Interior. 19th century estates

The Empire style brought ancient Roman luxury and French arrogance to the homes of the Russian nobility. But under the influence of either the harsh climate or morals, he quickly changed, becoming softer and freer.

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On the picture:

"Big Style"

What does it represent? Interiors of the 19th century in the Empire style are, first of all, bright colors in combination with gilding. It is not surprising, because gold is the royal metal, and Empire (French) means “empire”. This pompous style has a rather narrow time frame: the beginning of the 19th century and the reign of Napoleon (1804) - the decline of the great emperor (1814-1815). The Russian Empire style arose as an imitation of the French, but quickly acquired its own identity. It was softer, freer, more flexible and lasted until the 1830s and 1840s.

Main features. Empire - decorative style, created by Napoleon's court decorators, is internally hard and cold. Includes Egyptian and especially Roman motifs, mostly attributes military history Romans, allows contrasting combinations of colors and sharp transitions of shapes and lines.

In the photo: chair 8900SC + 8912PL from the Colombostile factory.

Walls. Scarlet, sky blue, green, they went well with gilded furniture, cornices, and chandeliers. Pastel shades were also used: pistachio, blue, lilac. The main decoration of the walls were paintings and bas-reliefs on ancient subjects. They were not abstract, but indicated the preferences and views of the owner of the house, and even contained an image of him and/or his wife in the form of ancient heroes.

Ceilings. They were decorated with plaster stucco or grisaille - painted bas-reliefs. An indispensable detail was a luxurious chandelier, which was hung on heavy chains. Sometimes chandeliers were made... from papier-mâché, and only then covered with gold.

Examples of ceremonial chandeliers suitable for interior decoration in the Empire style.

Details

Luxury requires light. Lighting in the Empire era was given Special attention. In addition to the huge chandelier, the halls and offices always included table lamps, sconces and cantilever candelabra, the light from which was reflected in gilding and numerous mirrors.

"Golden" character. Gilded bronze appeared in Russia thanks to the French master Pierre Agy. Interiors of the 19th century in the Empire style sparkle with candelabra, inkwells, toiletries and other small details. In the rooms you can see incense burners and jardinieres - stands for flowers. It was in the Empire era that mirrors appeared on dressing tables, illuminated on both sides by candelabra.

In the photo: watch 2001 from the F.B.A.I. factory.

The Golden Age of Russian Porcelain. This is what experts call the first third of the 19th century, when
domestic craftsmen managed to create a unique “Russian Empire style”. Historical and patriotic subjects (for example, the victory of 1812 was reflected in a series of “war plates” of the Imperial Porcelain Factory), portraits of the imperial family, landscapes, paintings by old masters - all this was depicted on porcelain and glass vases and services. They were often created according to the drawings of famous architects.

Furniture as architecture. After 1812, Russian nobles began to acquire recamiers (the famous Parisian beauty Madame Recamier received guests in an antique tunic, lying on a couch), secretaries, boat sofas and other newfangled furniture. Furniture was often decorated with gilding; antiques were used in decoration. architectural details- columns, caryatids, friezes. Despite their fancy appearance, Empire style tables are convenient for working with a computer, and therefore are still popular today. Well, psiche mirrors and curule chairs (with X-shaped legs) are not so uncommon in the interiors of bedrooms and offices.

Famous masters of the Russian Empire style

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What is Russian style in the interior of an apartment and what was it like? everyday life Russian estate? Small rooms, and not at all ballrooms and state drawing rooms, opened only on occasion, mismatched furniture, paintings that have more family than artistic value, everyday porcelain.

Fragment of the dining room. Custom curtain fabric, Colefax & Fowler, tartan piping, Manuel Canovas. Painted screen, early 20th century, France. The chairs are upholstered in fabric, Brunschwig & Fils. Vintage decorative pillows with hand painting on silk.

Even members of the imperial family tried to surround themselves with ordinary comfort in their personal lives - just look at the photographs of their personal apartments Alexandra III in the Gatchina Palace or Nicholas II in the Alexander Palace of Tsarskoye Selo...

Dining room. Fireplace portal green marble made according to the sketches of Kirill Istomin. Wool carpet, Russia, late 19th century. Antique chandelier, France, 19th century. Chinese style carved dining table and leather upholstered chairs, England, 20th century. Fabric covers, Cowtan & Tout. On the table is an antique lace tablecloth from the collection of the owners of the house. Porcelain service, France, early 20th century. On the wall is a collection of antique French, German and Russian porcelain.

It was precisely these kinds of interiors that decorator Kirill Istomin was thinking about when clients approached him with a request to create a manor interior of a house in the Russian style without pretensions to historical authenticity.

Kirill Istomin

“We started to come up with a legend on the fly,” says Kirill. - From the first days of working on the project, we, together with the owners, began to look for completely different furnishings - as they say, in reserve.

Fragment of the office. The sofa is custom-made according to the sketches of Kirill Istomin; upholstery, Clarence House. On the wall are icons of the owners of the house.

Main living room. Tapestry, France, 18th century. Vintage English armchair, upholstery, Cowtan & Tout. The table lamps are made from antique Chinese vases. Coffee table red lacquer with gold painting in chinoiserie style, vintage. The shelving unit and sofa are custom-made according to the decorator's sketches, fabric, Cowtan & Tout. Desk with a leather tabletop and drawers, England, 20th century, next to it is a vintage rattan chair. Round table with marble top, Russia, 19th century.

The reconstruction of the house began with this tapestry - there was simply not enough space for it in the old living room. The new extension, adjacent to the living room, is equal in area to the first floor of the house.

Hallway. Wallpaper, Stark. Carved wooden gilded chandelier, Italy, 20th century. Mirror, England, 19th century. Chest of drawers and sconces, vintage. Fabric chair covers, Lee Jofa.

Square in plan, it is divided in half into two rooms: a dining room and a new living room, on one of the walls of which there is a tapestry.

Kitchen. Fabric bandeau, Lee Jofa. Chair covers, Schumacher fabric. Chandelier, dinner table and chairs, Russia, 1900s.

“I understand what the architects thought when we ordered them to plan the rooms, taking into account the placement of existing furnishings,” Kirill smiles. “But I always treat the confrontation between decorators and architects with humor.”

Fragment of the kitchen. The countertop and splashback are made of granite.

Intentionally simple finishing - wooden floors and painted walls - compensated for by the height of the ceilings in the rooms. In an old house they are about one and a half meters lower.

Guest bathroom. Floral wallpaper, Cowtan & Tout. The base skirt is made of linen, Clarence House. Mirror above the base in a painted carved wooden frame, Italy, early 20th century.

However, even this does not make the premises look like state halls - the same living rooms, as if straight out of pre-revolutionary photographs. It’s just difficult to say in which country these photographs could have been taken: in the dining room the combination porcelain plates, hung on celadon walls, and floral designs curtains are reminiscent of English estates Victorian era, while the decor of a small living room with historical wallpaper depicting flower garlands and the boiling white lace ruffles of crimson curtains echoing them are reminiscent of the Russian style in the interior, a merchant mansion somewhere on the Volga.

Fragment of the main bedroom. English vintage lacquered secretary with gilded painting in the Chinese style.

Almost kitsch, but hot tea with jam has already done its job, and you don’t want to think about anything, covered with a downy scarf and listening to the soothing purr of the cat. “Of course, this is a completely invented interior, and you are unlikely to find historical parallels here.

Small living room. Vintage French bronze sconces were purchased in St. Petersburg. The backs of antique gilded armchairs are covered with antique lace from the owners' collection. Vintage sofa with fringe in original crimson upholstery. Hand-printed wallpaper based on archival originals, made to order. Curtains, silk, Lee Jofa. Wooden shelving made according to the decorator's sketches.

Rather, it brings back memories of what you imagined a bygone era to be like when you read the classics,” says the decorator. - There are a lot of incompatible things in the house, but such “imperfection” makes my work invisible.

The beginning of the 19th century is characterized by the emergence in France of an architectural and interior design movement called Empire style. The so-called imperial style is distinguished by luxury and solemnity, designed to emphasize the greatness of Emperor Napoleon. The organic combination of Roman antiquity, Egyptian motifs, architectural monumentality of the interiors, abundance of gilding and bright colors in the decoration allowed the French Empire style to exist for quite a long historical period and, with some changes, to be adopted by both the Russian imperial court and bourgeois Germany. The 19th century allows you to plunge into the atmosphere of grandeur and luxury of ballrooms, living rooms, and boudoirs of that time.

Characteristic features of the style

Empire style as an architectural and interior style originated in the early 19th century with light hand Napoleon Bonaparte. It was designed to emphasize the greatness of the emperor, combining solemnity, luxury and severity.

The basis of the Empire style is Roman antiquity with its monumental arches, columns, and caryatids. The architecture and interiors of the 19th century in the imperial style are distinguished by their monumentality, integrity and symmetry.

The decoration used mahogany, marble, bronze and gilding. The walls were decorated with paintings of ancient scenes and bas-reliefs. Used on the ceiling plaster stucco.

Interiors of the 19th century in the Empire style are designed in rich colors: blue, red, green, turquoise, white. They go well with an abundance of gilding and ornate decor. Pastel shades were often used: milky, beige, lavender, pale blue, pistachio, mint.

The decoration was complemented by monumental mahogany furniture with decorative bronze overlays or gilded carvings. Animal motifs in furniture were popular: legs in the form of paws, armrests with lion heads. provoked a fashion for authentic paraphernalia, which subsequently influenced the French Empire style, organically merging into the interior along with antique motifs. Military themes were no less popular: paintings with scenes of battles, weapons.

Walls

The walls in the 19th century imperial style interior were painted with antique scenes and exotic landscapes. Bas-reliefs were often found. Wallpaper was rarely used, mainly with a pattern in the form of monograms or strict stripes. In the bedrooms and boudoirs, the walls were draped with textiles decorated with acanthus in the Roman style. The color scheme was dominated by bright shades: red, blue, green, and white. They combine wonderfully with an abundance of gilding, emphasizing the majesty and solemnity of the setting.

A characteristic feature of the Empire style is the stucco decoration of the walls. Columns were made of marble, malachite and other ornamental stones, and the stucco molding was covered with gold. Huge mirrors are an integral attribute of the 19th century interior. They were actively used in decoration, complemented by ornate gilded frames.

Ceiling

Ceilings in Empire style interiors are always high, domed or straight. The main color is white. The ceiling was decorated with paintings and grisaille. It is difficult to imagine a 19th century interior in the imperial style without stucco. Plaster rosettes, cornices, moldings and other decorations were used everywhere. Often the stucco molding was covered with gilding. The strict centralization of composition and symmetry characteristic of the Roman style is clearly visible in the Empire style. The center of the ceiling was always decorated with patterns and complemented by a magnificent pendant chandelier. Gilding and crystal harmoniously emphasized the solemn

Imperial style lighting plays an important role. If the room was large, several large symmetrically arranged chandeliers were often installed. In addition to them, there were wall and table candelabra in the room. Numerous lights, reflected in mirrors and gilding, created a unique atmosphere of solemnity and grandeur.

Furniture

The furniture in the interior was monumental, like a work of architectural art. These were used exclusively architectural elements, like columns, cornices, caryatids. Tabletops were often made from a single piece of marble or malachite. Sofas, armchairs, and couches had smooth, ergonomic shapes.

Mahogany was widely used. Furniture was decorated with bronze plates, gilded carvings, legs and armrests stylized as animals. Animal motifs are clearly visible in the imperial style: lion heads and paws, eagle wings, snakes. Mythical creatures were also popular: griffins, sphinxes. The upholstery of couches, chairs, and armchairs in the French Empire style is predominantly monochromatic, marbled or leather. The interiors now feature round tables on one leg, sideboards for dishes and fashionable trinkets, and a secretary with a shelf for books.

Decor

The decor of the 19th century was dominated by ancient Roman and Egyptian motifs - columns, friezes, pilasters, ornaments with acanthus leaves, sphinxes, pyramids. era Napoleonic wars could not help but affect the interior. Images of weapons were widely used: sabers, shields, arrows, cannons, and cannonballs. Decorators of that time could not ignore the laurel wreath as a symbol of greatness. It is found everywhere.

The interior is replete with plaster statues, paintings and huge mirrors in massive gilded frames. Complex draperies on windows and walls are a characteristic feature of the Empire style. The beds were decorated with canopies. All decor in an imperial-style interior is carefully verified, and the same images can be found in the decor of furniture, walls, accessories and even books.

Russian Empire style

Russian interior of the 19th century took a lot from the French Empire style, reworking and softening it. Instead of mahogany and bronze overlays, Karelian birch, ash, and maple were used on furniture. The furniture was decorated with gilded carvings. The creatures of Egyptian mythology were successfully replaced with Slavic ones. Unlike the French Empire style, which primarily elevates the personality of the emperor, the Russian paid more attention to greatness state power. Marble was replaced with Ural malachite, lapis lazuli and other ornamental stones.

The Russian Empire style gradually divided into two directions: metropolitan and provincial. Stolichny was more similar to French, but was softer and more flexible. An undoubted contribution to the development of the style was made by the Italian Carl Rossi. The provincial version of the Russian Empire style was even more restrained, closer to classicism.

Empire is a bright and majestic style in the architecture and interior of the 19th century. The pomp and solemnity of the interiors was intended to emphasize the greatness of the emperor. Characteristics imperial style are a centered composition, bright colors, an abundance of gilding, stucco, huge mirrors, antique, Egyptian, animal and military motifs.

There are possibilities of using the 19th century style in modern design interior Designers can bring such a project to life using modern materials and stylized items. The luxurious Empire style can decorate any apartment, provided there is the desire and opportunity.

Today, most people prefer comfortable and highly functional housing. However, there are also rare connoisseurs of old classics who want to decorate their home in the best traditions of bygone times. Typically, this category includes rich people who have more than one type of real estate, collectors and antique dealers who, on the one hand, have a thirst for experimentation, and on the other hand, remain faithful to traditions.

Today, the interior of the 19th century, which dominated the houses of the aristocratic nobility, is one of the most revealing among the pages describing the history of architecture and life of the Russian Empire. For example, in the famous Pavlovsk Palace there is an entire exhibition dedicated to residential interior 19th and early 20th centuries, which allows you to travel as if in a time machine to another century.

Let's try to determine what features of the 19th century interior were present in different decades of the century.

Thus, at the beginning of the 19th century, the Russian nobility often settled in country estates or mansions located within the city. Together with the owners, servants lived in the house and were classified by status. The houses in which the gentlemen lived usually consisted of three floors. It was the rooms on the first floor in the 19th century interior that were given over to servants, utility rooms, kitchen, and utility rooms.

On the second floor there were guest mansions, which often consisted of adjacent living rooms, halls and a dining room. But on the third floor, for the most part, the master's mansions were located.

At the beginning of the century, the interior of the 19th century mainly featured classicism and empire styles. Most of the rooms were harmoniously combined with each other and included furniture of the same style, often made of mahogany with fabric trim, decorated with gilded, brass or bronzed elements. The walls of houses were often painted with plain paint of green, blue or purple, or covered with striped paper wallpaper.

A mandatory room in any residential building was the owner's office, the furniture of which was often made of poplar or birch. A significant place was also occupied by portrait rooms, which were decorated with striped wallpaper and decorated with portraits in heavy and massive gilded frames.

The bedroom was usually divided into two zones: sleeping and boudoir, especially for the rooms of young ladies. In richer houses, the boudoir was located in the room next to the bedroom. The boudoir in the interior of the 19th century had not only a function toilet room, as much as it was the hostess’s personal space, where she could read, embroider, or simply be alone with her thoughts.

The interior of the 19th century in the 40s-60s fell under the influence of romanticism, neo-Gothic and pseudo-Russian style. Windows in houses began to be covered with heavy draped fabrics. Tablecloths appeared on the tables. The Gothic trend sometimes manifested itself in the fashion for lancet windows with stained glass. Around the reign of Nicholas II, the fashion for french style. Mahogany furniture gave way to rosewood, and decorative items such as porcelain vases and figurines appeared in the interior. And a little later, especially in the men's bedrooms, oriental motifs began to be reflected. For example, weapons were hung on the walls as decoration, hookahs and other smoking accessories could be present in the rooms, and the owners often liked to dress in robes with oriental motifs. But as for the living rooms and women's bedrooms, the style of the second Rococo remained dominant.

The interior of the late 19th century is beginning to fade a little compared to the beginning and middle of the century. This is due to the fact that many bourgeois families went bankrupt and found themselves in an unenviable financial situation. At the same time, he didn’t stand still scientific and technical progress, who brought tulle and machine-made lace tablecloths into the interior.

Instead of houses in the 19th century, apartments became more popular, combining the eclecticism of many architectural styles. The place of the estates was taken by country dachas, the interiors of which were often decorated in a pseudo-Russian style, which consisted of finishing beams with carved ceilings and a constant buffet in the dining room.

Towards the end of the year, the Art Nouveau style came into its own, suggesting smooth curved lines in all interior items without exception.

19th century interior by richness different styles may take, perhaps, first place among other centuries, since under the influence of historicism it reflected such trends as classicism, rococo, gothic, in the middle of the century an eclecticism of styles arose, and at the end the unique modernity came into its own.

Original taken from museum_tarhany c Wall decoration in residential premises of the 18th - first half of the 19th centuries. Wallpaper in the Tarkhansky manor house

Due to the fact that the internal architecture and decoration of the manor house in Tarkhany do not fully correspond to Lermontov’s time, the museum’s management considers it necessary to carry out a major overhaul—restoration—in the coming years. There are no documents indicating what the manor's house looked like in Leermontov's time. Therefore, one of the possible options for creating interior decoration is to reproduce the typical furnishings of that time.

Precious information about the decoration of residential buildings of that era is contained in the memoirs of contemporaries, the works of writers, poets and artists (it was during the period under review that a unique type of image appeared, which received the general name “In the rooms”), reference books those years, as well as the research works of modern authors, among whom I would like

especially highlight the book by T. M. Sokolova and K. A. Orlova “Through the Eyes of Contemporaries. Russian residential interior of the first third of the 19th century."

Unfortunately, memories of provincial and landowner houses are few. But it should be noted that provincial manor houses were often built according to the model and likeness of the houses of Moscow wealthy nobles, for Moscow for a long time maintained the manner of building not so high as it was wide (as T. M. Sokolova and K. A. Orlova write). D. Blagovo in the book “Grandmother’s Stories...” reports: “The house was wooden, very large, roomy, with a garden and a vegetable garden and a huge wasteland, where in the spring, until we left for the village, our two or three cows"17 (here we are talking about the 1790s).

In 1815, a Commission was formed for the construction of the city of Moscow. She you-worked standard projects residential development. Post-fire residential buildings in Moscow are wooden, more often one-story than two-story, almost always with a mezzanine, often with mezzanines, with an unchanged front garden and entrance porch at the side wall.

Wooden houses were sheathed with planks or plastered. Painted in bright hues, prescribed by the Commission in 1816: “So that henceforth houses and fences are painted more delicately and with the best colors, for which light colors are assigned: wild, blanche, fawn and with green.” (The colors “wild” and “blange” are light gray and flesh-colored).

Provincial and estate landowner houses were built, as a rule, according to the same standards of architectural techniques. Thus, D. Blagovo writes: “This house formerly belonged to Count Tolstoy... who at the same time built two completely identical houses: one in his village, and the other in Moscow. Both houses were decorated in exactly the same manner: wallpaper, furniture, in a word, everything in both one and the other.” Here we are also talking about the 1790s. Count Tolstoy, according to D. Blagovo, “is a very rich man.” But even very poor landowners often built their houses according to the model of those in Moscow. The same D. Blagovo reports: “The house in Khoroshilov

It was then old and dilapidated, in which Neyolova lived for several more years, and then she built a new house based on the model of our Prechistensky house, built after the French.” Neelova is a poor landowner; her village Khoroshilovo was located in the Tambov province.

It was so typical internal organization manor houses. “The internal structure was exactly the same everywhere: it was repeated without almost any changes in Kostroma, Kaluga, Oryol, Ryazan and other provinces,” testifies Count M.D. Buturlin (memoirs date back to the 1820s).

A detailed description of a wooden provincial house in Penza is given by the famous memoirist F. F. Vigel in 1802. “Here (i.e. in Penza. - V.U.) the landowners lived just like in the summer in the village... Having described the location of one of these houses, city or village, can I give an idea of ​​the others, so their uniformity was great.”

At the beginning of the 19th century, echoes of the 18th century were still felt in the decoration of walls and ceilings, when walls and ceilings were most often painted or covered with damask. Moreover, paintings were in use both in capital houses and in estates, with the difference that in St. Petersburg preference was given to paintings with figures of ancient deities, while in estates colorful painting with bouquets, exotic birds, etc. was more common, which was cultivated more in Moscow. From S. T. Aksakov (at the end of the 18th century): “Looking into the hall, I was amazed by its splendor: the walls were painted with the best colors, they depicted forests, flowers and fruits unfamiliar to me, birds, animals and people unknown to me. .."

From M.D. Buturlin (in 1817): “Back then, tawdry (for the most part) images on the walls of a dense forest were still in use in almost real sizes and different landscape views. From the landowners mediocre The dining room was usually painted with these scenes...”

Along with damask and paintings, paintings became widespread in Russia at that time. paper wallpaper.

Wallpaper production became an independent industry already in the 18th century. Paper wallpaper was borrowed by Europeans from China, where their production had been practiced for a long time. The first wallpaper factories in Europe appeared in England, then in France, Germany, and Russia. In England in huge quantities produced cheap and medium grade wallpaper; in France, for the most part, only luxurious wallpaper was made; in Russia the number of wallpaper factories was smaller.
...

By the end of the 18th century, wallpaper began to be used everywhere.

F. Wigel describes the house of the Kyiv provincial leader of the nobility D. Obolensky in 1797: “Twice a week the whole city feasted with him... They once took me with them to one of those evenings. This is what I found: two reception rooms, a long and low hall and a slightly smaller living room, both covered with the most ordinary paper wallpaper...”

The fact that to Wigel wallpapering seems to be an ordinary phenomenon and the very fact of the existence of registered wallpaper manufactories convincingly proves the widespread use of paper wallpaper already at the end of the 18th century. Manor houses, both city and country, began to be decorated with “papers”. Wallpaper was replaced by silk fabrics. From the very beginning of its existence, wallpaper did not claim to be an independent finishing material. They sought to imitate well-known, more expensive materials: leather, wood, marble, damask. Most often, the wallpaper pattern was made “to match the fabric” and often

the wallpaper was as close as possible to the simulated material. They did not disdain paper wallpaper even in palaces (Ostankino, Kuskovo, etc.).

Here is a description of the Mikhailovsky Palace: “The crimson living room adjacent to the oval hall got its name from the crimson color with golden rosettes of wallpaper pasted onto canvas and covering the walls... In symmetry with the crimson living room, on the other side of the oval hall there was a blue or light blue living room. .. the walls were upholstered in canvas and covered with blue paper wallpaper with golden flowers.”

In the 18th century, wallpaper was first pasted onto canvas and then attached to the wall. This method of decorating walls with wallpaper carries with it the tradition of covering walls with damask. Let us remember that in " Dead souls“N. Gogol at Korobochka “the room was hung with old striped wallpaper” (about the 1820s).

At the beginning of the 19th century - in the 10s and 20s - industrially produced wallpaper was used less frequently - mainly in residential premises (not front rooms). In 1829, the Journal of Manufactures and Trade reported: “Since the time when it was found most convenient to plaster, paint and paint the walls inside houses, even wooden ones, paper wallpaper little by little began to go out of use, and only V summer houses, gazebos and people insufficiently preserved... Such a change in taste and custom led wallpaper factories to a cramped situation...” Monochrome painting is becoming one of the most popular methods of wall decoration.

In connection with the new fashion, a fundamentally new type of wallpaper appears - both in technology and in decorative qualities. Since plaster occupies a dominant place in the finishing, they tend to make the “papers” look similar to a painted plaster surface: the walls were covered with paper and painted

glue paint; they lost their ornamentation, becoming more and more monochromatic, especially in the front rooms. “The colors become richer and denser. Blue colors are rarely used in living rooms, more often deep, rich dark blue. The greenery of the offices and bedrooms is saturated to the natural color of meadows and lush spring linden crowns.”

Glue painting on paper could also be decorated using a stencil. So, in the 10s and 20s of the last century, the most common method of finishing walls in interiors was wooden houses Decorative painting on paper became an ordinary Empire style building. This was convincingly proven by the architect I. Kiselev during design and research work. His collection of wallpaper contains about a thousand samples of the 18th-20th centuries, that is, it practically “covers the entire chronological range of the use of paper as a finishing material... most of its receipts consist of wallpaper from residential buildings

buildings in Moscow scheduled for demolition."

In the 1830s, plain factory-made wallpapers became widespread, and the popularity of factory-made ornamented ones also increased. “Expensive” wallpaper included wallpaper with a very complex pattern, when complex pictures were reproduced on paper and hand-painting was used and it was necessary to apply up to several hundred colors on top of each other on one drawing.

In 1829, the “Journal of Manufactures and Trade” reported: “In the wallpaper business, the first place belongs, without any controversy, to the Tsarskoye Selo wallpaper factory of the department of His Imperial Majesty. Its products have no equal in their richness, taste, cleanliness of finish and the greatest resemblance to expensive materials. Rich and beautiful patterns, vibrant colors, pure and delicate printing, or rather shadow, distinguish them from everyone else so that they can be compared with the best foreign ones.”
M. N. Zagoskin in the story “Evening on Khopra”

(first published in 1834) describes a provincial estate in Serdobsky district, the territory of which is now part of Penza region" The author testifies: “Two stalwart footmen, not luxuriously, but neatly dressed, received us from the carriage. We entered the vast entryway... Having passed the billiard room, the dining room and two living rooms, one of which was covered with Chinese wallpaper, we met the owner of the house at the door of the bosquet-painted sofa.”

Among those located near Moscow, the Zhilkin wallpaper factory was the most popular, although the quality of the wallpaper it produced was lower than that of Tsarskoye Selo. And, of course, in addition to well-organized and equipped manufactories, there was a number of small workshops. One of these workshops is described by I. S. Turgenev in the story “First Love.” “This happened in the summer of 1833. I lived in Moscow with my parents. They rented a dacha near the Kaluga outpost... Our dacha consisted of a wooden manor house and two low outbuildings; in the wing to the left there was a tiny

cheap wallpaper factory."

I. S. Turgenev’s mother Varvara Petrovna lived in Moscow on Metrostroevskaya (now) street in a wooden house since 1839. While examining the house, I. Kiselev found in the office premises under several layers of paper wallpaper glued directly to the frame. Their pattern is strict, geometric.

laquo;Encyclopedia of the Russian urban and rural owner-architect" (it was published in 1837 and 1842) it is said: “Internal walls are also painted with oil and glue... the first method is more profitable, because the walls, painted with oil paint, can be washed, the second one is much cheaper, more colorful and more beautiful. The interior walls are still being upholstered or covered with wallpaper.”

Member of the Union of Architects I. A. Kiselev, a great specialist in interior architecture of the 19th century and a great connoisseur of wallpaper, was in Tarkhany in April 1990. After inspecting the manor house, he wrote: “During the memorial period (about 30 years), the nature of the decoration could have changed radically several times. The first time after construction, the edged walls of the log house were not finished in any way, i.e., the wood of the log house remained open. This period could be quite long. At the next stage, they could glue the wallpaper directly onto the log house. Then they could make individual local changes: repair and replacement of wallpaper, wallpapering in previously unfinished rooms. The presence of plaster in interiors during the memorial period is unlikely. All walls in the house cannot and should not be finished using the same technique. The richest and most elegant wallpaper is in the front area; it can be factory-made wallpaper, polychrome, with a pattern. Moreover, such wallpaper can only be in one front room, living room or hall; in other rooms it can be plain. They can also be plain with borders in living rooms. ...Wallpaper in the interiors of a manor house in the first half of the 19th century was the most common finishing material. Simple wallpaper(not polished, not bulk, with a small number of printed boards) cost much less than all other types of finishing, having fairly high decorative qualities.”

So, what type of finish? interior walls give preference to the manor's house? Currently, the walls are covered with paper and painted monochrome. Finishing work carried out with high quality, at a high professional level: the colors were very well chosen, the rules for pairing the walls with the trim of window and door frames, with baseboards, etc. were followed. This method of finishing walls was one of the most popular in the first half of the 19th century, that is, it fully corresponds in typology to the time of interest to us. And therefore it would be possible not to talk about changing the decoration of the interior walls, if not for

which circumstances. Let's look at them.

As already mentioned, during the memorial period there is no documentary information about the interior of the manor’s house. What happened next?

In 1845, E. A. Arsenyeva died. 14 years pass. I. N. Zakharyin-Yakunin comes to Tarkhany (this is 1859) and describes the manor’s house as follows: “The master’s house... turned out to be empty, that is, no one lived in it at that time, but

the order and cleanliness in the house were exemplary, and it was full of the same furniture as it was eighteen years ago, when Lermontov lived in this house.” The manager led Zakharyin-Yakunin into “the very rooms in which Lermontov always lived while in Tarkhany. There, as in the house, everything was preserved in the same form and order as it was during the time of the brilliant occupant of these rooms. In a locked mahogany cabinet with glass, there were even books that belonged to the poet on a shelf... Dying... the grandmother bequeathed... to leave the poet's rooms on the mezzanine in the same form in which they were during his life and which she protected from changes while I was living on my own. In 1859, when fate gave me the opportunity to visit Tarkhany, the behest of old lady Arsenyeva was still being sacredly fulfilled.”

Another eight years passed, during which Gorchakov remained manager of Tarkhan. All this time no one lived in the manor house. Under Gorchakov, in 1867—in what month is not known exactly—the mezzanine was removed from the house. In the same year, 1867, N.V. Prozin, a well-known doctor and local historian in Penza circles, visited Tarkhany. He wrote: “You... drive up to the porch of a small manor house... there is thick mud everywhere, as if it has covered the entire yard with a velvet carpet. Single storey wooden house was previously with a mezzanine, but the mezzanine was very recently removed and still stands undismantled right there in the manor’s courtyard... Lermontov spent a lot of time here and lived in that very mezzanine, which has now been removed and placed in the courtyard... The location of the rooms in The house remains to this day the same as it was before when the poet lived in it.”

N.V. Prozin visited Tarkhany in the summer, judging by the fact that porridge, wild chicory are blooming, roses and the meadows are lushly green.

In 1891, on the eve of the 50th anniversary of the poet’s death, N.V. Prozin again wrote about his visit to Tarkhan: “Several years ago, when I was in the village of Tarkhanakh, I found Lermontov’s old servant still alive... Even then the old man was already decrepit and, moreover, blind... I found the mezzanine on the house where Lermontov lived intact at that time in Tarkhany. ...Thanks to the kindness and enlightened attention of the manager

P.N. Zhuravleva, I could see the whole house. “Right from the living room, covered with antique dark blue wallpaper with golden stars, we went down from the low balcony into the garden.”

We also have information about other rooms of the manor house. Uncle Lermontov’s daughter-in-law A.I. Sokolova Anna Petrovna Kuznetsova said: “The manor’s house had a mezzanine, as it does now. Its walls were pale yellow, the roof was green, and the columns were white... The mezzanine was demolished due to dilapidation, but then restored in the same form as before. ...Mikhail Yuryevich's room was covered with yellow wallpaper, and there was a fireplace in it; there was furniture in it yellow color, trimmed with yellow silk. ...In the living room there were two stoves made of white tiles, and the floor was made into parquet; the walls were covered with burgundy wallpaper... The walls of the hall were covered with light wallpaper, and there was a chandelier with glass pendants.”

V. A. Kornilov, being the director, wrote in the first guide to the Tarkhan museum-estate: “The restoration of the manor house... was carried out in 1936, and it was based on the testimony of the old residents of the village of Lermontov and the poet’s texts.” .

...
In the era of late classicism (Russian Empire style, in the style of which the manor’s house was built), each room was painted with its own unique color scheme: the hall was, as a rule, light, similar to the facade - yellow, fawn, and blazing tones; hostess's room (office - bedroom) - green; the living room was most often blue or light blue; if there were several living rooms, the next ones could be pink, raspberry, lemon.

In three texts by M. Yu. Lermontov - wallpaper. In the first case, this is “multi-colored wallpaper” in the style of the 18th century in the house of the wealthy provincial landowner Palitsyn; in the second - this is “light blue French wallpaper” in the room of a St. Petersburg dandy officer, in the third - “old wallpaper” in the house of his beloved Sashka, the hero of the poem, a middle-class girl.

What conclusion can be drawn from all of the above?

First: based on the typology, a manor’s house can be painted (oil or glue, monochrome or stenciled); There could have been factory-made paper wallpaper (monochrome and ornamented). Any of these finishes will be period appropriate.

Second: we have evidence in favor of wallpaper. And we don’t have those in favor of other types of finishing. This information, of course, is not a document for the memorial period, but we cannot, we do not have the right to neglect it, because we have so little information about the decoration, architecture, decoration of the manor’s house that any, even the smallest grain, even bringing us a little closer to the era of Lermontov, we must protect, store and use in our work.

Materials:
1. D. Blagovo. Grandma's stories. From the memories of five generations, recorded and collected by her grandson. L., Nauka, 1989
2. T.M. Sokolova, K.A. Orlova. Through the eyes of contemporaries. Russian residential interior of the first third of the 19th century. L., Artist of the RSFSR. 1982
3. S.T. Aksakov. Collection Op. in 4 vols. M., 1955, vol. 1
4. N.V. Gogol. Collection Op. in 4 vols. M., Pravda, 1952. vol. 3
5. Journal of manufactures and trade. St. Petersburg No. 6, 1829
6. A. Kiselev Wallpaper of the 18th-19th centuries. — decorative arts USSR, 1979, No. 4
7. M.N. Zagoskin. Favorites. M., Pravda, 1988
8. I.S. Turgenev. PSS, vol. 9. M.-L., 1965
9. Encyclopedia of Russian urban and rural owner-architect of St. Petersburg, part 1
10. I.N. Zakharyin-Yakunin. Belinsky and Lermontov in Chembar. (From my notes and memories). — Historical Bulletin. 1898, book. 3
11. Museum archive. Materials for the history of Tarkhan; op. 1, units hr. 75
12. P.A. Viskovatov. Mikhail Yurjevich Lermontov. Life and art. M., Sovremennik, 1987
13. V. Kornilov. Museum-estate M.Yu. Lermontov. State Literary Museum, 1948
14. M.Yu. Lermontov Collection. Op. in 4 vols. M., Fiction, 1976, vol. 1,