buildings. 1870 and n.d. L. 2.
3
. RGADA. F. 1355. On. I. D. 476, 477. Economic notes on Meshchovsky district of Kaluga province; Atlas of Kaluga governorship. Description and alphabets for the Kaluga Atlas. Part two. St. Petersburg, 1782. pp. 56-57. No. 305.
4
. RGADA. F. 1484 (Stepanovs). Op. I. D. 275. Order from Viktor Stepanovich Stepanov to the mayor and peasants of the Meshchovo estate. 1791 L. 1.2. RGADA. F. 1484 (Stepanovs). Op. I. D. 276. “Believing” letter (copy) from V. S. Stepanov to the peasant T. V. Gnusarev for the management of the Meshchovo estate. 1791 L. 1.
5
. GAKO. F. 209. Op. I. D. 23. Lists of land owners and peasants in Meshchovsky district for 1834, L. 13 vol.
6
. RGADA. F. 1484 (Stepanovs). Op. I. D. 3. “Announcement” by V. S. Stepanov to the Moscow Board of Trustees (accompanying) to the spiritual will. 1839 L. 1.
7
. GAKO. F. 62. Op. 3. D. 2530. On the conclusion of a redemption agreement between E. P. Schlitter and the peasants. Stepanovsky, village Pavlishchevo and N. Vyselki, Meshchovsky district. 1874 L. 143,144.
8
9
. RGADA. F. 1484 (Stepanovs). Op. I. D. 183. Letters to E. P., born. Stepanova, to V. A. Yaroshenko. 1875 -1876
10
. Right there.
11
. RGADA. F. 1484 (Stepanovs). Op. I. D.185. Letters from L.V. Yaroshenko (mother) to V.A. Yaroshenko. 1878-1880 L. 1.4 rev.; GAKO. F. 784. Op. I. D. 1182. On the issuance of foreign passports to V. A. and E. P. Yaroshenko. 1914 L. 285; GAKO. F. 784. Op. I. D. 1259. On the removal of police supervision from V. A. Yaroshenko. 1915 L. 127 and vol.
12
. GAKO. F. 784. Op. I. D. 1058. On the issuance of foreign passports to V. A. and E. P. Yaroshenko. 1913 L. 270.
13
. Telephone directory of subscribers of the Moscow telephone network. M., 1914. P. 449.
14
. All Moscow. Address and reference book for 1917. M., 1917. S. 570, 645.
15
. Voloshina M. S. About Max, about Koktebel, about myself (manuscript of a collection of memoirs and correspondence from the wife of the poet M. Voloshin) / Comp. V. P. Kupchenko. The manuscript was provided by Moscow theater expert and screenwriter E. A. Tropilo.
16
. KOHM Archive. Science Foundation. D. 9. Excerpts from the manuscript of P. I. Vasilyeva “Stepanovskoe Estate” and a recording of a conversation with her by M. Sheremeteva, made on September 15. 1948
17
. GAKO. F. 784. Op. I. D. 1058. On the issuance of foreign passports to V. A. and E. P. Yaroshenko. 1913 L. 270; GAKO. F. 784. On. I. D. 1182. On the issuance of foreign passports to V. A. and E. P. Yaroshenko. 1914 L. 285.
18
. GAKO. F. 784. Op. I. D. 1259. On the removal of police supervision from V. A. Yaroshenko. 1915 L. 127 and vol.
19
. Archive of the Institute “Spetsproektrestavratsiya”, Sh. 95. Inv. No. 85. According to information from old-timer E. M. Supranov - see: Tartakovskaya V. G. Historical background. M., 1974. P. 4.
20
. See: Iconographic materials. KOHM Archive. Photo fund No. 1-7.
21
. Archive of the Institute “Spetsproektrestavratsiya”, Sh. 95. Inn. No. 85. According to information from old-timer E. M. Supranov - see: Tartakovskaya V. G. Historical information. M., 1974. S. 2.
22
. In the materials of the archival file on their joint home ownership with their daughter in Moscow, she was mentioned until 1893 as “the widow of Platon Viktorovich Stepanov” - see: TsANTDM. F. I. On. II. D. 681 (Rogozhskaya part. No. 620 (570). 1803-1913.
23
. Gilyarovsky V. A. Moscow and Muscovites. M., 1989. pp. 17-18,34,37,39.
24
. TsANTDM. F. I. Op. II. D. 681 (Rogozhskaya part. No. 620/570). 1803-1913
25
. RGADA. F. 1484 (Stepanovs). Op. I. D. 183. Letters to E. P., born. Stepanova, to V. A. Yaroshenko. 1875-1876
26
. RGADA. F. 1484 (Stepanovs). Op. I. D. 197. Letters from E. G. Stepanova (mother) to E. P. and V. A. Yaroshenko. 1878--1880s L. 23.
27
. RGADA. F. 1484 (Stepanovs). Op. I. D. 175. Letters from Ya. Panov to V. A. Yaroshenko. 1881 L. 5.
28
. RGADA. F. 1484 (Stepanovs). Op. I. D. 182. Letters (manager) A. Yurkov to V. A. Yaroshenko. 1881 L. 1, 3 and vol.
29
. TsANTDM. F. I. Op. II. D. 681 (Rogozhskaya part No. 620/570). 1803-1913
30
. TsANTDM. F. I. Op. II. D. 681 (Rogozhskaya part, No. 620/570). 1803-1913
31
. KOHM Archive. Science Foundation. D. 9. Excerpts from the manuscript of P. I. Vasilyeva “Stepanovskoe Estate” and a recording of a conversation with her by M. Sheremeteva, made on September 15. 1948
32
. Archive of the Institute "Spetsproektrestavratsiya". Sh. 95. Inv. No. 85; Tartakovskaya V. G. Historical information. M., 1974. S. 2.
33. Kupchenko V.P., Voloshina M.S. About Max, about Koktebel, about myself. Koktebel, 2004; Voloshin M. Autobiographical prose. Diaries. M., 1991. S. 312-313; KOHM Archive. Science Foundation. D. 9. Excerpts from the manuscript of P. I. Vasilyeva “Stepanovskoye Estate” and a recording of a conversation with her by M. Sheremeteva, made on September 15. 1948
34
. Pushkareva T.I. Decree. op. P. 18.
35
. Petrovsky S. A. From the history of the Kaluga Art Museum // Art Department of the Kaluga Regional Art Museum. Kaluga, 1929. P. 10; as well as clarifications of Ch. keeper of KOHM L.V. Khoroshilova in November 2003; Pushkareva T.I. Decree. op. P. 19.
36
. Pushkareva T.I. Decree. op. P. 19.
37
. KOHM Archive. Science Foundation. D. 9. Excerpts from the manuscript of P. I. Vasilyeva “Stepanovskoe Estate” and a recording of a conversation with her by M. Sheremeteva, made on September 15. 1948
38
. RGADA. F. 1484 (Stepanovs), Op. I. D. 187. Letters from the artist Nikolai Alexandrovich to his brother - Yaroshenko Vasily Alexandrovich. B/d.
39
. GAKO. F. R-32. Op. I. D. II. Information about the former landowners' estates in the Kaluga province. Oct 2 1923 L. 37 vol., 38.
40
. GAKO. F. R-2878. Op. 3. D. 14. Lists of architectural monuments in the Kaluga province. 1924-1925, L. 191; D. 39. The same 1927-1928. L. 23 (both cases are stored in the KGOKM archives).
41
. GAKO. F. R-883. Op. 15. D. 258. Order of the Council of Ministers of the RSFSR dated April 25, 1952 on the organization of the Pavlishchev Bor tuberculosis sanatorium. L. 40.
42
. Archive of the Institute "Spetsproektrestavratsiya". Sh. 95. Inv. No. 85. Tartakovskaya V. G. Historical information. M., 1974. P. 4.
43
. Archive of the Kaluga Regional Directorate for the Protection of Monuments. Correspondence, decisions, resolutions regarding the Pavlishchev Bor estate (for different years).
44
. Archive of the Kaluga Regional Directorate for the Protection of Monuments. Correspondence about the Pavlishchev Bor estate. Letter to the head of the administration of the Kaluga region A.V. Deryagin dated April 16, 1993 from the Kaluga regional directorate for the protection of monuments.
illustrations used:
LJ Glazunov Academy
LJ Army reporter
Russian estate. Vol. 16 (32). St. Petersburg, 2011. - Koshevaya Yu. History of the Stepanovskoye-Pavlishchevo estate (Pavlishchev Bor). - pp. 374-389.
The museum-estate of the artist N.A. Yaroshenko is one of the most extensive collections of works by Peredvizhniki artists in Russia. The museum was opened in 1962 and houses a huge collection of works. outstanding artists N.A. Yaroshenko and N.A. Kasatkina.
An old manor, where the museum is located today, was once visited by prominent figures of Russia, among whom can be named A.I. Kuindzhi, D.I. Mendeleeva, I.E. Repina, F.I. Shalyapin. In the summer of 1802, Nikolai Yaroshenko and his wife visited here. Yaroshenko liked the situation in the house, and the holiday itself in Kislovodsk, and he returned here more than once. And in 1885 he bought the estate from the owner, Lieutenant General M.G. Chernyaeva. Here outstanding painter of my time and met last days life. He was buried not far from the dacha, on the territory of St. Nicholas Cathedral.
In 1918, it was decided to rename the street where the dacha was located in honor of Yaroshenko, and open a museum in the premises itself. But these plans were never realized. Soon the house was converted into communal housing, and in the 30s a decision was made to demolish the cathedral and liquidate the cemetery. The cathedral was destroyed, but local residents defended the preservation of Yaroshenko’s grave. And only in 1959, at the suggestion of the artist V.V. Seklyutsky, the Council of Ministers of the RSFSR decided to organize a museum. Materials for the Kislovodsk Museum were transferred from the State Russian Museum, Poltava, Kyiv museums. Most of The exhibitions included works by Yaroshenko from private collections of Russian collectors. Grand opening Museum took place in 1962, in honor of the celebration of the 100th anniversary of the birth of Nesterov, a philanthropist who gave the museum a solid collection of Yaroshenko’s works. At the same time, until 1986, residents lived in the museum wing, who were later resettled.
Today all the lands have been returned to the museum, and a garden has been laid out near the estate. In the outbuilding there are exhibitions of works by I.I. Levitan, L.K. Savrasova, V.G. Perova, L.I. Kuindzhi, P.L. Bryullova, I.I. Shishkina.
The owners of the estate left Russia even before the revolution, leaving their estate. In 1918, the estate was nationalized, all paintings were transferred to the Kaluga Art Museum. Among the requisitioned valuables were paintings by the artist N. A. Yaroshenko “Student”, “Portrait of a Nanny”, “Portrait of a Lady with a Cat”, “Portrait of a Mother”, “Portrait of a Brother”, “Reading a Newspaper”, “Eruption of Etna”, “Study mountain river." In addition to these paintings, the museum received two works of painting from the 17th century from the estate: “Penitent Peter” by Zhacinto Brandi, “In the Tavern” by Adrian van Ostade.
After 1917, the layout of the main house changed several times, and in two large fires (1929 and 1997), almost all the floors and roofing were burned and the interiors were lost. In 1924-1928. Yaroshenko's estate, the Pavlishchevo estate, is on the list of eight estates that are of the greatest architectural and artistic value in the Kaluga province.
In 1955, a restoration was carried out, during which the partially preserved original painting was replaced with a new one or rather crudely updated.
Over the years, the territory housed an orphanage, a rest home, a tuberculosis sanatorium, and even a camp for Polish prisoners of war. Since 1995, the territory of the estate has been de facto abandoned.
I wanted to get to Pavlishchev Bor as soon as I saw the first photos on the Internet, from which it was clear that this would be the most interesting and majestic place I had visited. And after some photographs, it was decided that it was not worth postponing until next summer and waiting for good weather. As a result, one day, quite spontaneously, it was decided to go here. Unfortunately, such spontaneity led to the fact that I arrived at the place already at the moment when the sun was disappearing behind the horizon, so I was unable to capture some details with my camera coupled with whale optics.
To easily find the estate, you should look for the Pavlishchev Bor sanatorium on Yandex maps, or try to find (ask someone) a Russian Post office. For some reason, this organization is drawn to such places, just remember.
There is an entrance gate near the Russian Post:
And this is the gate of the front yard:
Back in the 70s of the 20th century, majestic deer could be seen here:
Now, you can call them majestic only with a “Sarcasm” sign in your hands:
One has already lost his head:
The outline of the main building of the estate begins to appear through the trees. Unfortunately, through the dense thickets and overgrown spruce trees, it is impossible to see the whole picture.
We go left along the trodden path (this place is very popular among lovers of abandoned buildings). First, one of the towers and part of the building appears:
Then the entire building appears before us:
Everything looks very majestic and solid, and the presence of towers makes this place similar to medieval castle. You can compare how it was here some 50 years ago:
Now everything is irrevocably collapsing:
The facade of the building from the park side, the remains of steps are visible:
Once upon a time this place was decorated with figures and one can hardly believe that such beauty was not somewhere in Italy, but not far from Kaluga:
If you look at the building from this side, then left side The building is designed more in a rectangular style:
Here is one of the entrances to the building:
A right side made in rotunda style:
One of the towers with the remains of drains:
Window to the basement, we’ll get there later:
It's time to look inside. This is not a corridor, this is a tower with no floors left:
Central hall with columns:
And here only the columns remain:
There is almost no interior decoration left in the building. There is only one place where part of the ceiling remains, which someone carefully propped up with a log:
Yes, here and there there are still small fragments that say that there was not always bare and soulless brick here:
The door is clearly a legacy from the Soviet past:
It’s good that the steps were not made of wood; they managed to survive the fires and survive to this day. You can go down to the basement or go up to one of the towers. First of all, I want to go up:
Windows increasingly evoke associations with a castle:
Unfortunately there is no escape from the tower; there is no floor at the top:
But you can admire the view:
There is still a staircase left on the side of the rotunda balcony, but there you can only climb one flight and the view is a little worse:
Let's cross the bridge to the opposite bank, go uphill a little, turn left and find ourselves near the front gate of the estate. The estate is small in size and almost entirely surrounded by the greenery of centuries-old trees. Through the front gate we will enter the territory of the former Stepanovskoye manor estate, which belonged in the second half of the 19th century to Elizaveta Platonovna Yaroshenko (née Stepanova), the wife of the artist’s brother Vasily Alexandrovich.
The estate has been known since the 14th century. The owners - the Stepanov boyars - were faithful guardians of the borders of Rus' in the fight against the Grand Duchy of Lithuania and Crimean Khanate. IN late XVIII century, wooden buildings of the estate were built (the wooden manor house burned down in 1917). Under the last owner of the estate, the estate was rebuilt in stone. Her husband V.A. Yaroshenko, an engineer by training, together with architects designed a two-story mansion, the main house of the estate, and laid out new alleys for the park.
The main house of the estate is located on the high, gently sloping bank of the Techa River. From his front porch they descend to the river different directions linden alleys The longest and most picturesque alley, which still retains its clear outlines, stretches to the southwest across the entire estate. Shorter alleys go straight down to the river. The estate acquired its modern appearance in mid-19th century century. However, it is very difficult to imagine now how beautiful this estate was before. The alley is overgrown, buildings are destroyed, the area is littered. All this clearly does not decorate Stepanovskoye today.
After the revolution, the estate was nationalized, paintings, furniture and utensils were transferred to Kaluga museums in 1919. For a long time Various medical institutions were located on the estate. Many Kaluga residents know this place as the Pavlishchev Bor sanatorium. The sanatorium has long been closed. After closure, a large fire occurred in the main house, significantly damaging the building. And now it stands, slowly collapsing, in the midst of an overgrown park, as a monument to its former beauty and splendor.
And the house is truly beautiful, even now, when the spirit of desolation reigns everywhere. The wonderful is destroyed noble nest XIX century, one of the most beautiful estates in the Kaluga region. The ceilings of the main house collapsed, the fence of the estate was dismantled local residents on bricks (only the front gate has survived), outbuildings were abandoned. And only memory takes us back to that distant past, when life was in full swing here, filled with creativity, poetry and art.
IN lately are being carried out at the estate restoration work. The area was surrounded by a concrete fence. We cleared debris from the main building. Several people are working to restore the north wing of the main house. However, the work is being carried out so slowly that there is no hope for a speedy restoration of the estate.
The Stepanovskoye estate is inextricably linked with the name famous artist- Wanderer Nikolai Aleksandrovich Yaroshenko (1846 -1898).
Yaroshenko is known in Russian painting as a master portraitist and landscape painter. Nikolai Yaroshenko is of great interest both as an artist and as an extraordinary personality. Being a military engineer by training, he is engaged in painting and attends classes at the Academy of Arts as a volunteer student. Yaroshenko is one of the organizers of the Partnership of Mobile art exhibitions, and after the death of the artist I.N. Kramskoy heads the Partnership. Nikolai Alexandrovich was closely acquainted with the best representatives advanced Russian intelligentsia of the late 19th century: artists I.N. Kramskoy, I.I. Shishkin, writers G.I. Uspensky, V.G. Korolenko.
The artist became widely known for his paintings on the theme of the people’s hard lot: “Stoker”, “Life Everywhere”, “Prisoner”.
According to the memoirs of a pupil of Elizaveta Platonovna Yaroshenko P.I. Vasilyeva, the artist often visited Stepanovsky and worked a lot. There were always a lot of young people on the estate. Yaroshenko understood these youth well and captured their aspirations and revolutionary aspirations in the works “Student” and “Student”.
The single-figure composition “Student” is known in two versions (one is kept in the Kiev Museum of Russian Art, the second in the Kaluga Art Museum). According to the memoirs of the artist I.S. Ostroukhova, I.N. Kramskoy, who saw “The Student” in the artist’s studio, did not agree with the interpretation of her face and figure. The young girl evoked sympathy rather than respect. Then Yaroshenko wrote new picture, completely preserving the compositional scheme, but taking into account Kramskoy’s comments.
The Kaluga Art Museum received the painting “Student” from the Stepanovskoye estate in 1919. In the painting, the artist depicted a young girl walking with an energetic step along a foggy St. Petersburg street. Her pretty face with big eyes spiritualized. The clothes are deliberately rough and modest. A coarse wool sweater and blanket protect her from cold and dampness. Despite all the social concreteness in the created image of an advanced Russian woman, there is no everyday life; he is sublime and noble. The prototype for creating the painting was a student of the Higher (Bestuzhev) Women's Courses A.K. Chertkova, née Diterichs. Anna Konstantinovna was close to the Yaroshenko family and was friends with the artist’s wife Maria Pavlovna.
Among the works transferred to the Kaluga Art Museum are many portraits of relatives: a portrait of Vasily Alexandrovich’s brother, “Portrait of a Lady with a Cat” (E.P. Yaroshenko), “Portrait of a Nanny” and “Portrait of a Mother”.
After examining the estate, we will go down the path leading through the park to the Techa River. Let's stop on the bridge and admire the river rifts and the mysteriously mysterious grotto of trees closing over the river. Techa is a forest river with a large number crystal clear springs. Downstream, in the vicinity of the village of Ekaterinovka, springs with healing mineral water were discovered. Water by chemical composition and the quality is not inferior to the famous Lipetsk water, but currently the source is not actively used.
The estate is considered a historical and cultural monument and is under state protection. All this leaves hope that someday the estate will appear to us in its previous appearance.
Nikolai Aleksandrovich Yaroshenko (1846-1898), the famous Russian Itinerant painter, author of such works as “The Student Student”, “The Prisoner”, The Fireman”, “Life Everywhere” and many others, really liked Kislovodsk already during his first visit in 1882, where he arrived with his wife during his honeymoon. Later they visited the city several times, and then in 1885 they bought an estate here near St. Nicholas Cathedral. Then there was the Kislovodskaya Sloboda, which consisted of seven streets.
The Caucasus Mountains captivated the artist, and the theme of the Caucasus was firmly reflected in his work - his paintings “Beshtau”, “Elbrus in the Clouds” and others, following Pushkin and Lermontov, revealed the beauty of the Caucasian nature for his compatriots. Yaroshenko traveled throughout the Caucasus, climbing into mountain villages, walked around the outskirts of Pyatigorsk and Kislovodsk and made sketches everywhere amazing mountains. He was even called " mountain portraitist" After all, he started his creative path artist as a portrait painter, but the Caucasus mountains changed the direction of his work. Today, his paintings glorifying the Caucasus are constantly on display in the museum. It is interesting what the artist did without leaving his service at the military factory, for he was a hereditary military man.
On the grounds of the estate known as " White Villa“, cultural figures who were in Kislovodsk at that time liked to gather on Saturdays. “Brothers” artists came to “Yaroshenko Saturdays” (A. Kuindzhi, A. Vasnetsov, I. Repin), writer L. Tolstoy, singers F. Chaliapin and L. Sobinov, scientists I. Pavlov and D. Mendeleev…. To receive so many guests, the hospitable hosts had to add several outbuildings. And the guests, in turn, helped the owners in decorating the house, painting it in the form of Pompeii frescoes. At the end of the 19th century, the White Villa was one of the largest cultural centers south of Russia.
Unfortunately, N.A. Yaroshenko did not live long, and death overtook him precisely in the Kislovodsk estate, not far from which he was buried. And this happened after his quick descent from the Big Saddle mountain, where he was drawing that day, but fleeing from heavy rain, ran 10 km home. During his short life he created more than 2000 paintings. His wife, Maria Pavlovna, kept creative heritage husband and really wanted to create his museum. Her husband's friends did not leave her. Maria Pavlovna lived in this estate after the death of Nikolai Alexandrovich for another 17 years and was buried next to him. The museum was created later, but its fate was very, very difficult.
The first Yaroshenko Museum opened almost immediately after the revolution; the furnishings of the house and its interior were preserved. A library was also established here. And the street where the estate was located was called Yaroshenko Street. But already in 1919, the museum was destroyed by the White Guards who captured the city. After liberation from the White Guards, in the 20s, powerful resort construction began. Nobody remembered about the museum; the estate building was given to a cardiological hospital. Redevelopment was done, corridors were added, frescoes were painted over with white paint, part of the garden was cut down and a solarium was built there, the rest of the garden fell into disrepair, the staircase collapsed over time. The street was also renamed. There is no trace left of the artist who once lived here.
On the 40th anniversary of Yaroshenko’s death (1938), a meeting was held at his grave, speakers at which cultural figures called for the re-creation of the famous artist’s museum. A call was made to collect things that were once in the estate and the artist’s paintings, which were dispersed in unknown directions. Kislovodsk was engaged in preparations for the reconstruction of the museum. artist Tabul-Tabulevich. But the war began. And then the Germans came, along with whom Tabul-Tabulevich disappeared.
After the war, the Balneological Institute decided to demolish the remaining buildings of the estate for further reconstruction of the clinic. But the Pyatigorsk Local Lore Society, the Pyatigorsk Department Geographical Society The USSR, local historians and artists began a struggle to recreate the White Villa. Thanks to the public, activist artist V.V. Seklyutsky and many, many collectors, the N.A. Museum Yaroshenko was recreated and staffed large collection his works. Of course, for the resettlement of residents, renovation work, the search for interior items and personal belongings of the artist, as well as his works, took years, but the enthusiasm of V.V. Seklyutsky and his like-minded people did their job - On March 11, 1962 the museum was opened for visitors.
The museum occupies the territory former estate Yaroshenko together with the garden. It includes 4 memorial buildings, which house a large collection of works not only by the owner of the estate, but also by other Itinerant artists. The works of Yaroshenko himself are in the main building; in the halls of other buildings you can see the works of M. Nesterov, N. Kasatkin, V. Vasnetsov, V. Perov, I. Kramskoy, V. Polenov and many others. By visiting this museum, you will learn a lot about the artist himself, his era, and also enjoy beautiful works of art.
Leaving the museum you can walk to St. Nicholas Cathedral, and visit the cathedral located in the Necropolis fence grave of N.A. Yaroshenko, on which a bronze monument is installed, which is a work of art from the late 19th century. The casting of this monument was done in St. Petersburg.
Not far from St. Nicholas Cathedral there is another interesting museum- local history, which is called “Fortress”. It is located at the site of the founding of Kislovodsk and has very interesting exhibitions.
