August 16th, 2017 02:01 pm

Mansion S.M. Tretyakova on Prechistensky Boulevard, 6

The estate, which now adorns the edge of the high "bank" of Gogolevsky Boulevard, was formed here back in the 18th century. The main house of the estate was built in the 2nd half of the 18th century under Prince Peter Aleksandrovich Menshikov and consisted of stone chambers.
To the wall of the White City, he stood as it should be with his back, and with a beautiful facade and an entrance with pylons of the gate, he went out to Bolshoy Znamensky Lane. Services stood on the sides of the pylon, forming a front yard.

Most of the pictures are not mine, by the way.

In 1806, the estate had a new owner - Colonel Andrey Yegorovich Zamyatin.
He expanded the chambers with two symmetrical outbuildings.
The estate was damaged in a fire in 1812. After him, Zamyatnin rebuilt the house, turning it 180 degrees.


The front suite with a beautiful six-column portico under a triangular pediment now looked down on the new Prechistensky Boulevard, which appeared on the site of the demolished wall of the White City.
The estate is visible in this picture of 1867, it is on the far right in the photo.
The house has the letter P in the plan.
Further, the estate was owned by state councilors chamberlain Dmitry Mikhailovich Lvov and honorary citizen merchant Olga Andreevna Mazurina. The surname of the Mazurins until 1917 was firmly associated with this mansion. And it occurs with all subsequent owners.
In 1854, Olga Andreevna, on part of her territory to the left of the house, which bordered on the territory of the Church of the Rzhev Mother of God, built the building of the Almshouse at the church, which she maintained until her death.
In 1871 Mazurina died. The estate, according to her will, passed into the possession of the church and in the same year was also sold to a merchant - Sergei Mikhailovich Tretyakov (January 31, 1834-August 6, 1892).

Sergei Mikhailovich is the younger beloved brother of Pavel Mikhailovich Tretyakov. The brothers continued the work of their father, Mikhail Zakharyevich Tretyakov, first trading, then industrial. They were "flaxen". And flax in Russia has always been considered a native Russian product. Kostroma was the supplier of domestic linen, yarn and thread. Here the Tretyakovs, together with their son-in-law V.D. Konshin established in 1866 a large linen manufactory (flax spinning and linen weaving factory on the Volga) - the Great Kostroma Manufactory.

Sergei Mikhailovich married early, on October 24, 1856, to the daughter of the merchant Sergei Alekseevich Mazurin, Elizaveta Sergeevna (1837-1860). So the Tretyakovs became related not only to the Mazurins, but also to the Botkins. Sofya Sergeevna Mazurina (Lisa's sister) was the wife of Dmitry Petrovich Botkin.
“Beautiful and young, they loved cheerful balls, which during the time of their marriage were constantly held in Tolmachi, where the Tretyakovs lived. Well-known artists, artists, musicians gathered. Sergey Mikhailovich was especially friendly with the latter, among whom he singled out Rubinstein and Bulakhov. , until dawn," writes V.P. Siloti. "During the ball, his young wife changed clothes three times: either a cherry dress with diamonds, then a white satin dress with gold ears on the fijma, then a fawn "tulle-illusion". And all evening, a personal hairdresser styled her hair after each dressing. Everyone was captivated by the young beauty of the bride and groom.
On December 6, 1857, their son Nikolai (1857-1896) was born. But happiness did not last long.
In 1860, Elizaveta Sergeevna died giving birth to her daughter Maria. At the Danilovsky cemetery, two graves dear to the heart of Sergei Mikhailovich appeared in the family tomb.

Left early as a widower, Sergei Mikhailovich headed the Paris branch of the company and spent a lot of time in Paris. Son Nikolai was brought up by his grandmother Alexander Danilovna and his younger sister Nadezhda Mikhailovna Gartung in Obydensky lane.

Unlike his older brother, Sergei Mikhailovich was a secular person, and some might even seem somewhat frivolous, as evidenced by his contemporaries. But this is with not too close acquaintance with him. A connoisseur of music and French painting of the XIX century, he was always in sight.

In 1868 he marries again. Elena Andreevna Matveeva becomes his chosen one. The daughter of a nobleman who came from a merchant environment. Elena Andreevna was very proud of her nobility and emphasized it all the time. The character was absurd and heavy. The families of the brothers were not friends. Vera Nikolaevna could hardly bear the new daughter-in-law.

Here for a brilliant secular life, to which the wife aspired and a new house was bought.
Of course, the son-in-law, the architect Alexander Stepanovich Kaminsky, was invited to radically rebuild the mansion.


The ensemble from the side of the boulevard is a two-story main house on the basements. Its plastered façade has a symmetrical composition with a wall surface evenly dissected by windows in the extended central part, and with two massive tower-like risalits completed by tents along the edges. The house was built in neo-Russian style.
Decor arches, consoles give the building a look similar to the buildings of ancient Russian architecture.

In the side parts, the architect makes extensive use of the characteristic forms of ancient Russian architecture: columns with cuboid capitals, capsules, inserts with a curb resting on consoles, kokoshniks and other elements. The roof in the form of a tent is complicated on each of the four sides by lucarne windows.

The main entrance to the building is shifted to the right and highlighted by a beautifully patterned metal canopy on thin cast-iron columns - a favorite and often used detail by Kaminsky in his projects.

The lower floor, which housed the people's rooms, pantries, kitchen and servants, was decorated very simply.

The original stone vaults during the restructuring of Kaminsky were replaced by reinforced concrete vaults "Monnier". This is one of the first applications of this design in Moscow, and even on such a scale. On the second floor, the entire length of the mansion was decorated with a front suite of halls.
The mansion was immediately designed for a front, noisy crowd of guests, numerous receptions, banquets and so on.

The lobby is decorated very modestly. From it, visitors enter the main staircase decorated in classical style with Greek meanders and palmettes

above the mirror in the classical portico, guests were greeted by a portrait of the hostess by the artist A.A. Kharlamov

The ceremonial halls are especially richly decorated, which still retain a variety of decorations. All of them are finished in different styles. In 1871, it was still a curiosity - the style of historicism. But then it became fashionable and every house had Gothic, Romanesque, Rocaille, Baroque rooms.

from the top of the stairs, the guests got into the ballroom "amorous" hall.
(good photos are kindly presented to me for the post by dear mirandalina )
It is decorated with very magnificent stucco with a large number of cupids, which is why it is now called "amorous".

Sergei Mikhailovich was friends with Nikolai Grigorievich Rubinstein from childhood. Even Elena Andreevna loved him very much. It was in her arms that he died in Paris in 1881.

And in this hall the great pianist and composer played very often.
Tretyakov, his son-in-law Nikolai Aleksandrovich Alekseev (he was married to Sergei and Pavel's own niece) and Rubinstein were directors of the Moscow branch of the Imperial Musical Society, and it can be said that the Moscow Conservatory was created in this hall.
The most outstanding musicians of that time performed here.
The wife and daughters of Pavel Mikhailovich, only for their sake, endured communication with an arrogant and absurd relative :)))

The doors in the hall are veneered Karelian birch and abundant gilding (I don’t think there was so much gilding under Sergei Mikhailovich)

From 1877 to 1881 Sergei Mikhailovich was the Moscow Mayor. It was during his term that the creation and installation of the monument to A.S. Pushkin on Tverskoy Boulevard.
At this time, his wife writes: "The general mood is life only with Pushkin." “Having taken this monument into his possession,” said S.M. Tretyakov, “Moscow will keep it as the most precious national property.”

Numerous celebrations in June 1880, which were associated with this event, took place in this hall. A festive lunch in a nearby dining room

This is one of the first dining rooms made in the Gothic style.
Kaminsky skillfully used the details of old Gothic buildings in decor and decoration.

The main thing in the hall is a huge medieval fireplace.

Closets and doors to the pantry were hidden in the walls. Where did the cast-iron staircase lead for the servants, who served food to the gentlemen from the bottom of it from the kitchen...

In 1873, Kaminsky added a two-storey gallery building to the main building on the right.

Sergei Mikhailovich began to collect paintings a little later than his brother.
Like his older brother, he could walk around exhibitions for hours, unmistakably guess their real value in paintings, and discover new talents. Frequently traveling abroad on business, he created unique collection Western European painting. He collected mainly artists of the French school, at first they were Barbizons, who at that time in Russia almost no one collected. By the way, his teacher in this matter was Dmitry Petrovich Botkin and Ivan Ivanovich Shchukin.
In total, the collection included 84 paintings by Western European painters.
The masterpieces of the collection were "Country Love" by J. Bastien-Lepage


"Bathing Diana" Corot,

Composition of a bouquet by Mihaly Munkacsy
and many others. others that now make up the collection of the Pushkin Museum im. A.S. Pushkin

But it cannot be said that S.M. Tretyakov collected only foreign artists. He had a good gallery of Russian artists. But they most often hung in my brother's gallery.
But in this mansion there have always been

"Birdcatcher" Perov,

"Grandma's Garden" Polenov,

"Moonlight Night" by Kramskoy.
this is a portrait of the mistress of the mansion.

Also there were sculptures.

Marble "Ivan the Terrible" by M. Antokolsky.

In the 1880s, Elena Andreevna's dream came true - mzh received the nobility and the title of State Councilor. In 1889, she nevertheless persuaded her husband to live more in St. Petersburg, closer to high society and the tsar.
There, at a dacha in Peterhof, in August 1892, he died unexpectedly from a rupture of the aorta. He was transported to Moscow and buried at the Danilovsky cemetery.

The death of a younger brother and like-minded person was a big blow for Pavel Mikhailovich Tretyakov. The testament of the former Moscow mayor reads as a declaration of love for his elder brother and his native city: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate his art collection to the city of Moscow and, in view of this, to transfer to the ownership of the Moscow City Duma his part of the house that belongs to us in common , consisting of the Yakimansky part, in the parish of St. Nicholas, in Tolmachi, where his art collection is located, then I also give part of this house, which belongs to me, into the ownership of the Moscow City Duma, but so that the thought accepts the conditions on which my brother will give her his donation. From the works of art that were in my house on Prechistensky Boulevard, I ask my brother Pavel Mikhailovich Tretyakov to take to join his collection what he finds necessary, so that it contains samples of works by foreign artists. (That's where the story came from that S.M. collected only Western paintings. It's just that his Russian collection had been hanging in Tolmachi for a long time.)

By the way, the dream of Elena Andreevna to be presented to the court and personally to the sovereign came true.
Since 1893, she lived in St. Petersburg on the English Embankment.
In 1911, the widow of Sergei Mikhailovich Tretyakov presented Emperor Nicholas II with a collection of pictorial materials and documents on the history of Russian wars, as well as military trophies.
The emperor ordered to create a museum on the basis of this collection, for the placement of which the "Tsar's Military Chamber" was built in Tsarskoye Selo.
The building was erected at the expense of E.A. Tretyakova in the amount of 300,000 rubles in interest-bearing securities of the state 4% rent. She, at her own expense, was engaged in collecting “objects of antiquities and rarities” for the future museum, which were then exhibited in the halls of the Alexander Palace.
In 1914 the Military Chamber turned into a museum great war. Then it was closed and almost destroyed. In 2008, the building of the Military Chamber was transferred to the State Museum Reserve "Tsarskoye Selo" to create a museum of the First World War. In 2014, on the 100th anniversary of the start of the war, the Museum was opened. I was there recently. This is the best museum about the war.
That's it.
Well, this is a lyrical digression ...

In 1893, Elena Andreevna sold the mansion to Pavel Pavlovich Ryabushinsky (1871-1924).

The eldest of the nine sons of Pavel Mikhailovich Ryabushinsky and Alexandra Stepanovna Ovsyannikova Pavel Pavlovich at that time became his father's deputy in all matters.

At the turn of the century, the Ryabushinskys were considered one of the most famous merchant families. They owned textile factories, created a banking house, on the basis of which the Moscow commercial Bank. Before the revolution, the Ryabushinskys begin construction car factory(famous AMO). A very interesting characterization of Ryabushinsky in the book "Merchant's Moscow" is given by Pavel Afanasevich Buryshkin: "I was always struck by one feature, perhaps feature the entire Ryabushinsky family, is an internal family discipline. Not only in banking and trade, but also in public affairs, everyone was assigned their own place according to the established rank, and the elder brother was in the first place.”

In 1893, P. P. Ryabushinsky married Alexandra Ivanovna Butikova, daughter of the cloth manufacturer Ivan Ivanovich Butikov, in 1896 the couple had a son, Pavel. Two Old Believer merchants became related, linking the fate of the children, but the marriage turned out to be unhappy. At the age of 17, Alexandra inherited part of the family fortune after the death of her father, then - another share after the death of her mother, and a few years later - after the deceased childless brother.
She immediately divorced her unloved husband and married a nobleman, a brilliant guards officer Vladimir Derozhinsky. And in 1910 she left him for Ivan Ivanovich Zimin ...

And Pavel Pavlovich in 1901 married Elizaveta Grigoryevna Mazurin (from the Golikov merchant family), who had three children (two daughters and a son, Konstantin) from her first marriage with Konstantin Mitrofanovich Mazurin (again, the Mazurins are already in the third owner!))).
In his second marriage, P.P. Ryabushinsky had two children, Anna and Sergey (he died in childhood).

In 1902, the space of the northern hall of the front suite was complicated by a bay window,

at the same time there was this fireplace and a mirror in the bay window

and the living rooms received a new neoclassical finish.

Pavel Pavlovich at his own expense published the magazine "Word of the Church" and the weekly "Voice of the Old Believers". One of the most famous politicians of the beginning of the 20th century, P.P. Ryabushinsky provided financial support to the “Council of Congresses of Representatives of Industry and Trade”, published the newspaper “Morning of Russia”. In his house on Prechistensky Boulevard, economic readings were held, the most prominent Russian economists gathered, and plans for the economic reorganization of Russia were outlined. But these plans were not destined to come true: first the war prevented, then the revolution.
It was within these walls that the richest Russian industrialists gathered in the period from 1905 to 1917 and discussed plans to prevent various kinds of revolutions in the empire.
He met the revolution in the Crimea. By that time he had developed asthma.
In 1918, all the brothers went into exile.
He died in absolute poverty in 1924 in Paris.

After the Bolsheviks came to power in 1918, the Revolutionary Tribunal was located in this house.
Later, the mansion was under the jurisdiction of the People's Commissariat for Military and Naval Affairs, for a long time it was occupied by the services of the USSR Ministry of Defense.

In 1986-87, the estate was transferred to the Russian (at that time Soviet) Cultural Foundation, headed by Raisa Maksimovna Gorbacheva and Dmitry Sergeevich Likhachev.

In 1993, the Russian Cultural Foundation was headed by Nikita Sergeevich Mikhalkov. In February 1994, a fire broke out in the Foundation building, causing enormous damage to the unique building. Only thanks to the authority and perseverance of Mikhalkov, funds for the reconstruction and restoration of the building were allocated by the Government Russian Federation. The Russian Cultural Foundation was awarded a diploma as the best object of restoration for 1997 in Moscow.

For many years, another restoration has been going on in the mansion, which removed all the restructuring of the Ministry of Defense. For example, the halls of the gallery were divided into floors and now they are recreated.
The inner courtyard between the buildings is blocked and another space has been created, which asks for winter Garden, which will be decorated with such a preserved cast-iron balcony

Chandelier decorates the stairs

Thank you all for reading to the end :)

Sit down comfortably, I'll tell you a fairy tale :))) I spent two days in this mansion cultural heritage. So I dug up his history thoroughly.

The estate, which now adorns the edge of the high "bank" of Gogolevsky Boulevard, was formed here back in the 18th century. The main house of the estate was built in the 2nd half of the 18th century under Prince Peter Aleksandrovich Menshikov and consisted of stone chambers.
To the wall of the White City, he stood as it should be with his back, and with a beautiful facade and an entrance with pylons of the gate, he went out to Bolshoy Znamensky Lane. Services stood on the sides of the pylon, forming a front yard.

Most of the pictures are not mine, by the way. I filmed on my phone. I don’t know how to do these two things at the same time - shoot and lead a tour):

In 1806, the estate had a new owner, Colonel Andrey Yegorovich Zamyatin. He expanded the chambers with two symmetrical outbuildings. The estate was damaged in a fire in 1812. Zamyatnin rebuilt the house, turning it 180 degrees.


The front suite with a beautiful six-column portico under a triangular pediment now looked down on the new Prechistensky Boulevard, which appeared on the site of the demolished wall of the White City.
The estate is visible in this picture of 1867, it is on the far right in the photo.
The house has the letter P in the plan.
Further, the estate was owned by state councilors chamberlain Dmitry Mikhailovich Lvov and honorary citizen merchant Olga Andreevna Mazurina. The surname of the Mazurins until 1917 was firmly associated with this mansion. And it occurs with all subsequent owners.
In 1854, Olga Andreevna, on part of her territory to the left of the house, which bordered on the territory of the Church of the Rzhev Mother of God, built the building of the Almshouse at the church, which she maintained until her death.
In 1871 Mazurina died. According to her will, the estate passed into the possession of the church and in the same year was also sold to the merchant Sergei Mikhailovich Tretyakov (January 31, 1834-August 6, 1892) (by the way, we were born on the same day).

Sergei Mikhailovich is the younger beloved brother of Pavel Mikhailovich Tretyakov. The brothers continued the work of their father, Mikhail Zakharyevich Tretyakov, first trading, then industrial. They were "flaxen". And flax in Russia has always been considered a native Russian product. Kostroma was the supplier of domestic linen, yarn and thread. Here the Tretyakovs, together with their son-in-law V.D. Konshin established in 1866 a large linen manufactory (flax spinning and linen weaving factory on the Volga) - the Great Kostroma Manufactory.

Sergei Mikhailovich married early, on October 24, 1856, to the daughter of the merchant Sergei Alekseevich Mazurin, Elizaveta Sergeevna (1837-1860). So the Tretyakovs became related not only to the Mazurins, but also to the Botkins. Sofya Sergeevna Mazurina (Lisa's sister) was the wife of Dmitry Petrovich Botkin.
“Beautiful and young, they loved cheerful balls, which during the time of their marriage were constantly held in Tolmachi, where the Tretyakovs lived. Well-known artists, artists, musicians gathered. Sergey Mikhailovich was especially friendly with the latter, among whom he singled out Rubinstein and Bulakhov. , until dawn," writes V.P. Siloti. "During the ball, his young wife changed clothes three times: either a cherry dress with diamonds, then a white satin dress with gold ears on the fijma, then a fawn "tulle-illusion". And all evening, a personal hairdresser styled her hair after each dressing. Everyone was captivated by the young beauty of the bride and groom.
On December 6, 1857, their son Nikolai (1857-1896) was born. But happiness did not last long.
In 1860, Elizaveta Sergeevna died giving birth to her daughter Maria. At the Danilovsky cemetery, two graves dear to the heart of Sergei Mikhailovich appeared in the family tomb.

Left early as a widower, Sergei Mikhailovich headed the Paris branch of the company and spent a lot of time in Paris. Son Nikolai was brought up by his grandmother Alexander Danilovna and his younger sister Nadezhda Mikhailovna Gartung in Obydensky lane.

Unlike his older brother, Sergei Mikhailovich was a secular person, and some might even seem somewhat frivolous, as evidenced by his contemporaries. But this is with not too close acquaintance with him. A connoisseur of music and French painting of the XIX century, he was always in sight.

In 1868 he marries again. Elena Andreevna Matveeva becomes his chosen one. The daughter of a nobleman who came from a merchant environment. Elena Andreevna was very proud of her nobility and emphasized it all the time. The character was absurd and heavy. The families of the brothers were not friends. Vera Nikolaevna could hardly bear the new daughter-in-law.

Here for a brilliant secular life, to which the wife aspired and a new house was bought.
Of course, the son-in-law architect Alexander Stepanovich Kaminsky was invited to radically rebuild the mansion.


The ensemble from the side of the boulevard is a two-story main house on the basements. Its plastered façade has a symmetrical composition with a wall surface evenly dissected by windows in the extended central part, and with two massive tower-like risalits completed by tents along the edges. The house was built in neo-Russian style. Decor arches, consoles give the building a look similar to the buildings of ancient Russian architecture.

In the side parts, the architect widely uses the characteristic forms of ancient Russian architecture: columns with cuboid capitals, capsules, inserts with a curb resting on consoles, kokoshniks and other elements. The roof in the form of a tent is complicated on each of the four sides by lucarnes.

The main entrance to the building is shifted to the right and highlighted by a beautifully patterned metal canopy on thin cast-iron columns - a favorite and often used detail by Kaminsky in his projects.

The lower floor, which housed the people's rooms, pantries, kitchen and servants, was decorated very simply.
The original stone vaults during the restructuring of Kaminsky were replaced by reinforced concrete vaults "Monnier". This is one of the first applications of this design in Moscow. Yes, even on this scale. On the second floor, the entire length of the mansion was decorated with a front suite of halls.
The mansion was immediately designed for a front, noisy crowd of guests, numerous receptions, banquets and so on.

The lobby is decorated very modestly. From it, visitors enter the main staircase decorated in a classical style with Greek meanders and palmettes.

above the mirror in the classical portico, guests were greeted by a portrait of the hostess by the artist A.A. Kharlamov

The ceremonial halls are especially richly decorated, which still retain a variety of decorations. All of them are decorated in different styles. In 1871, it was still a curiosity - the style of historicism. But then it became fashionable and every house had Gothic, Romanesque, Rocaille, Baroque rooms.

from the top of the stairs, guests entered the amorous ballroom.
(good photos are kindly presented to me for the post by dear mirandalina )
It is decorated with very magnificent stucco with a large number of cupids, which is why it is now called amorous.

Sergei Mikhailovich was friends with Nikolai Grigorievich Rubinstein from childhood. Even Elena Andreevna loved him very much. It was in her arms that he died in Paris in 1881.

And in this hall the great pianist and composer played very often.
Tretyakov, his son-in-law Nikolai Aleksandrovich Alekseev (he was married to Sergei and Pavel's own niece) and Rubinstein were directors of the Moscow branch of the Imperial Musical Society, and it can be said that the Moscow Conservatory was created in this hall.
The most outstanding musicians of that time performed here.
The wife and daughters of Pavel Mikhailovich, only for their sake, endured communication with an arrogant and absurd relative :)))

The doors in the hall are trimmed with Karelian birch veneer and rich gilding (I don’t think there was so much gilding under Sergei Mikhailovich)

From 1877 to 1881 Sergei Mikhailovich was the Moscow Mayor. It was during his term that the creation and installation of the monument to A.S. Pushkin on Tverskoy Boulevard.
At this time, his wife writes: "The general mood is life only with Pushkin." “Having taken this monument into his possession,” said S.M. Tretyakov, “Moscow will keep it as the most precious national property.”
Numerous celebrations in June 1880, which were associated with this event, were largely held in this hall. A festive lunch in a nearby dining room

This is one of the first dining rooms made in the Gothic style. Kaminsky skillfully used the details of old Gothic buildings in decor and decoration.

The main thing in the hall is a huge medieval fireplace.

Closets and doors to the pantry were hidden in the walls. Where did the cast-iron staircase lead for the servants, who served food to the gentlemen from the bottom of it from the kitchen...

In 1873, Kaminsky added a two-storey gallery building to the main building on the right.

Sergei Mikhailovich began to collect paintings a little later than his brother.
Like his older brother, he could walk around exhibitions for hours, unmistakably guess their real value in paintings, and discover new talents. Frequently traveling abroad on business, he created a unique collection of Western European paintings. He collected mainly artists of the French school, at first they were Barbizons, who at that time in Russia almost no one collected. By the way, his teacher in this matter was Dmitry Petrovich Botkin and Ivan Ivanovich Shchukin.
In total, the collection included 84 paintings by Western European painters.
The masterpieces of the collection were "Country Love" by J. Bastien-Lepage


"Bathing Diana" Corot,

Composition of a bouquet by Mihaly Munkacsy
and many others. others that now make up the collection of the Pushkin Museum im. A.S. Pushkin

But it cannot be said that S.M. Tretyakov collected only foreign artists. He had a good gallery of Russian artists. But they most often hung in my brother's gallery.
But in this mansion there have always been

"Birdcatcher" Perov,

"Grandma's Garden" Polenov,

"Moonlight Night" by Kramskoy.
this is a portrait of the mistress of the mansion.

Also there were sculptures.

Marble "Ivan the Terrible" by M. Antokolsky.

In the 1880s, Elena Andreevna's dream came true - mzh received the nobility and the title of State Councilor. In 1889, she nevertheless persuaded her husband to live more in St. Petersburg, closer to high society and the tsar.
There, in a dacha in Peterhof in August 1892, he died unexpectedly from a rupture of the aorta. He was transported to Moscow and buried at the Danilovsky cemetery.

The death of a younger brother and like-minded person was a big blow for Pavel Mikhailovich Tretyakov. The testament of the former Moscow mayor reads as a declaration of love for his elder brother and his native city: “Since my brother Pavel Mikhailovich Tretyakov expressed to me his intention to donate his art collection to the city of Moscow and, in view of this, to transfer to the ownership of the Moscow City Duma his part of the house that belongs to us in common , consisting of the Yakimansky part, in the parish of St. Nicholas, in Tolmachi, where his art collection is located, then I also give part of this house, which belongs to me, into the ownership of the Moscow City Duma, but so that the thought accepts the conditions on which my brother will give her his donation. From the works of art that were in my house on Prechistensky Boulevard, I ask my brother Pavel Mikhailovich Tretyakov to take to join his collection what he finds necessary, so that it contains samples of works by foreign artists. (That's where the story came from that S.M. collected only Western paintings. It's just that his Russian collection had been hanging in Tolmachi for a long time.)

By the way, her dream of being presented to the court and personally to the sovereign came true. Since 1893, she lived in St. Petersburg on the English Embankment.
In 1911, the widow of Sergei Mikhailovich Tretyakov presented Emperor Nicholas II with a collection of pictorial materials and documents on the history of Russian wars, as well as military trophies.
The emperor ordered to create a museum on the basis of this collection, for the placement of which the "Tsar's Military Chamber" was built in Tsarskoye Selo.
The building was erected at the expense of E.A. Tretyakova in the amount of 300,000 rubles in interest-bearing securities of the state 4% rent. She, at her own expense, was engaged in collecting “objects of antiquities and rarities” for the future museum, which were then exhibited in the halls of the Alexander Palace.
In 1914, the Military Chamber turned into a museum of the Great War. Then it was closed and almost destroyed. In 2008, the building of the Military Chamber was transferred to the State Museum Reserve "Tsarskoye Selo" to create a museum of the First World War.
That's it.
Well, this is a lyrical digression ...

In 1893, Elena Andreevna sold the mansion to Pavel Pavlovich Ryabushinsky (1871-1924).

The eldest of the nine sons of Pavel Mikhailovich Ryabushinsky and Alexandra Stepanovna Ovsyannikova Pavel Pavlovich at that time became his father's deputy in all matters.

At the turn of the century, the Ryabushinskys were considered one of the most famous merchant families. They owned textile factories, created a banking house, on the basis of which the Moscow Commercial Bank appeared. Before the revolution, the Ryabushinskys begin the construction of an automobile plant (the famous AMO). Pavel Afanasyevich Buryshkin gives a very interesting characterization of Ryabushinsky in the book “Merchant's Moscow”: Not only in banking and trade, but also in public affairs, everyone was assigned their own place according to the established rank, and the elder brother was in the first place.”

In 1893, P. P. Ryabushinsky married Alexandra Ivanovna Butikova, daughter of the cloth manufacturer Ivan Ivanovich Butikov, in 1896 the couple had a son, Pavel. Two Old Believer merchants became related, linking the fate of the children, but the marriage turned out to be unhappy. At the age of 17, Alexandra inherited part of the family fortune after the death of her father, then - another share after the death of her mother, and a few years later - after the deceased childless brother.
She immediately divorced her unloved husband and married a nobleman, a brilliant guards officer Vladimir Derozhinsky. And in 1910 she left him for Ivan Ivanovich Zimin ...

And Pavel Pavlovich in 1901 married Elizaveta Grigoryevna Mazurin (from the Golikov merchant family), who had three children (two daughters and a son, Konstantin) from her first marriage with Konstantin Mitrofanovich Mazurin (again, the Mazurins are already in the third owner!))).
In his second marriage, P.P. Ryabushinsky had two children, Anna and Sergey (he died in childhood).

In 1902, the space of the northern hall of the front suite was complicated by a bay window,

at the same time there was this fireplace and a mirror in the bay window

and the living rooms received a new neoclassical finish.

Pavel Pavlovich at his own expense published the magazine "Word of the Church" and the weekly "Voice of the Old Believers". One of the most famous politicians of the beginning of the 20th century, P.P. Ryabushinsky provided financial support to the “Council of Congresses of Representatives of Industry and Trade”, published the newspaper “Morning of Russia”. In his house on Prechistensky Boulevard, economic readings were held, the most prominent Russian economists gathered, and plans for the economic reorganization of Russia were outlined. But these plans were not destined to come true: first the war prevented, then the revolution.
It was within these walls that the richest Russian industrialists gathered in the period from 1905 to 1917 and discussed plans to prevent various kinds of revolutions in the empire.
He met the revolution in the Crimea. By that time he had developed asthma.
In 1918, all the brothers went into exile.
He died in absolute poverty in 1924 in Paris.

After the Bolsheviks came to power in 1917, the Revolutionary Tribunal was located in this house.
Later, the mansion was under the jurisdiction of the People's Commissariat for Military and Naval Affairs, for a long time it was occupied by the services of the USSR Ministry of Defense.

In 1986-87, the estate was transferred to the Russian (at that time Soviet) Cultural Foundation, headed by Raisa Maksimovna Gorbacheva and Dmitry Sergeevich Likhachev.

In 1993, the Russian Cultural Foundation was headed by Nikita Sergeevich Mikhalkov. In February 1994, a fire broke out in the Foundation building, causing enormous damage to the unique building. Only thanks to the authority and perseverance of Mikhalkov, funds for the reconstruction and restoration of the building were allocated by the Government of the Russian Federation. The Russian Cultural Foundation was awarded a diploma as the best object of restoration for 1997 in Moscow.

For many years, another restoration has been going on in the mansion, which removed all the restructuring of the Ministry of Defense. For example, the halls of the gallery were divided into floors and now they are recreated.
The inner courtyard between the buildings is blocked and another space has been created, into which the winter garden asks, which will be decorated with such a preserved cast-iron balcony

Chandelier decorates the stairs

Wow, I'm tired. Thank you all for reading to the end :)

A new restructuring was waiting for the estate after the fire of 1812 - then it received Empire forms. Further, the estate was owned by the state councilor, chamberlain Dmitry Lvov, followed by the merchant Olga Mazurina.

Finally, the city estate of the Zamyatins was bought by S.M. Tretyakov, brother of the founder Tretyakov Gallery. In 1873, his son-in-law architect A. Kaminsky rebuilt the house in a fashionable Russian-Byzantine style to accommodate art objects. After the death of the owner, his collection was added to the collection of the Tretyakov Gallery.

The new owner of the estate was the manufacturer P.P. Ryabushinsky. And if Repin and Tchaikovsky dropped in on the Tretyakovs, then industrialists gathered at Ryabushinsky to discuss plans to prevent the revolution.

In 1917, the house was nationalized, and it housed the Revolutionary Tribunal, then the Military Prosecutor's Office, and after the Great Patriotic War- one of the services of the Ministry of Defense. In 1987, the building of the Zamyatin-Tretyakov estate was transferred to the Cultural Foundation.

Not far from the Kropotkinskaya metro station on Gogolevsky Boulevard, there is a beautiful neo-Russian mansion. For a long time it was closed, and even now access is limited there, the Russian Cultural Fund is located here. This is the main house of the former city estate of A.E. Zamyatin, later S.M. Tretyakov, and even later P.P. Ryabushinsky.

What does the mansion look like inside, what has been preserved and what has been restored —>

History of the mansion

The main house of the estate was built here in the second half of the 18th century under Prince Peter Alexandrovich Menshikov and was a stone chamber. To the wall of the White City, he stood, as it should be, with his back, and with a beautiful facade and an entrance with pylons of the gate, he went out to Bolshoy Znamensky Lane.

In 1806, the estate got a new owner, Colonel Andrey Yegorovich Zamyatin. After the fire of 1812, Zamyatin rebuilt the house, turning it 180 degrees. The front suite with a beautiful six-column portico under a triangular pediment now looked at the new Prechistensky Boulevard, which appeared on the site of the demolished wall of the White City.

Further, the estate was owned by state councilors chamberlain Dmitry Mikhailovich Lvov and honorary citizen merchant Olga Andreevna Mazurina. After the death of Mazurina in 1871, the estate was sold to the merchant Sergei Mikhailovich Tretyakov (1834-1892).

Sergei Mikhailovich is the younger brother of Pavel Mikhailovich Tretyakov. The brothers continued the work of their father, Mikhail Zakharyevich Tretyakov, they were "linen workers". Linen in Russia has always been considered a native Russian product. Kostroma was the supplier of domestic linen, yarn and thread. Here the Tretyakovs, together with their son-in-law Konshin, founded in 1866 a large linen manufactory (spinning and weaving mills) - the Great Kostroma Manufactory.

Sergei Mikhailovich married early, in 1856, the daughter of the merchant Mazurin, Elizaveta Sergeevna (1837-1860). Beautiful and young, they loved merry balls, which during the time of grooming were constantly held in Tolmachi, where the Tretyakovs lived. Well-known artists, artists, musicians gathered. Sergei Mikhailovich was especially friendly with the latter, among whom he singled out Rubinstein and Bulakhov. “They danced until you drop, until dawn,” writes V.P. Siloti. “His young wife changed clothes three times during the ball: either a cherry dress with diamonds, then a white satin dress with gold ears on the tanks, then a fawn “tulle-illusion”. And all evening, a personal hairdresser styled her hair after each dressing. Everyone was captivated by the young beauty of the bride and groom.

On December 6, 1857, their son Nikolai was born. But happiness did not last long. In 1860, Elizaveta Sergeevna died during childbirth. Having remained a widower early, Sergei Mikhailovich headed the Paris branch of the company and spent a lot of time in Paris.

In 1868 he marries again. Elena Andreevna Matveeva becomes his chosen one. The daughter of a nobleman who came from a merchant environment. Elena Andreevna was very proud of her nobility and emphasized it all the time. The character was absurd and heavy. As a result, the families of the brothers were not friends. For a brilliant social life, to which the wife aspired, a new house was bought.

The architect Alexander Stepanovich Kaminsky (husband of Tretyakov's sister) was invited to radically rebuild the mansion. It was then that the main house received the decor of the facades, made in the neo-Russian style. The decor of arches, consoles gives the building a look similar to the buildings of ancient Russian architecture.

The main entrance to the building is shifted to the right and highlighted by a beautifully patterned metal canopy on thin cast-iron columns - a detail Kaminsky loves and often uses in his projects.

Beautiful mansion fence.

The rebuilding of the main house was carried out in 1871-1873. At the same time, to accommodate the art collection of the owner of the estate, Kaminsky erected a two-story outbuilding with large windows. The building stands on the right with a slight indent from the main house and is connected to it by two passages - galleries.

If you enter the house through the front porch, then we find ourselves in the lobby of the first floor.

It must be said that the lower floor, where the people's rooms, pantries, kitchen and servants were located, was decorated very simply. The original stone vaults during the restructuring of Kaminsky were replaced by reinforced concrete vaults "Monnier". It was one of the first applications of this design in Moscow, and even on such a scale.

From the lobby, visitors enter the main staircase, decorated in a classic style.

Chandelier above the stairs.

On the second floor, the entire length of the mansion was decorated with a front suite of halls. The mansion was immediately designed for a front, noisy crowd of guests, numerous receptions, banquets and so on. From the landing on the second floor, the door leads directly to the entrance hall, the door on the right leads to the ballroom, from which the enfilade of halls begins, running along the facade, the door to the left leads to the passage connecting the main building with the gallery.

View of the stairs from the landing of the second floor.

From the top of the stairs, guests entered the ballroom. It is magnificently decorated with stucco with a large number of cupids, which is why it is now called amorous.

Sergei Mikhailovich was friends with Nikolai Grigorievich Rubinstein from childhood. Even Elena Andreevna loved him very much. It was in her arms that he died in Paris in 1881. The great pianist and composer often played in this hall. Other outstanding musicians of that time also performed here.

The ceiling in this hall is unusually good - elegant stucco and in the center of the panel with the chariot of Apollo and cupids.

The doors in the hall are trimmed with Karelian birch veneer and rich gilding. However, this does not mean at all that there was so much gilding under Sergei Mikhailovich.

Another cupid is located in a recess near the cupid hall.

Behind the arches in the hall is an entrance hall with a fireplace. This is not the only fireplace in the house, the architect loved them, not without reason he bore the name Kaminsky. He passed on his love for fireplaces to his student, the later famous architect Shekhtel.

I want to note that this is one of the first mansions where the premises are made in different styles. In 1871, this was still a curiosity. But then it became fashionable and every self-respecting house began to have Gothic, Romanesque, Rocaille, Baroque rooms. Suffice it to name the famous Moscow mansions of Smirnov and Stakheev.

From ballroom the door leads to the dining room. This is one of the first dining rooms made in the Gothic style. Kaminsky skillfully used the details of old Gothic buildings in decor and decoration. The main thing in this hall is a huge medieval fireplace. Closets and doors to the pantry were hidden in the walls.

In the course of the reconstruction, Kaminsky added a gallery building with two large floors to the main building. We pass through the transition to this gallery. Last years the mansion was under restoration, which removed all the changes made by the Ministry of Defense in Soviet time. During this restoration, the space between the main building and the gallery was blocked and an inner courtyard was formed, which we see when we go out onto the preserved cast-iron balcony.

Floor on the balcony.

From below, the base of the balcony looks like this.

Gallery building inside.

The windows have small stained-glass windows.

Decorations on the ceiling of the gallery.

Sergei Mikhailovich began to collect paintings a little later than his brother. Like his older brother, he could spend hours walking around exhibitions, unmistakably guessing their real value in paintings, discovering new talents. Frequently traveling abroad on business, he collected good collection Western European painting. He collected mainly artists of the French school. Several famous paintings from the collection, such as Camille Corot's Bathing Diana, are now in the Pushkin Museum.

But it cannot be said that S.M. Tretyakov collected only foreign artists. He had a good gallery of Russian artists, but they most often hung in his brother's gallery. And in this mansion there have always been "Grandma's Garden" by Polenov and "Moonlight Night" by Kramskoy (portrait of the mistress of the mansion).

In the 1880s, Elena Andreevna's dream came true - her husband received the nobility and the title of State Councilor. In 1889, she nevertheless persuaded her husband to live more in St. Petersburg, closer to high society and the tsar. There, at a dacha in Peterhof in August 1892, he died unexpectedly. He was buried in Moscow at the Danilovsky cemetery.

In 1893, Elena Andreevna sold the mansion to Pavel Pavlovich Ryabushinsky (1871-1924). The eldest of the nine sons of Pavel Mikhailovich Ryabushinsky, at that time he became his father's deputy in all matters. Pavel Pavlovich at his own expense published the magazine "Word of the Church" and the weekly "Voice of the Old Believers". One of the most famous politicians of the beginning of the 20th century, P.P. Ryabushinsky provided financial support to the “Council of Congresses of Representatives of Industry and Trade”, published the newspaper “Morning of Russia”. The most prominent Russian economists gathered in his house on Prechistensky Boulevard, plans were made to prevent various kinds of revolutions in the empire and the economic reorganization of Russia. But these plans were not destined to come true: first the war prevented, then the revolution. In 1918, all the brothers went into exile. P.P. Ryabushinsky died in absolute poverty in 1924 in Paris.

History is a tricky thing. After the Bolsheviks came to power in 1917, it was in this house that the Revolutionary Tribunal was located, which began to punish the enemies of the Soviet state, including Ryabushinsky's associates and colleagues.

These living rooms were redone in 1902 by order of Ryabushinsky. Their old photographs have not been preserved. According to famous connoisseur Moscow nobleman Irina Levina, whose materials formed the basis of this story, and the wallpaper and lions on the fireplace are modern fantasies, just like the Italian doors in these rooms. Here in the last twenty years, in general, a lot of things have been done anew.

In Soviet times, the mansion was under the jurisdiction of the People's Commissariat for Military and Naval Affairs, for a long time it was occupied by the services of the USSR Ministry of Defense. In 1986, the estate was transferred to the Soviet Cultural Foundation, headed by academician Dmitry Sergeevich Likhachev. But the main thing is that the wife of the Secretary General, Raisa Maksimovna Gorbacheva, was in the leadership of the Fund, thanks to whom it was possible to take the mansion away from the Ministry of Defense. In 1989, there was a fire here, and the building was damaged.

In 1993, the Cultural Foundation, now Russian, was headed by Nikita Sergeevich Mikhalkov. In February 1994, another strong fire broke out in the Foundation building, causing enormous damage to the unique building. Only thanks to the authority and perseverance of Mikhalkov, the Government of the Russian Federation allocated funds for the reconstruction and restoration of the building. The building of the Russian Cultural Foundation was awarded a diploma as the best object of restoration in 1997 in Moscow.

Already in our century, a new restoration of the mansion was carried out, which lasted eight years. In 2006, a program for the restoration of the estate began with the efforts of the foundation. Later connected the state. Repair and restoration work at the cultural heritage site was carried out by the Ministry of Culture of Russia from 2011 to 2014 as part of the federal target program "Culture of Russia". This restoration removed all the restructuring of the Ministry of Defense. For example, the halls of the gallery were divided into floors, and now they have been recreated.

The restored mansion was inaugurated on October 1, 2014. The Minister of Culture of the Russian Federation Vladimir Medinsky took part in the opening ceremony.

Publication prepared by: Vasily P. Photo by the author.