Library stories. What broke the career of Ivan Tsvetaev? Tsvetaev - the most interesting blogs Museum of Fine Arts

Throughout the history of Russia, one can name many outstanding personalities who have made a huge contribution to the development of culture and science. One of them is Tsvetaev Ivan Vladimirovich. His biography tells that he was a great Russian historian, philosopher, art historian and archaeologist, recognized not only in his homeland, but throughout Europe. It was he who created the Museum of Fine Arts, located at the Imperial University of Moscow.

Childhood and youth

Ivan Vladimirovich Tsvetaev grew up in a very poor and modest family of a village priest. The story of his life begins with the village of Drozdovo, where he was born in the spring of 1847. In addition to him, his parents had six more children, but three of them died in infancy.

When the boy was six years old, his mother died, and together with his father and brothers they moved to the village of Novo-Talitsy, located near the city of Ivanovo. The priest instilled in his children with young years love for God, so Ivan went to receive his primary education in a religious school located in the city of Shuya, where he studied for six years. After that, he moved to the Vladimir Seminary, where he mastered the Hebrew, Latin and Ancient Greek languages ​​to perfection.

Ivan Vladimirovich Tsvetaev, having received a secondary education, decided to choose the profession of a doctor, so he passed the exams at a medical university, but was forced to leave it due to his health. After that, he made every effort and was enrolled in the history department at a university located in St. Petersburg. The young man successfully completed educational institution and left it as a candidate of sciences.

Carier start

Tsvetaev Ivan Vladimirovich, having received his diploma, immediately took up teaching. The first place of his work was the St. Petersburg gymnasium, where he taught children the Greek language. A year later, the young man was invited to the position of associate professor at the Imperial Institute, where he was able to defend his dissertation and receive a master's degree. After that, he decides to go to Germany and then to Italy to improve his knowledge of ancient languages. Upon his return from the trip, he was enrolled as an assistant professor at Kyiv University.

After a certain period of time, the professor was invited to Moscow, since a vacant position appeared as a teacher of Latin writing at the Department of Ancient Languages. In addition to his main work, the outstanding scientist was also engaged in composing various articles on the topic of archeology and the history of the Romans.

How was the exposition created?

In the same university, he also held the position of caretaker of the cabinet in which various items antiquity and fine arts. At that moment there were only fifteen plaster casts and a small collection of books. Periodically, the collection was replenished with private donations and was located in the old rooms of the inactive hospital building. Just from this place, the Russian scientist and historian decided to make a real museum. Then, for this exposition, Ivan Vladimirovich Tsvetaev built a separate building at the expense of common funds.

Today, this well-known cultural institution, located in the capital of Russia, stores many exhibits presented in the form of copies of first-class monuments, and students and other visitors learn from their examples how to properly perceive sculpture. Currently, this collection is also maintained by private entrepreneurs.

First marriage

Ivan Vladimirovich Tsvetaev was in no hurry to marry early. He had a family when he was already thirty-four years old. He met his future wife in Moscow when she was twenty years old. Her name was Varvara, she was very attractive woman. Despite the fact that the girl was the daughter of a famous historian, she chose singing as her profession.

The newly-made spouses settled next to the Patriarch's Ponds in a house that was Varvara's dowry. Their marriage lasted ten happy years, the couple had two beautiful children. In 1883 they were born and in 1890 - Andrey Tsvetaev (son of Ivan Vladimirovich Tsvetaev). A few months after the birth of their last child, the wife died at the age of thirty-two from thrombophlebitis.

Second wife

Left alone with two children in his arms, Ivan decided to marry again and got married a year after the death of his first wife. His new sweetheart became a girl who bore the surname Maine. The woman lost her mother when she was in infancy, so she was raised by one father, who in every way was a remarkable personality. Ivan Vladimirovich Tsvetaev loved his father-in-law and visited him daily to share his thoughts about the museum.

Maria, like his first wife, was an artistic person and knew several languages. But this did not prevent her from being the closest associate and constant adviser of her husband in all his affairs and undertakings. In this marriage, Ivan had two daughters - Marina and Anastasia. Both of them were creative personalities, so they became famous writers.

In 1903, Maria was given a terrible diagnosis - tuberculosis, from which she died three years later, leaving her husband with two minor daughters.

Bright memory

Ivan Vladimirovich Tsvetaev outlived his second wife for seven years. Photos of his house, where he lived with his family, show that there is now a museum dedicated to the life of this creative family.

In addition, the memory of the great scientist and philosopher is immortalized on the facade of the museum building he built in Moscow. Commemorative busts were opened in his hometown in honor of Ivan and his daughter Marina, and astrologers named an asteroid after him in 1983.

I. V. Tsvetaev was undoubtedly a great and brilliant man. He spent a lot of his strength and health on the creation of his brainchild, so his museum has been introducing visitors to the world of fine art for more than a century.

TSVETAEV IVAN VLADIMIROVICH, Russian historian, archaeologist, philologist and art critic, creator and first director of the Museum of Fine Arts at Moscow University (now State Museum fine arts named after A. S. Pushkin).

Born into a family country priest, received a spiritual education at the Shuya Theological School and at the Vladimir Theological Seminary. After that, he entered the Medical and Surgical Academy, but left it for health reasons and entered the Faculty of History and Philology of St. Petersburg University. After which, in 1870, he was left to prepare for a teaching career. From 1871 he taught Greek language in one of the St. Petersburg gymnasiums, and in 1872 he became assistant professor at the University of Warsaw, a year later he defended his master's thesis - "A Critical Review of Tacitus's Germany". He was awarded a gold medal for his essay. In 1874 he went on a business trip to Italy to study the ancient Italian languages ​​and writing. Upon his return in 1876, Tsvetaev became an assistant professor at Kyiv University, but a year later he was invited to Moscow University to teach Latin at the Department of Roman Literature at the Faculty of History and Philology. In 1877 in St. Petersburg he defended his doctoral thesis: "Collection of Osian inscriptions with an outline of phonetics, morphology and a glossary." This study is still the only one in domestic science. Since 1879, Tsvetaev has been an extraordinary professor at the Department of Roman Literature, since 1885 - an ordinary professor at the Department of Classical Philology, since 1888 an ordinary professor at the Department of History and Theory of Arts. He lectured on Roman literature and art history. In addition to university lectures, in addition to working on his epigraphic works, I.V. Tsvetaev published articles on archeology, on the history of Roman life, took part in the work of archaeological congresses. In 1888 he became an honorary member of the University of Bologna. In 1898, Tsvetaev was awarded the title of Honored Ordinary Professor of Moscow University.

Along with teaching, his life's work was to work in the museums of the old capital. From 1881 Tsvetaev worked at the Rumyantsev Museum. From 1882 - head of the Engraving Department, from March 1883 - head of the Department of Fine Arts and Classical Antiquities, in 1901-1910. served as director. He was the initiator of the collection of private donations for the acquisition of collections, with him were construction and restoration work. The fund continued to grow, including through rich donations.

In 1894, at the first congress of Russian artists and art lovers, convened on the occasion of the donation to Moscow of the art gallery of the brothers P.M. and S.M. Tretyakov, Tsvetaev delivered a speech in which he called for the creation of a new museum of fine arts in Moscow. At the initiative of the professor, a competition was announced for the best museum project. The project of R.I. won the competition. Klein. In 1897 he met the millionaire Yu.S. Nechaev-Maltsev, who became the main financial patron of the museum. On August 17, 1898, a solemn laying of the museum took place at the Kolymazhny Yard. The construction was carried out mainly with private funds. The names of donors were assigned to those halls, the creation of which they financed. May 31, 1912 The Museum of Fine Arts was opened. The museum was under the jurisdiction of Moscow University. His collection consisted of casts from the sculptural works of classical eras, fragments of architectural structures. Actually, at first it was a museum of ancient art: the second collection of originals and casts of Greek sculpture in Russia after the Hermitage, which could serve as models for the development of artistic taste. In addition, by the time of the discovery, there was a collection of ancient Egyptian monuments acquired from the famous Egyptologist B.C. Golenishchev, and a small collection of Italian paintings. In the mid 1960s. on the building of the State Museum of Fine Arts. A.S. Pushkin opened a memorial plaque with his name.

Compositions:

Italian inscriptions. Peligin inscriptions (1883)

Italian dialectic inscriptions (1886)

Feast of Christian Archeology in Rome in the Spring of 1892 (1893)

Roman catacombs. From the history of studying them (1896)

Note on the site for the monument in Moscow imp. Alexander III (1897)

From the life of the higher schools of the Roman Empire (1902)

The works and sacrifices of Yuri Stepanovich Nechaev-Maltsev at the Museum of Fine Arts. Emperor Alexander III (1902)

art historian (from the 1880s),

Founder of the current Pushkin Museum im. Pushkin, its director and curator (from the 1890s)

Ivan Vladimirovich Tsvetaev (1847−1913) - art critic, historian, archaeologist, philologist, professor and, finally, the creator and first director of the Museum of Fine Arts named after Emperor Alexander III at the Moscow Imperial University (now - the State Museum of Fine Arts named after A.S. . Pushkin).

One of the four sons of a village priest (his mother died early), Ivan Vladimirovich was also preparing for spiritual service. However, in his youth, he was thoroughly carried away by the study of Latin and ancient Greek, and this somewhat led him away from theology - to magnificent, shining antiquity. Consequently, to the classical department of St. Petersburg University.

Monday, September 30, 2013 09:47 ()

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Museum of Fine Arts. A. S. Pushkin.

Founder famous museum, who celebrates his hundredth birthday these days and is rightfully considered one of the largest in our country and in the world, is the art historian, teacher Ivan Vladimirovich Tsvetaev (1847-1913). The son of a simple village priest who achieved everything in his life thanks to his own natural talents, hard work and perseverance, he always dreamed of creating a museum of fine arts in Moscow, which would become a true treasure trove of ancient, medieval and modern art.

When the professor began to realize his dream, he had neither collections nor money. The museum was built mainly with private funds.

Marina Tsvetaeva wrote about this period of her father’s life in the following way: “He sits with some Moscow merchant’s wife, sips tea and entices: “Thus, mother, there will be joy for everyone, and benefit ...”.

I. V. Tsvetaev - founder and first director of the museum

However, it should be noted that the state also made its contribution. Sovereign Emperor Nicholas II ordered to allocate 200 thousand rubles from the treasury for the construction of the museum. It was decided that the museum would be called the Museum of Fine Arts named after Emperor Alexander III.

Ivan Vladimirovich began collecting money long before the foundation of the museum. Not only representatives of the merchant class, but also the publisher K. T. Soldatenkov, P. M. Tretyakov, the famous wealthy philanthropist P. I. Kharitenko, the princes Yusupovs and many others donated for the construction of the museum. Chief, to put it modern language, the sponsor of the creation of the museum was Yu. S. Nechaev-Maltsov. The names of donors were assigned to the halls they financed.

On August 17, 1898, a solemn laying of the museum took place. It was decided to build the building in the classical, antique style, designed by the architect R. I. Klein. White marble was used for facing the facade, the plinth was lined with Serdobol granite, marble was brought from southern Hungary for facing columns, the main staircase, and balustrades.

Main staircase

The famous "Italian courtyard" of the museum

By the end of 1902, the building was erected, but finishing work continued for another 10 years. Unfortunately, the building burned several times, the exhibits, which Ivan Vladimirovich collected with such difficulty, perished, and they had to be restored, which caused the professor deep spiritual sorrow.

Museum in 1912 - opening day

Finally, the solemn and long-awaited day of the opening of the museum came. This happened on May 31 (according to the old style), 1912. Members of the imperial family honored the ceremony with the highest presence: Emperor Nikolai Alexandrovich, Dowager Empress Maria Feodorovna, Grand Duchesses - Olga, Tatyana, Maria and Anastasia.

It is noteworthy that the opening of the museum was also timed to coincide with the centenary of the victory in Patriotic war over Napoleon's army.

Imperial Family at the opening ceremony

In 1932, the museum was renamed and received the name that it bears to this day.

For more than half a century, Irina Alexandrovna Antonova has been its permanent director.

Now this wonderful museum presents unique collection casts of famous works of architecture from antiquity to the Renaissance. There is also a wonderful collection of authentic Egyptian antiquities, antique vases, beautiful works of Italian painting of the 13th and 14th centuries, and many other masterpieces of world art and culture.

The pearls of the pictorial collection

No matter how you recall the wonderful statement of I. E. Repin, who wrote: “This is honor and glory to Tsvetaev! How assembled, how assembled! And all this is so placed, so presented ... ".

And Marina Tsvetaeva (back in 1936!) proudly wrote about the Pushkin Museum of Fine Arts, that this is a museum, “having to stand while Moscow stands ...”.

A visit to this beautiful museum left a very deep and pleasant impression in my soul!

Tuesday, January 04, 2011 18:15 ()

Born into the family of a poor priest, Ivan Vladimirovich Tsvetaev received his primary education at the Shuya Theological School, consisting of three departments with a study period of 2 years each, which he continued at the Vladimir Seminary, where he also studied ...

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Memory is the spiritual component of the life of a nation. It keeps events, faces, destinies, history in its arsenal... History is created by people. Some of them are born at critical moments and lead thousands of others: they win battles, change the borders of states, build cities, conquer the expanses of the sea and Mountain peaks, and their names remain in history, nature generously endows others with talents, and they write poetry, music, create beautiful canvases, and their names are also firmly included in history, in human memory.

But people are amazing… They don’t decide the fate of others, they don’t lead regiments, they don’t conquer peoples - they help preserve history itself, that beauty that has been created and multiplied by mankind for centuries. These people, as a rule, are hardworking, ready to sacrifice their time, money, and sometimes themselves, their health in order to achieve their goals, and yet they are surprisingly modest ... Ivan Vladimirovich Tsvetaev, a philologist, a recognized specialist in Europe, belongs to such people. ancient Italian languages, archaeologist, founder and first director of the Museum of Fine Arts (now the Pushkin State Museum of Fine Arts), director of the Rumyantsev Museum in 1900-1910, father of the Russian poet Marina Tsvetaeva (she called herself a poet) and writer , memoirists of Anastasia Tsvetaeva!

Marina Ivanovna herself wrote about her father: "... the son of a priest of the Vladimir province, a European philologist (his study" Ossky inscriptions "and a number of others), doctor honoris causa of the University of Bologna, professor of art history, first at Kiev, then at Moscow universities, director of the Rumyantsev Museum , founder, inspirer and sole collector of the first museum of fine arts in Russia…".

The Tsvetaevsky family originates from the center of one of the world's largest plains - the Russian, from the interfluve of the Volga and Klyazma, where the Ivanovo region is located, "From there - from the village of Talitsy, near the city of Shuya, our Tsvetaevsky family. Priestly ..." - so Marina Ivanovna wrote about her origins. Ivan Vladimirovich was born into the family of a poor priest in the village of Drozdovo Ivanovo region in 1847. In addition to him, Vladimir Vasilyevich and Ekaterina Vasilievna Tsvetaev had six children, however, three of them died in infancy. The sons remained - Peter, Ivan, Fedor and Dmitry. This is about them much later Marina Tsvetaeva will write:

The first grandmother has four sons,
Four sons - one torch,

Sheepskin casing, hemp bag, -
Four sons - yes two hands!

No matter how you pile a cup on them - clean!
Tea, no barchat! - Seminarians!

The children lost their mother early. She died young. When Ivan was six years old, the Tsvetaevs moved to Talitsy, now it is the village of Novo-Talitsy near the city of Ivanovo. Ivan Vladimirovich's father, priest Vladimir Vasilyevich Tsvetaev (1818-1884) was appointed to serve in the Nicholas Church of the Talitsky churchyard in 1853. Three generations of the Tsvetaev family from 1853 to 1928 they lived in a house standing on a high bank above the river Verguza, which, flooding low-lying surrounding meadows in the spring, gave the name to these places - Talitsy ... The house has been preserved, now it houses the museum of the Tsvetaev family, opened in May 1995.

I. V. Tsvetaev received his primary education at the Shuya Theological School, and continued it at the Vladimir Seminary. Theological sciences occupied the predominant role in the curriculum of the seminary, but general education sciences, included in the course of classical gymnasiums, were also taught to a significant extent, thanks to which Ivan Vladimirovich got the opportunity to study ancient languages: Hebrew, Ancient Greek and Latin.

Having received a secondary education, I. V. Tsvetaev entered the Medical and Surgical Academy, however, due to poor eyesight and a penchant for studying the humanities (while still at the Shuya Theological School, he became interested in studying Latin and Latin literature) he moved to St. Petersburg University to the classical department of historical and Faculty of Philology, where he graduated in 1870 with a gold medal and a candidate's degree and was left at the university to prepare for a professorship.

From 1871 he began to teach Greek in one of the St. Petersburg gymnasiums, and in 1872 he was invited "to act as assistant professor at the Imperial Warsaw University in the Department of Roman Literature." In 1874, I. V. Tsvetaev went on his first business trip abroad to Germany and Italy to study ancient Italian languages ​​and writing. In 1876, he was enrolled as an assistant professor at St. Vladimir's University in Kyiv. It should be clarified: Marina Ivanovna Tsvetaeva, in response to the questionnaire, the excerpt of which was given above, claimed that Ivan Vladimirovich was a "professor of art history ... at Kiev" University, but this is erroneous.

In 1877, I. V. Tsvetaev defended his dissertation for the degree of Doctor of Roman Literature on the topic "Collection of Oscan inscriptions with an outline of phonetics, morphology and a glossary" (the Oscan people inhabited Campania: the area around the modern city of Capua was called Agro Capuano in Roman times, later Agro Campano and, finally, Campania. Now it is one of the regions of Italy, which includes five provinces. The capital of the region is the city of Naples. Osci, more than other peoples of the Apennine Peninsula, were influenced by Greek culture). Ivan Vladimirovich translated his work into Latin and published the translation in 1879, making his work available to all researchers. This essay drew the attention of the European scientific world to Tsvetaev.

One of the most prominent representatives of the Italian science of antiquity in the second half of the 19th century, with whom I. V. Tsvetaev collaborated in his research work in the field of Latin epigraphy and Italian dialectology, was Professor of the University of Turin Ariodante Fabretti. One of Fabretti's letters to Tsvetaev, kept in the Department of Manuscripts of the Pushkin Museum im. A. S. Pushkin, the Italian scientist sends Tsvetaeva as a grateful response to the two volumes sent to him of the "Collection of Osian Inscriptions ..." translated into Latin. "These studies, in which you have gone so deep, are the fruits of linguistic research, received by you with the ardent support of<итальянских коллег>, could not but please me with the fact that among your compatriots, therefore, an understanding of the importance of acquaintance with the ancient dialects of Italy is growing. It would not be enough to answer you with a thousand thanks: I will add to them that I consider your two volumes to be a precious decoration of my library.

Ivan Vladimirovich called Italy a blessed country, "to see which for a person studying the ancient world is always the crown of desires" - this is exactly what he wrote in his book "Journey through Italy in 1875 and 1880". He worked directly at the excavation site in Pompeii, copying wall inscriptions there, and collaborated with Italian archaeologists.

In 1888, Ivan Vladimirovich went on another business trip abroad, which began in Italy with the celebration of the 800th anniversary of the University of Bologna. He was awarded an honorary doctorate from this university. And many years later, in 1949, a medal was sent from Italy to Moscow to the Academy of Sciences, which was posthumously awarded to Tsvetaev in the year of the 200th anniversary of the excavations in Pompeii.

After defending his doctoral dissertation, Ivan Vladimirovich received the chair of Roman literature at Moscow University. Only in 1888, I. V. Tsvetaev moved to the Department of Theory and History of Art of the Faculty of History and Philology and in 1889 he headed it. In addition to Moscow University, Ivan Vladimirovich lectured on ancient art at the Moscow Conservatory and at the Higher Women's Courses. There was another form of manifestation pedagogical activity Ivan Vladimirovich, characterizing him as a person immensely devoted to the cause of education, ready to sacrifice personal for the sake of achieving a good goal. In one of the letters to Vera Bunina, Marina Ivanovna Tsvetaeva wrote: "... my father sent students abroad at his own expense, and paid for so many, and, dying, left 20,000 rubles from his hard-earned money for a school in his native village of Talitsy, Shuya district ..." .

In addition to scientific and pedagogical activity, I. V. Tsvetaev also showed himself in the museum field: in 1882 - 1910 he worked in the Moscow Public and Rumyantsev museums. Being the curator of the Department of Fine Arts and Antiquities, Ivan Vladimirovich was engaged in cataloging the engraving collection of the museum. And in the years when he became director (from 1900 to 1910), the museum collections were significantly replenished, which entailed a huge amount of work to update the exposition. The funds of the museum's library became in the future the basis of the State Public Library of the USSR. V. I. Lenin (now the Russian State Library).

Speaking of Ivan Vladimirovich, immersed in scientific, pedagogical, museum activities, one cannot help but talk about his personal life, in which great changes took place in 1880: he married Varvara Dmitrievna Ilovaiskaya, the daughter of the famous historian Ilovaisky, whose textbooks taught several generations of high school students. As a dowry, her father gave her a house in Trekhprudny Lane in the center of Moscow. Varvara Dmitrievnav was a very beautiful, artistic woman, she had a beautiful voice: she studied singing in Russia and Italy. Ivan Vladimirovich loved his wife immensely. The couple lived happily for ten years. Varvara Dmitrievna gave her husband two children: daughter Valery and son Andrei. In 1890, on the ninth day after the birth of her son, at the age of 32, she died. Daughter at that time was 8 years old ... A posthumous portrait of Varvara Ilovaiskaya, created by the artist from photographs and instructions from I.V. Tsvetaev, hung in the hall in the house in Tryokhprudny. She forever remained his first, endless love ...

Ivan Vladimirovich could not come to terms with the early death of Varvara Dmitrievna. With this unhealed wound, in an effort to replace the mother of the children, Tsvetaev married a second time in 1891. His chosen one was Maria Aleksandrovna Mein, the daughter of a rich and famous person in Moscow. She even outwardly resembled the first wife of Ivan Vladimirovich. Maria Main was 21 years younger than Ivan Vladimirovich; she lost her mother at a young age. Like the first wife of Ivan Vladimirovich, Maria Alexandrovna was a gifted person: she played music, was fond of drawing, knew several languages, wrote poetry herself in Russian and German showed a talent for painting. Books and music were her eternal companions.

At the age of 17, Maria fell in love. The love was mutual. But Alexander Danilovich Main considered his daughter's chosen one unworthy of her and demanded the end of all friendship. She had only one way out - marriage. Undoubtedly, both Maria Alexandrovna and Ivan Vladimirovich - extraordinary, gifted, interesting personalities - could not help but attract each other's attention; there was a feeling of deep respect, passion for a common cause (from the very first year of their marriage, Maria Alexandrovna shared with Ivan Vladimirovich Tsvetaev the dream of a museum and helped her husband with great enthusiasm), but there was never love ... Many years later, Marina Tsvetaeva will write in a letter to V. V. Rozanov: "Mom and dad were completely different people. Each has its own wound in the heart. Mom has music, poetry, melancholy, dad has science. Lives went side by side, not merging." Marina was born in October 1892, and two years later - Asya.

The wider the scope of Tsvetaev’s scientific and professional interests became over the years, the more the educational principle manifested itself in him, which led to the creation of the museum: having taken up teaching, Ivan Vladimirovich was faced with the fact that there was not enough illustrative material to work with students. There was a Cabinet of Fine Arts and Antiquities, but it was located in a room not suitable for demonstration and its collection was replenished irregularly. The idea of ​​creating a museum of fine arts, which performs an educational function, arose.

With great difficulty, Ivan Vladimirovich received a land plot in the center of Moscow - the area of ​​​​the former Kolymazhny yard, where the old transit prison was located. Grand Duke Sergei Alexandrovich became the chairman of the committee for organizing the museum. The university was unable to finance such a grandiose construction. Ivan Vladimirovich addressed the public. The committee for the creation of the museum included, in addition to representatives of the aristocracy and merchants, the artists V. D. Polenov, V. M. Vasnetsov, A. V. Zhukovsky, the architect R. I. Klein, he also created the project for the building of the future museum.

As for the first donations to the museum, I would like to recall the lines from Marina Tsvetaeva's essay "Museum of Alexander III": “The bells were ringing for the deceased Emperor Alexander III, and at the same time one Moscow old woman was departing. And, listening to the bells, she said: “I want the fortune left after me to go to a charitable institution in memory of the deceased sovereign.” The fortune was small: only twenty thousand. With these twenty thousand old women, the museum began ... ".

The main donor of the museum was a major manufacturer Yu. S. Nechaev-Maltsov (in the autobiographical works of Marina and Anastasia Tsvetaeva - Nechaev-Maltsev). Yuri Stepanovich graduated from the law faculty of Moscow University. He served in the main archive of the Ministry of Foreign Affairs, traveled with diplomatic missions to European cities.

In 1880, Yu. S. Nechaev received an inheritance from his uncle maternal line Ivan Sergeevich Maltsov, including several factories and plants in various provinces of Russia, the largest of which was the Gusev Crystal Factory in the Vladimir province. Entering into inheritance rights, Yu. S. Nechaev also took on the surname of his uncle and became Nechaev-Maltsov. Marina Ivanovna, in the autobiographical sketch already mentioned by us, wrote: “Nechaev-Maltsev gave three million to the museum, the late sovereign three hundred thousand. .

The laying of the building took place in front of the emperor and his family in August 1898. And again, the words from Tsvetaeva's essay "Alexander III Museum": "One of my first impressions of the museum was a bookmark ... God forbid that on the day of the bookmark there was good weather. The sovereign and both empresses will be at the bookmark ... it was a shining day, mother and Lera (the elder half-sister of M. I. Tsvetaeva) went smart, and the sovereign put a coin. The museum was laid down."

In 1902, Ivan Vladimirovich, together with Maria Alexandrovna, went to the Urals to personally inspect and select marble for the construction of the museum. In addition, marble samples were requested from Tyrol and Norway.

The museum building itself was mostly completed in 1904. Casts and other copies were ordered by Ivan Vladimirovich abroad according to the forms taken directly from the originals, often - they were made for the first time. The main part of the museum's exposition was occupied by ancient art, mainly sculpture. The art of the Middle Ages, the Italian and Northern Renaissance constituted independent sections of the exposition.

The construction was carried out mainly with private funds. The names of donors were assigned to those halls, the creation of which they financed. Ivan Vladimirovich Tsvetaev himself often traveled abroad, visited many European museums, negotiated the purchase or production of copies of sculptures, got acquainted with the methods of preserving monuments. It should be noted that many of the exhibits were donated to the museum. Ivan Vladimirovich's wife, Maria Alexandrovna, became a faithful friend and assistant in the difficult task of creating a museum, collecting his collection. Marina Tsvetaeva wrote: “The closest collaborator of my father was my mother, Maria Alexandrovna Tsvetaeva, born Maine. She conducted all his extensive foreign correspondence ... The main secret of her success was, of course, not verbal turns ... but that heartfelt heat, without which verbal the gift is nothing. And, speaking of her help to her father, I first of all speak of the unflagging of her spiritual participation, the miracle of female participation, entering into everything and leaving everything as a winner. when needed, and for him."

And one more important fact: not only Maria Alexandrovna took an active part in the creation of the museum, but also her father, Alexander Danilovich. And again let us turn to Tsvetaeva's essay "Museum of Alexander III": "Speaking of my mother, I cannot but mention her father, my grandfather, Alexander Danilovich Maine, even before the old woman's thousands, before the Klein plan, before any visibility and tangibility, into his father's dream - who believed him in her, already quite sick, tirelessly supported and left part of his fortune to the museum.So I can calmly say that the museum was really founded in the house of my grandfather, A. D. Mein, in Neopalimovsky lane, in Moscow - the river ... ".

Since childhood, Marina and Asya not only constantly heard about the museum, they grew up with it, it was not for nothing that Marina Ivanovna called her father's museum "a colossal younger brother." Recreating the atmosphere of the house in Tryokhprudny, the atmosphere of childhood, in the poem "The Enchanter", written in 1914 in Feodosia, Marina Tsvetaeva writes:

Swimming into the realm of white statues
And old books.
….
Like a crowded honeycomb
Row of bookshelves. Touched highlight
Parchment bindings
Old books.
________________

The color of Greece and the glory of Rome, -
Countless volumes!
Here - no matter how much sun we bring in, -
Always winter.

The last sun is rosy,
Plato lies open...
Bust of Apollo - plan of the Museum -
And everything is like a dream.

In the process of creating the museum, many difficulties arose, often completely unforeseen and even tragic: in 1904, a fire broke out in the museum, which destroyed more than one and a half hundred boxes with plaster and bronze copies of exhibits from European museums. Ivan Vladimirovich at that time was in Germany with his family (Maria Alexandrovna fell ill with tuberculosis in 1902 and left with Marina and Asya for long-term treatment in Italy, Switzerland, Germany) "... my father was with us in Freiburg. Telegram. Father silently passes to mother I remember her suffocated, choked voice, without words, it seems: “A-ah!” And her father's - she was already very ill then - pacifying, humble, endlessly broken: "Nothing. God will give. Somehow" ...) And his silent tears, from which Asya and I, who had never seen him cry, in turned away in some kind of horror." - this is how Marina Tsvetaeva described this episode in the essay "Museum of Alexander III".

But even this event could not make Professor Tsvetaev give up. He persistently walked towards the fulfillment of his dream. On this path, new troubles and trials awaited him ...

In 1906, a terrible blow of fate: in July, Maria Alexandrovna died. Marina was not yet 14 years old, Asya - 12 ... Ivan Vladimirovich lost not only his wife, a loving mother of his children, but also true friend who shared with him the work of his life - the creation of a museum.

But that was not all ... Life continued to test Ivan Vladimirovich for strength. In 1910 the minister public education A. N. Schwartz brought the accusation to court against Tsvetaev. The case, allegedly, consisted of "official negligence." The accusation was related to the loss in the Engraving Department of the Rumyantsev Museum. The person who committed the theft was quickly found, almost all the stolen engravings were found from him. The removal of Ivan Vladimirovich from office was not supported by the Senate. But Schwartz did not let up, revisions in the museum did not stop. In the same 1910, Ivan Vladimirovich was dismissed from the post of director of the Moscow Public and Rumyantsev Museums. Tsvetaev wrote and submitted to the Senate the book "Moscow Public and Rumyantsev Museums. The experience of self-defense of I. Tsvetaev, former director of these Museums." This was done to prove his innocence. The case of Professor Tsvetaev was finally dismissed.

In 1913, Ivan Vladimrovich Tsvetaev will be elected an honorary member of the Rumyantsev Museum ... but that will be later, but for now, the story of the theft of engravings and the subsequent filth artificially spread around the name of Tsvetaev dealt a severe blow to the health of the elderly professor ...

The opening of the Museum of Fine Arts named after Alexander III took place in Moscow on May 31, 1912. Everything was solemn: the presence royal family and high dignitaries, a multitude of people, a prayer service. And in the memory of Anastasia Ivanovna Tsvetaeva, first of all, the image of her father, who endured so much on the hardest path to creating a museum, was imprinted: Higher Women's Courses, where he lectured on the history of fine arts; after several exacerbations of a serious heart disease, miraculously withstood the persecution of the Minister of Education A.N. work, bright faith in the great purpose of the museum - in the education of future generations of Russia.

On the morning of the same significant day for Tsvetaev, a family friend, Lidia Alexandrovna Tamburer, crowned Ivan Vladimirovich’s head with a laurel wreath that she wove herself: “I should have been the first to thank you for the feat of your life, for the feat of your work. On behalf of Russia and on my own, I brought you - this. Before the stunned father - a laurel wreath ... And, taking advantage of the fact that my father, with a movement of embarrassed gratitude, stretches out both hands to her, she, with a treacherous, truly Italian gesture, lays, no, puts a wreath on his head.

After the opening of the museum, Ivan Vladimirovich continued to work in it as a director. His interest in science continued unabated. He was going to go to Italy in the winter of 1913 to write a book on the architecture of ancient Roman temples. On this trip, I wanted to take my daughter Anastasia with me, who, like Marina, got married in 1912, and in the same year gave him her grandson Andryusha (and Marina had a daughter, Arianda). Ivan Vladimirovich was the godfather of his grandson. He shared his plans for Italy with Asya already during his illness, at the end of August 1913. But this dream was not destined to come true ... On August 30, Ivan Vladimirovich Tsvetaev passed away ...

And the touching, bright story with the laurel wreath, presented to Ivan Vladimirovich on the opening day of the museum, received a tragic continuation, or rather the ending: "My father died on August 30, 1913, a year and three months after the opening of the museum. We put the laurel wreath in his coffin." These are the last lines of Marina Ivanovna Tsvetaeva's autobiographical essay Father and His Museum.

On the facade of the Museum of Fine Arts named after A. S. Pushkin in Moscow there are memorial plaques in honor of its founder and first director Ivan Vladimirovich Tsvetaev, as well as a patron of arts, who provided tremendous assistance in the creation of the museum, Yu. S. Nechaev-Maltsov. Yuri Stepanovich died shortly after Tsvetaev. In the "Memoirs" of Anastasia Ivanovna Tsvetaeva there are lines: "... on the fortieth day after the death of the pope, or a little later, his colleague in the Museum of Fine Arts named after Alexander III, Yuri Stepanovich Maltsev, died, at whose expense the Museum building was erected."

Professor Tsvetaev's life's work is his museum. Ivan Vladimirovich revealed the essence of his activity in one of his letters: "... the idea of ​​this museum is to give the university and our youth a new, ideally elegant institution. This is the whole reward, all ambition, the highest pleasure - everything else is completely excluded from the soul, like decay, nonsense, like vanity. In fact, all this completely voluntary great work is not undertaken for the rank of Privy Councilor or some star. Privy Councilors are people who have sat quietly for several chairs in the office. Professors (scientists) have other goals - altruistic good , higher education.

What is our "I" worth, our self-esteem in the sight of this good, which will bring business for a number of years that are immeasurable from here? What are our expended forces, peace, our self-love standing in front of this? .. Christ with all this, if only the conceived expensive business would move forward.

The expensive work of Ivan Vladimirovich Tsvetaev was brought to an end. Health, strength, life were placed on his altar... How great was the desire of a man to show his people the greatest examples of art, to enlighten them! And today, through the veil of "an immeasurable number of years", we, grateful descendants, thinking about this amazing person, admiring his brainchild - a museum, bow before the greatness of the soul and the significance of the life work of Ivan Vladimirovich. For a hundred years, the museum, conceived, endured, created by Professor Tsvetaev with the hardest work, introduces people to the world of beauty, helps to lift the veil of years, understand the origins of beauty and keep it in the soul forever!

Notable students: Known as:

creator and first director of the Pushkin Museum of Fine Arts

Awards and prizes:

Ivan Vladimirovich Tsvetaev(May 4, Drozdovo, Shuisky district, Vladimir province - August 30 [September 12], Moscow) - Russian historian, archaeologist, philologist and art critic, corresponding member of the St. Petersburg Academy of Sciences (since 1904 in the category of classical philology and archeology ), Professor at Moscow University (since 1877), Privy Councilor, creator and first director of the Museum of Fine Arts named after Emperor Alexander III at the Moscow Imperial University (now the Pushkin State Museum of Fine Arts).

Biography

Ivan Tsvetaev was born into the family of a village priest Vladimir Vasilievich Tsvetaev (1818-1884) and his wife Ekaterina Vasilievna (1824-1859). The mother died early, the father raised four sons alone, sending them later along the spiritual line. Ivan studied for six years at the Shuya Theological School, then another six at the Vladimir Theological Seminary. After that, he entered the Medical and Surgical Academy, but left it for health reasons and moved to St. Petersburg University to the classical department of the Faculty of History and Philology. He graduated from the university in 1870 with a Ph.D. From 1871 he taught Greek at the 3rd St. Petersburg Gymnasium, and in 1872 he became an assistant professor at the Imperial University of Warsaw, in the same place, in Warsaw, he defended his master's thesis - “Cornelii Taciti Germania. I. The experience of critical review of the text” (Warsaw, 1873). In 1874 he went on a business trip to Italy to study ancient Italian languages ​​and writing.

Memory

• A memorial plaque in his honor was installed on the facade of the Pushkin Museum of Fine Arts in Moscow.
• In Tarusa ( Kaluga region), in the house where the Tsvetaev family once lived, a museum has been created. In the city park of Tarusa, a monument was erected to the daughter of an art historian, Marina Tsvetaeva. In 2010, a memorial bust to Ivan Vladimirovich himself was also opened in the city.
• In honor of I.V. Tsvetaev named the asteroid (8332) Ivantsvetaev, discovered by L. G. Karachkina and L.V. Zhuravleva at the Crimean Astrophysical Observatory on October 14, 1982

Compositions

The main works of Ivan Tsvetaev are devoted to ancient philology, the study of Italian languages, as well as art, cultural and social life of ancient peoples.

• Collection of Osian inscriptions with an outline of phonetics, morphology and a glossary, K., 1877;
• Educational atlas of ancient sculpture, c. 1-3, M., 1890-1894;
• From the life of the higher schools of the Roman Empire. M., 1902;
• Inscriptiones Italiae mediae dialecticae…, v. , Lipsiae, 1884-85;
• Inscriptiones Italiae inferioris dialecticae, Mosquae, 1886;
• "Committee for the Arrangement of the Museum of Ancient Art in Moscow" (M., 1893), "The Art Museum of Moscow University" ("Moskovskie Vedomosti" and "Russian Vedomosti", 1894);
• "Draft regulation on the committee for the device at the Moscow University of the Museum of Fine Arts" (Moscow, 1896);
• "Note on the Museum of Fine Arts" (M., 1898);
• "Expedition of N. S. Nechaev-Maltsev to the Urals" (M., 1900).

A family

• Marina Tsvetaeva (-) - Russian Poet, prose writer, translator, one of the most original poets of the Silver Age.
• Anastasia Tsvetaeva (-) - Russian writer.

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Notes

Sources

• Demskaya A. A., Smirnova L. M. I. V. Tsvetaev creates a museum. - M .: Galart, 1995. - 448 p. - 7,500 copies. - ISBN 5-269-00718-5.
• at Rodovod. Tree of ancestors and descendants
• Korykhalova T. P. Works of I. V. Tsvetaev on Italian epigraphy // Bulletin of ancient history. - 1973. - No 2.
• Tsvetaeva M. I. Memories
• Kagan Yu. M. IV Tsvetaev: Life. Activity. Personality: (Scientist, founder of the Museum of Fine Arts in Moscow) / Ed. ed. dr ist. sciences I. N. Osinovsky; Reviewers: S. S. Averintsev, I. A. Antonova, E. V. Zavadskaya, V. A. Kulakov, A. F. Losev; USSR Academy of Sciences. - M .: Science, 1987. - 192, p. - (From the history of world culture: Scientific biographies). - 50,000 copies.(reg.)
• Koval L. M. Difficult decade: Ivan Vladimirovich Tsvetaev // For good education: From the history of the Russian State Library: (On the 150th anniversary of the founding of the Moscow Public and Rumyantsev Museums) / L. M. Koval; Artistic design: V. V. Pokatov; Russian State Library. - M .: Pashkov house, 2012. - S. 241-358. - 500 s. - 300 copies. - ISBN 978-5-7510-0546-7.(reg.)
• (German). - “Arrange a small Albertinum in Moscow”. - Correspondence of Ivan Tsvetaev and Georg Trey (1881-1913). - ed. M.Rota and I.Antonova
• Smirnov A. E. Ivan Tsvetaev. Life story. - St. Petersburg. : Vita Nova, 2013. - 386 p. - (Biographies). - 1000 copies. - ISBN ISBN 978-5-93898-384-7.

• Sosnina E. B. 1913: Last year life of I. V. Tsvetaeva. - Ivanovo: O. Episheva Publishing House, 2013. - 64 p. - 1000 copies. - ISBN ISBN 978-5-904004-43-2.

Links

• // Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - St. Petersburg. , 1890-1907.
• - video

An excerpt characterizing Tsvetaev, Ivan Vladimirovich

“Smolensk is being surrendered,” he wrote, “the Bald Mountains will be occupied by the enemy in a week. Leave now for Moscow. Answer me as soon as you leave, sending a courier to Usvyazh.
Having written and handed over the sheet to Alpatych, he verbally told him how to arrange the departure of the prince, princess and son with the teacher and how and where to answer him immediately. He had not yet had time to complete these orders, when the chief of staff on horseback, accompanied by his retinue, galloped up to him.
- Are you a colonel? shouted the chief of staff, with a German accent, in a voice familiar to Prince Andrei. - Houses are lit in your presence, and you are standing? What does this mean? You will answer, - shouted Berg, who was now assistant chief of staff of the left flank of the infantry troops of the first army, - the place is very pleasant and in sight, as Berg said.
Prince Andrei looked at him and, without answering, continued, turning to Alpatych:
“So tell me that I’m waiting for an answer by the tenth, and if I don’t get the news on the tenth that everyone has left, I myself will have to drop everything and go to the Bald Mountains.
“I, prince, only say so,” said Berg, recognizing Prince Andrei, “that I must obey orders, because I always fulfill them exactly ... Please excuse me,” Berg justified himself in some way.
Something crackled in the fire. The fire subsided for a moment; black puffs of smoke poured from under the roof. Something else crackled terribly in the fire, and something huge collapsed.
– Urruru! - Echoing the collapsed ceiling of the barn, from which there was a smell of cakes from burnt bread, the crowd roared. The flame flared up and illuminated the animatedly joyful and exhausted faces of the people standing around the fire.
A man in a frieze overcoat, raising his hand, shouted:
- Important! go fight! Guys, it's important!
“This is the master himself,” voices said.
“So, so,” said Prince Andrei, turning to Alpatych, “tell everything as I told you.” And, without answering a word to Berg, who fell silent beside him, he touched the horse and rode into the alley.

The troops continued to retreat from Smolensk. The enemy was following them. On August 10, the regiment, commanded by Prince Andrei, passed along the high road, past the avenue leading to the Bald Mountains. The heat and drought lasted for more than three weeks. Curly clouds moved across the sky every day, occasionally obscuring the sun; but towards evening it cleared again, and the sun set in a brownish-red mist. Only heavy dew at night refreshed the earth. The bread remaining on the root burned and spilled out. The swamps have dried up. The cattle roared from hunger, not finding food in the meadows burned by the sun. Only at night and in the forests the dew still held, it was cool. But along the road, along the high road along which the troops marched, even at night, even through the forests, there was no such coolness. The dew was not noticeable on the sandy dust of the road, which was pushed up more than a quarter of an arshin. As soon as it dawned, the movement began. Convoys, artillery silently walked along the hub, and the infantry up to their ankles in soft, stuffy, hot dust that had not cooled down during the night. One part of this sandy dust was kneaded by feet and wheels, the other rose and stood like a cloud over the army, sticking to the eyes, hair, ears, nostrils and, most importantly, the lungs of people and animals moving along this road. The higher the sun rose, the higher the cloud of dust rose, and through this thin, hot dust it was possible to look at the sun, not covered by clouds, with a simple eye. The sun was a big crimson ball. There was no wind, and people were suffocating in this still atmosphere. People walked with handkerchiefs around their noses and mouths. Coming to the village, everything rushed to the wells. They fought for water and drank it to the dirt.
Prince Andrei commanded the regiment, and the structure of the regiment, the well-being of its people, the need to receive and give orders occupied him. The fire of Smolensk and its abandonment were an epoch for Prince Andrei. A new feeling of bitterness against the enemy made him forget his grief. He was completely devoted to the affairs of his regiment, he was caring for his people and officers and affectionate with them. In the regiment they called him our prince, they were proud of him and loved him. But he was kind and meek only with his regimental officers, with Timokhin, etc., with completely new people and in a foreign environment, with people who could not know and understand his past; but as soon as he ran into one of his former staff members, he immediately bristled again; became malicious, mocking and contemptuous. Everything that connected his memory with the past repulsed him, and therefore he tried in the relations of this former world only not to be unjust and to fulfill his duty.
True, everything was presented in a dark, gloomy light to Prince Andrei - especially after they left Smolensk (which, according to his concepts, could and should have been defended) on August 6, and after his father, who was sick, had to flee to Moscow and throw away the Bald Mountains, so beloved, built up and inhabited by him, for plunder; but, despite the fact, thanks to the regiment, Prince Andrei could think about another subject, completely independent of general questions - about his regiment. On August 10, the column, in which his regiment was, caught up with the Bald Mountains. Prince Andrey two days ago received the news that his father, son and sister had left for Moscow. Although Prince Andrei had nothing to do in the Bald Mountains, he, with his characteristic desire to inflame his grief, decided that he should call in the Bald Mountains.
He ordered his horse to be saddled and from the crossing rode on horseback to his father's village, in which he was born and spent his childhood. Passing by a pond, where dozens of women, talking to each other, beat with rollers and rinsed their clothes, Prince Andrei noticed that there was no one on the pond, and a torn-off raft, half flooded with water, floated sideways in the middle of the pond. Prince Andrei drove up to the gatehouse. There was no one at the stone entrance gate, and the door was unlocked. The garden paths were already overgrown, and the calves and horses were walking through the English park. Prince Andrei drove up to the greenhouse; the windows were broken, and the trees in tubs, some felled, some withered. He called Taras the gardener. Nobody responded. Going around the greenhouse to the exhibition, he saw that the carved board fence was all broken and the plum fruits were plucked with branches. An old peasant (Prince Andrei had seen him at the gate in his childhood) was sitting and weaving bast shoes on a green bench.
He was deaf and did not hear the entrance of Prince Andrei. He was sitting on a bench, on which the old prince liked to sit, and beside him was hung a bast on the knots of a broken and withered magnolia.
Prince Andrei drove up to the house. Several lindens in the old garden were cut down, one piebald horse with a foal walked in front of the house between the roses. The house was boarded up with shutters. One window downstairs was open. The yard boy, seeing Prince Andrei, ran into the house.
Alpatych, having sent his family, remained alone in the Bald Mountains; he sat at home and read the Lives. Upon learning of the arrival of Prince Andrei, he, with glasses on his nose, buttoning up, left the house, hurriedly approached the prince and, without saying anything, wept, kissing Prince Andrei on the knee.
Then he turned away with a heart to his weakness and began to report to him on the state of affairs. Everything valuable and expensive was taken to Bogucharovo. Bread, up to a hundred quarters, was also exported; hay and spring, unusual, as Alpatych said, harvest this year green taken and mowed - by the troops. The peasants are ruined, some have also gone to Bogucharovo, a small part remains.
Prince Andrei, without listening to the end, asked when his father and sister left, meaning when they left for Moscow. Alpatych answered, believing that they were asking about leaving for Bogucharovo, that they had left on the seventh, and again spread about the farm's shares, asking for permission.
- Will you order the oats to be released on receipt to the teams? We still have six hundred quarters left,” Alpatych asked.
“What to answer him? - thought Prince Andrei, looking at the old man's bald head shining in the sun and reading in his expression the consciousness that he himself understands the untimeliness of these questions, but asks only in such a way as to drown out his grief.
“Yes, let go,” he said.
“If they deigned to notice the unrest in the garden,” Alpatych said, “then it was impossible to prevent: three regiments passed and spent the night, especially dragoons. I wrote out the rank and rank of commander for filing a petition.
- Well, what are you going to do? Will you stay if the enemy takes? Prince Andrew asked him.
Alpatych, turning his face to Prince Andrei, looked at him; and suddenly raised his hand in a solemn gesture.
“He is my patron, may his will be done!” he said.
A crowd of peasants and servants walked across the meadow, with open heads, approaching Prince Andrei.
- Well, goodbye! - said Prince Andrei, bending over to Alpatych. - Leave yourself, take away what you can, and the people were told to leave for Ryazanskaya or Moscow Region. - Alpatych clung to his leg and sobbed. Prince Andrei carefully pushed him aside and, touching his horse, galloped down the alley.
At the exhibition, just as indifferent as a fly on the face of a dear dead man, the old man sat and tapped on a block of bast shoes, and two girls with plums in their skirts, which they picked from greenhouse trees, fled from there and stumbled upon Prince Andrei. Seeing the young master, the older girl, with fright expressed on her face, grabbed her smaller companion by the hand and hid behind a birch together with her, not having time to pick up the scattered green plums.
Prince Andrei hastily turned away from them in fright, afraid to let them notice that he had seen them. He felt sorry for this pretty, frightened girl. He was afraid to look at her, but at the same time he had an irresistible desire to do so. A new, gratifying and reassuring feeling came over him when, looking at these girls, he realized the existence of other, completely alien to him and just as legitimate human interests as those that occupied him. These girls, obviously, passionately desired one thing - to carry away and finish eating these green plums and not be caught, and Prince Andrei together with them wished the success of their enterprise. He couldn't help but look at them again. Considering themselves to be safe, they jumped out of the ambush and, holding their hemlines in thin voices, ran merrily and quickly across the grass of the meadow with their tanned bare legs.
Prince Andrei refreshed himself a little, having left the dusty area of ​​​​the high road along which the troops were moving. But not far beyond the Bald Mountains, he again drove onto the road and caught up with his regiment at a halt, by the dam of a small pond. It was the second hour after noon. The sun, a red ball in the dust, was unbearably hot and burned his back through his black coat. The dust, still the same, stood motionless over the voice of the humming, halted troops. There was no wind. In the passage along the dam, Prince Andrei smelled of the mud and freshness of the pond. He wanted to get into the water, no matter how dirty it was. He looked back at the pond, from which cries and laughter were coming. A small muddy pond with greenery, apparently, rose a quarter by two, flooding the dam, because it was full of human, soldier, naked white bodies floundering in it, with brick-red hands, faces and necks. All this naked, white human meat, with laughter and a boom, floundered in this dirty puddle, like crucian carp stuffed into a watering can. This floundering echoed with merriment, and therefore it was especially sad.