Moscow «doubles»

Often on the facades of Moscow buildings you can find » doubles «. It can be the same masks of lions, almost identical images of Mercury or Satire and even whole compositions repetitive on the facades of different buildings.

Masks (mascarons) of lions often used in the early 19th century are quite understandable. Gavriil Tikhonovich Zamaraev, outstanding master of decorative and monumental sculpture worked and collaborated with many architects at this time in Moscow. He designed not only unique sculptural orders (Moscow University, the Armory Chamber, Ostankino Palace, etc.), but also made (molded by pattren) in his own sculptural workshop these all the same mascarons with lions. Here are two examples of mascaron-twins with a lion from Zamaraev’s studio: 1st photo — the building of the University on Mokhovaya. The 2nd photo is a mascaron on the facade of the mansion of Kheraskov-Razumovsky on Tverskaya.

Mokhovay,  11

Tverskay, 21

If you specify the Category — Mascaron (or  Mask, if the image is not located on the capstone) on the project site www.mascaron.org  and the Object  — Leo, then you can easily find other twins of these lions. Some may have insignificant differences, but their «relationship» is beyond doubt. It can not be ruled out that some mascarons appeared on the facades and much later — at the end of the 19th and even the beginning of the 20th century. Most likely, for their manufacture, they used casts from Zamaraev’s «native» mascarons. So, such a mascaron appeared on the facade of the house 31 in Staraia Basmannaya only in the 20th century (during what renovation — 1913 or 1946?)

Staray Basmannay, 31

Cooperation of sculptor Zamaraev  with different architects and replicating his studio  masks explains the appearance of these «twins». But there are other less obvious «stories». So, a remarkable coincidence can be found at the buildings on Novaya Basmannaya, 28 and at Prechistenka 28. The first building  — the profitable house of 1905 was built by the architect N. N. Zherikhov, the second — in 1906 by architect L.N. Kekushev. Indeed, not only buildings numbers 28 (:) ) relate these two so different and each in its own remarkable buildings. It’s hard not to agree that male images (except for small details — different length of hair style 🙂 ), decorating the facades of these buildings are almost identical. Photos — New Basmannaya 28 (NN Zherkhov),  Prechistenka 28 (architect LN Kekushev). Who is the author of these sculptural elements of the facade decoration, and how it happened that two outstanding architects «repeated» the same image requires additional studying. Such a coincidence is all the more surprising because both architects designed (ordered ?)  unique facade decoration for almost every project.

Novay Basmannay, 28

Prechistenka, 28

But not only individual masks have their own «doubles». Here is an example of twins — compositions. It is noteworthy that not only complete coincidences occur, but also partial use of the elements of the composition. So the panel in Plotnikov Lane 3, Ermolaevsky Lane 4, and on Sofiyskay Naberezhnay, 22 are completely identical.

Plotnikov Lane, 3	Ermolaevsky Lane, 4
Sofiyskay Naberezhnay, 22

But in the compositions in Maly Mogiltsevsky Lane 4 and in the 1st Basmanny Lane 6 there is no figure of a dancing girl.

Maly Mogiltsevsky Lane, 4

1st Basmanny Lane, 6

Note there is a panel in Skaterny Lane 5 in which only two figures are «quoted» — a dancer and a dancing couple, but there is a «new» own pair.

In the following photos — one more example of twins — compositions. Malyi Palashevsky 7 and Verkhnaya Radishchevskaya street 11.

Malyi Palashevsky, 7

Verkhnaya Radishchevskaya street, 11

Here is another example of such panel-twins. In contrast to previous ones, based on their earlier samples of classical works of art ), these compositions date back to the beginning of the 20th century. Krivoarbatsky lane.  13 and Malaya Bronnaya Str. 22

Krivoarbatsky lane. 13

Malaya Bronnaya Str. 22

On many buildings that are related to the sphere of «business» (bank buildings, own or profitable houses of industrialists or merchants, trade associations, etc.) the image of Mercury (Hermes) — the God of Trade was used to decorate the facades. And in this case, you can easily find duplicates. For example, the Mercury mask on the building of the Profitable House of the Moscow Merchant Bank (Ilnka 14, 1820s-1830s, architect OI Bove, 1894, architect B.V. Freidenberg) and Mercury on the building in Plotnikov Lane 3 (profitable house P.D. Akhlestysheva and RG Kravets, 1910-ies, architect RG Kravets). Our project is not exactly known the authors of these sculptural works.

Il’inka, 14

Plotnikov Lane, 3

But what is even more amazing …. In the city of Orel on Moskovskaya Street 26 – the building of the merchant V.V. Appolonov, built in 1897, supposedly the architect Mikhail Mikhailovich Puhalsky, Mercury exists too. Even with damaged wings (yet the Orel suffered during the war) does this Orel’s  Mercury remind of our two Moscow Mercury?

(By the way, on the doors preserved, according to Orel local historians, it is native carved wooden masks of lions the end of the 19th century!)

Here, in this post  there is a small and far from complete list of «doubles» on the Moscow (and not only) facades.   By specifying a certain type of object in the Gallery mode on www.mascaron.org, it is easy to find more matches within the Garden Ring.

If the names of architects can be easily found in different web sources, this, unfortunately, can not be said about the sculptors who decorated the facades of their buildings. It is only in special studies and scientific works that one can learn not only about the sculptural studios of G.T. Zamaraev, I.P. Vitali, but also about such masters of the first half of the 19th century, as  I.T. Timofeev, Santini Campioni, B.I. Orlovsky, Salvatore Penn, I.E. Emelyanov, I.L. Meshkov et al. ( Tsaryova S.М. Sources of scenes of sculptural decoration on the facades of Moscow buildings in the style of neoclassicism (late 19th — early 20th century) // Architectural heritage. Issue. 63. St. Petersburg: Kolo, 2015. P. 109-119  http://www.archiheritage.org/items/101/76/istochniki-syuzhetov-skulpturnogo-dekora-na-fasadah-moskovskih-zdanij-v-stile-neoklassitsizma-konets-XIX-nachalo-hh-v.html )  Also in the special literature and scientific works you can find references to the masters of the second half of the 19th century — the beginning of the 20th, some of which could inherit the workshops, in part even the forms (pattern) of their predecessors.  In Moscow worked and owned their studios  such masters as: N.A. Zakharov, SA. Pozhiltsov and A.P. Chernyshov, V.L. Gladkov and V.A. Kozlov (AS Kozlov), Georg Paul. And some sculptors, carried out orders to create a facade decoration from these studios, for example, S.T. Konenkov — from  of  studio of «V.L. Gladkova and V.A. Kozlov».  Working with many architects, these studios created unique decoration project (for example, on the facade of the house 14 in Ilyinka — the work of Kutyrin’s workshop), as well as  used «typical» molds (pattern) for casting facade decoration. This explains the appearance of  «twins» on the Moscow facades, some of which, apparently at the request of customers, were used in other cities of Russia.

Used links

1. Царёва С.М. Новые сведения о скульптурной мастерской Кампиони в Москве // Декоративное искусство и предметно-пространственная среда. Вестник МГХПА / Московская государственная художественно-промышленная академия имени С.Г. Строганова. – М.: МГХПА, 2017. – № 4. Часть 2. С. 72 – 85.

Московские “двойники”

Нередко на фасадах Московских зданий можно встретить “двойников”. Это могут быть одни и те же маски львов,  практически идентичные образы Меркурия или Сатира и даже целые композиции, повторяющиеся на фасадах разных зданий.

Часто используемые в начале 19 века маски (маскароны) львов вполне объяснимы. В это время в Москве работал и сотрудничал со многими архитекторами выдающийся мастер декоративно-монументальной скульптуры Гавриил Тихонович Замараев. Он выполнял не только уникальные скульптурные заказы (Московский Университет, Оружейная Палата, Останкинский дворец и др), но и производил (отливал по своим моделям) в собственной скульптурной мастерской и эти самые маскароны со львами.  Вот два примера маскаронов-двойников со  львом  из мастерской Замараева: 1 ая фотография – здание Университета на Моховой. 2-ая фотография – маскарон на фасаде  усадьбы М.М. Хераскова, Л.К, Разумовского на Тверской.

Моховая, 11

Тверская,  21

Если на сайте проекта www.mascaron.org  указать Категорию — Маскарон (или маска, если изображение расположено не на замковом камне) и Объект – Лев, то без труда можно найти и других двойников этих львов. Некоторые могут иметь несущественные отличия, но их “родство” не вызывает сомнений. Нельзя исключить, что какие-то маскароны  появились на фасадах и существенно позже – в конце 19 и даже начале 20 века.  Скорее всего,  для их изготовления использовали слепки с “родных” маскаронов Замараева. Например, такой маскарон появился на фасаде дома 31 по Старой Басманной только в 20 веке (во время перестройки — 1913 года)

Старая Басманная, 31

Если сотрудничество скульптора Замараева с разными архитекторами и тиражирование масок его мастерской объясняет появление этих “двойников”, то встречаются и другие, не столь очевидные “истории”. Так, примечательное совпадение можно обнаружить  у зданий на Новой Басманной, 28 и на Пречистенке 28.   Первый дом — доходный дом  1905 года построил архитектор Н.Н Жерихов, второй – в 1906 архитектор Л.Н. Кекушев.  Действительно, не только номера домов  28   🙂 роднят эти два столь разных и каждое  по-своему замечательные  здания.  Трудно не согласиться, что мужские образы (за исключением небольших деталей  — разная длина прически 🙂 ),  украшающие фасады этих зданий  практически идентичны.  Фотографии ниже  –Новая Басманная 28 (Н.Н Жерихов ),  Пречистенка 28 (архитектор Л.Н. Кекушев). Кто автор этих скульптурных элементов фасадного декора, и как получилось , что два выдающихся архитектора “повторили” один и тот же образ требует дополнительного исследования. Такое совпадение тем более удивительно, что оба архитектора практически для каждого своего проекта делали (заказывали ?) уникальный фасадный декор.

Новая Басманная 28

Пречистенка 28

Но не только отдельные маски имеют своих “двойников”.  Вот пример двойников – композиций. Примечательно, что имеют место не только полные совпадения, но и частичное использование элементов композиции. Так панно в Плотниковом переулке 3, Ермолаевской переулке 4,   и на Софийской набережной  22 полностью идентичны.

Плотников переулок, 3	Ермолаевский переулок, 4
Софийская набережная,  22

А вот в композициях в  Малом Могильцевском переулке  4 и в 1-ом Басманном переулке 6  отсутствует фигура танцующей девушки.

Малый Могильцевский переулок,  4

1-ый Басманный переулок, 6

Заметим, что в Скатерном переулке 5 есть панно, в котором  “цитируются” только две фигуры – танцовщица и танцующая пара, но присутствует своя,  “новая” пара.

На следующих фотографиях – еще один пример  композиций-двойников.  Малый Палашевский 7  и Верхняя Радищевская улица 11.

Малый Палашевский, 7

Верхняя Радищевская улица, 11

Вот еще один пример таких панно-двойников. В отличии от  предыдущих, использующих в основе своей ранние образцы классических произведений искусства, эти  композиции относятся уже к началу 20 века.  Кривоарбатский пер.  Дом: 13   и  Малая Бронная ул. Дом: 22

Кривоарбатский пер.  Дом: 13

Малая Бронная ул. Дом: 22

На многих зданиях, так  или иначе  имеющих отношение к сфере “предпринимательства”  (здания банков, собственные  или доходные дома промышленников или купцов, торговых товариществ и пр.)  для оформления  фасадов использовался образ Меркурия (Гермеса)– Бога Торговли. Вот , например, маска Меркурия на здании Доходного дом Московского купеческого банка (Ильнка 14, 1820-е — 1830-е, арх. О. И. Бове;  1894 , арх. Б. В. Фрейденберг ) и Меркурий на здании в Плотниковом переулке 3 (доходный дом П.Д. Ахлестышева и Р.Г. Кравец. 1910-е гг, арх. Р.Г. Кравец.). Нашему проекту точно не известны авторы этих скульптурных работ.

Ильинка,  14

Плотников пер., 3

Но что еще более удивительно…. В городе Орел на Московской улице 26 – дом купца В.В. Апполонова, постройки 1897 года, предположительно архитектор Михаил Михайлович Пухальский тоже есть Меркурий. Даже с поврежденными крылышками (все же Орел пострадал в годы войны) не напоминает ли этот, Орловский Меркурий наших двух Московских Меркуриев ?

(Кстати на дверях сохранились, как утверждают Орловские краеведы,  родные, конца 19 века резные деревянные маски львов ! )

В настоящем обзоре приведен небольшой и далеко не полный перечень “двойников”  на Московских (и не только) фасадах.   Указав на сайте www.mascaron.org  определенный тип объекта,  в режиме Галереи легко найти больше совпадений в пределах Садового кольца.

Если имена архитекторов достаточно легко можно найти в открытых источниках, то этого, к сожалению, не скажешь о скульпторах, оформлявших  фасады их зданий. Только лишь в специальных исследованиях, научных работах можно узнать не только о мастерских Г.Т Замараева, И.П. Витали, но и о таких мастерах первой половины 19 века, как,  И.Т. Тимофеев, Сантино Кампиони, Б.И. Орловский, Салвавторе Пенна, И.Е. Емельянов, И.Л. Мешков  и др.  ( Царёва С.М. Источники сюжетов скульптурного декора на фасадах московских зданий в стиле неоклассицизма (конец 19 — начало 20 века) // Архитектурное наследство. Вып. 63. СПб.: Коло, 2015. С. 109-119  http://www.archiheritage.org/items/101/76/istochniki-syuzhetov-skulpturnogo-dekora-na-fasadah-moskovskih-zdanij-v-stile-neoklassitsizma-konets-XIX-nachalo-hh-v.html ) Также в специальной литературе и научных исследованиях можно найти и упоминания о мастерах второй  половины 19 века – начала 20, некоторые из которых могли наследовать мастерские, частично даже и формы (модели)  своих предшественников.  В Москве работали и имели свои мастерские такие мастера как: Н.А. Захаров,  С.А. Пожильцов и  А.П. Чернышов,  В.Л. Гладков и В.А. Козлов (А.С. Козлов), Георг Поль. Некоторые скульпторы, выполняли заказы по созданию фасадного декора от этих мастерских, например,  С.Т Коненков — от мастерской В.Л. Гладкова и В.А. Козлова Работая со многими архитекторами, в этих мастерских создавались как уникальные работы (например, как на фасаде дома 14 по Ильинке – работа мастерской Кутырина), так использовались и “типовые” формы  (модели) для отливки фасадного декора.  Это и объясняет появление “двойников” на Московских фасадах, некоторые из которых, видимо, по желанию заказчиков, использовались и в других городах России.

При подготовке  обзора использовались материалы:

1. Царёва С.М. Новые сведения о скульптурной мастерской Кампиони в Москве // Декоративное искусство и предметно-пространственная среда. Вестник МГХПА / Московская государственная художественно-промышленная академия имени С.Г. Строганова. – М.: МГХПА, 2017. – № 4. Часть 2. С. 72 – 85.

 Grotto «Ruins»  lions for Alexander Garden

Passing through the Alexander Garden, near the Kremlin wall, you can not fail to pay attention to the Italian grotto «Ruins.» The creation of the «Kremlin Gardens», as they were originally called, is inextricably connected with the name of Osip Bove and  the victory over the Napoleonic troops. And the mainsail itself, in the base of which fragments of white-stone buildings suffered in the fire were used, according to the plan, Beauvais also symbolized the revival of Moscow, which was destroyed after the events of 1812.

Looking at the grotto, listening to the stories of guides or reading the descriptions of this monument, as a rule, no one has any doubt about the historical authenticity of the current image of the grotto «Ruins». And a pair of lions, located on the sides of the upper platform of the grotto do not stay questions. It would seem that these white-stone lions are quite appropriate here — the lion, the image of power and strength, as it were, continues the symbolism laid in the design of the historical fence (architect Yevgeny Pascal), which contains fascia  (http://mascaron.org/?pid=1359 ) and medallions with images of the head of the lion and the gorgon.

But in reality things are not so simple with these lions on the grotto «Ruins»….
Turning to the official site of the Kremlin’s museums, we find: «… The Grotto acquired a modern look after the restoration of 1958-1959 … .. In this period almost completely lost columnar portico and fence of the upper platform with figures of stone lions were recreated …» (https: //www.kreml.ru/research/research-and-projects.sadovo-parkovyy-pavilon-grot/2004/). And in the publication «Architectural Monuments of Moscow Kremlin, China City, Moscow», «Art», 1982 in the description of the Alexander Garden and the grotto «Ruins» (p. 482) it says: «The upper hill area served for the orchestra; flanking its fence sculptures of lions were lost and now recreated by analogy. »
What kind did the grotto have before its «modern look»? Let’s turn to the photo documents. Here are photos of the grotto in the early 20th century — dating back to 1911, 1920. And also photographs of the late 19th century — 1890-1900 (1860th?)

But in reality things are not so simple with these lions on the grotto  «Ruins» ….
Turning to the official site of the Kremlin’s museums, we find: «… The Grotto acquired a modern look after the restoration of 1958-1959 … In this period almost completely lost columnar portico and fence of the upper platform with figures of stone lions were recreated …» (https://www.kreml.ru/research/research-and-projects.sadovo-parkovyy-pavilon-grot/2004//). And in the issue «Architectural Monuments of Moscow Kremlin, China City, Moscow», «Art», 1982 in the description of the Alexander Garden and the grotto «Ruins» (p. 482) it says: «The upper hill area served for the orchestra; flanking its fence sculptures of lions were lost and now recreated by analogy. »
How did the grotto looked like before its «modern look»? Let’s turn to the photo documents. Here are photos of the grotto in the early 20th century — dating back to 1910, 1911, 1920.

It is clearly seen that there are no lions «flanking the fence».

And also photograph of the late 19th century — 1890-1900 (1860th?) with great certainty it can be argued shows the right part of the upper platform of the mainsail, and there is no lion there either.

And on the engraving of the 1853 year (I Sharleman, 1824-1870), the top platform of the grotto with the sitting visitors is also clearly indicated, but … again there are no lions.

And, finally, engraving already of the middle of the 19th century (the Cathedral of Christ the Savior is not yet erected) also does not allow to assume the presence of «flanking fence» of lions.

The project expresses great gratitude to the staff of the photographic department  of the Shchusev Museum of Architecture, who kindly provided an opportunity to get acquainted with their archive. Not a single photo of the beginning of the 20th century of the grotto «Ruins» found lions. Photos, which firstly appear lions on the grotto «Ruins», date back to 1959-1960 years, which corresponds to the Kremlin museum (see above).

Perhaps, among the documents of the Expedition of the Kremlin building, some materials have survived, which allowed the specialists of the specialized restoration workshop of the “Mosproekt” Institute to recreate lions in the grotto “Ruins” in the middle of the 20th century. These documents (if they exist!) are not known for our project. So, relying on the above photo documents (and other graphic images) only, we can assume that the presence of lions on the grotto «Ruins» looks like foreign, incorporated «smear», distorting original the author’s look of the grotto, conceived by Osip Bove. By the way, we note that in the guides of the late 19th century there is no mention of lions on the Italian grotto of the Alexander Garden.

But on this the  «secret» of these two lions from the Alexander Garden does not end ….
So if it is possible to state (with a high probability) that according to Osip Bove’s idea there were no lions at the grotto, then the question should  be stated.  What  analogue has been used to “recreate” the current «inhabitants» of the grotto  (lions) «, as the documents cited above indicate? It turned out that these analogues now «live» just a few hundred meters from the Alexander Garden, on Vozdvizhenka street, in the courtyard of the Museum of Architecture named by Shchusev.

The paired photographs of a lion from the Museum of Architecture and from the Alexander Garden are presented below.

Indeed, the simplest comparison, so called  «with the naked eye,» shows that, firstly, there is obviously a complete similarity of the pose, secondly, all the lions have completely identical ancient Egyptian royal headdress — the claft. Further more — no doubt the identity of the «facial expression», the same «solution» of the claws down to the claws, the position of the tail. And even more convincing evidence: the «decoration» (or the lower part?) гnder the ear … and the same number of teeth indicated in the mouth. It is clear that there is a different state of the stone, but with  the photography increasing, the some partially lost details on the figure of the lion from Vozdvizhenka are «readable» and, recreated on the figures of lions from the Alexander Garden

Thus, there is every reason to believe that both the «Ruins» grotto and the yard of the Museum of Architecture have the same lions created by stone carvers at different times. Lions reclining on the grotto «Ruins» in the Alexander Garden — it’s just a modern copy of historically lions from the Museum of Architecture. And their «motherland», as it is indicated by a sign in the courtyard of the museum — the estate of Kheraskov-Razumovsky, also know as  “English club” on Tverskaya

When it comes to the homestead of Kheraskov-Razumovsky, first of all, remember the famous «lions on the gate,» about which Pushkin wrote in the novel «Eugene Onegin.» But they appeared under Lev (Leo) Kirillovich Razumovsky at the beginning of the 19th century only. But these lions are statues of the 18th century, and according to experts of the Museum of Architecture, were taken out from … the garden of this manor in the 30s (?) years of the 20th century. The garden once extended beyond the manor to the present Trekhprudny Lane. Since 1935 on the territory of the Donskoy Monastery after the establishment of the State Scientific-Research Museum of Architecture named by A.V. Shchusev has housed its exhibits. It was here that the lions were taken out of the garden of the estate of Kheraskov-Razumovsky. But already in the 90th years of the 20th century, when the territory of the monastery was transferred to the hands of the ROC, the exhibits of the museum, including these lions, were moved to Vozdvizhenka.

A huge gratitude to those staff members of the museum, real “brother-in-arms” who managed to literally save in the late nineties of the last century priceless monuments of history and culture. In this photo, the very moment when the lions from the estate of Kheraskov was transported to the Vozdvizhenka courtyard from the Donskoy monastery is preserved for history.

What a difficult story hides behind, it would seem, such a well-known monument in the heart of Moscow. Obviously, this valuable monument for Moscow actually has now a new look, somewhat different from its original, conceived by the great Osip Bove.
No less surprising is the fate of the lions from the estate of Kheraskov-Razumovsky. They, these lions, visited the 18th century and in the garden near Trekhprudny Lane, and two centuries later in the Donskoi Monastery, and now in Vozdvizhenka. And their modern «clones» have for more than half a century already been put on guard at all «not their» historical monument — the Italian grotto «Ruins» of the Alexander Garden.

Львы грота «Руины» Александровского сада

Проходя по Александровскому саду, около кремлевской стены  нельзя не обратить внимания на Итальянский грот “Руины”. Создание “Кремлевских садов”, как они изначально назывались, неразрывно  связанно с именем Осипа Бове и победой над  Наполеоновскими  войсками. А сам грот, в основании которого использовались обломки (или специально созданные для имитации ? )пострадавших  в пожаре белокаменных строений,  по замыслу Бове символизировал еще и возрождение разрушенной после событий 1812 года Москвы.

Смотря на грот, слушая рассказы гидов или читая описания этого памятника,  как правило, ни у кого не возникает каких-либо сомнений по поводу исторической достоверности нынешнего образа грота “Руины”. Не вызывает вопросов и пара львов, расположившихся по бокам верхней площадки грота.   Казалось бы, эти  белокаменные львы вполне уместны – лев, образ власти и силы, как бы продолжает символику, заложенную в оформлении исторической ограды (архитектор Евгений Францевич Паскаль) , на которой присутствуют  фасций (http://mascaron.org/?pid=1359 ) и медальоны с изображениям головы льва и горгоны.

Но в действительности не так все просто с этими львами на гроте “Руины”….

Обратившись к официальному сайту музеев Кремля, находим: “…Современный вид Грот приобрел после реставрации 1958-1959 годов…..В этот период были воссозданы практически полностью утраченный колонный портик и ограждение верхней площадки с фигурами каменных львов;…”  (https://www.kreml.ru/research/research-and-projects.sadovo-parkovyy-pavilon-grot/2004/ ). А в издании “Памятники архитектуры Москвы Кремль, Китай город, Москва”, “Искусство”, 1982 г.  в описании Александровского сада и грота “Руины” (стр 482) сказано: “ Верхняя площадка холма служила для оркестра; фланкирующие ее ограду скульптуры львов были утрачены и ныне воссозданы по аналогам”.

Какой же вид имел грот до его “современного вида”?  Обратимся к фотодокументам.  Вот фотографии грота начала 20 века – датируемые 1910, 1911 и 1920 годами.

Отчетливо видно, что “фланкирующих ограду” львов нет.

А также на фотографии конца 19 века —  1890-1900  (1860 –ые ?) с большой уверенностью  можно утверждать,  что запечатлена правая часть верхней площадки грота, и льва там так же нет.

Да и на гравюре 1853 года (И.И. Шарлеманъ, 1824-1870 гг) так же явно обозначена верхняя площадка грота с восседающим посетителем, но…опять-таки никаких львов.

И, наконец, гравюра  уже первой половины  19 века (Храм Христа Спасителя еще не возведен) также не позволяет предположить наличие  “фланкирующих ограду” львов.

Проект выражает огромную  благодарность сотрудникам фототеки Музея архитектуры имени Щусева, которые любезно предоставили возможность ознакомиться с их архивом. Ни на одной фотографии начала 20 века грота “Руины” не были обнаружены львы. Фотографии, где впервые появляются львы на гроте “Руины”,  датируются 1959-1960 годами, что и соответствует приведенной музеем Кремля выше справке.

Возможно, среди документов Экспедиции кремлевского строения  сохранились какие-то материалы, которые и позволили специалистам специализированной реставрационной мастерской института «Моспроект» в середине 20 века воссоздать львов на гроте “Руины”. Нашему проекту эти документы (если они и существуют!) не известны.  И, опираясь только лишь на приведенные выше фотодокументы, и другие графические изображения (отметим, что на некоторых ранних гравюрах можно допустить наличие каких-то фигур) в том числе и 19 века,  можно предположить, что присутствие нынешних львов на гроте “Руины” – это все же  привнесенный “штрих”, отличающейся от  авторского,  задуманного  Осипом Бове, облика грота.  Кстати заметим, что и в путеводителях второй половины 19 века не встречается упоминание о львах на Итальянском гроте Александровского сада.

Исследования, проведенные кандидатом искусствознания С. Царевой показывают, что изначально все же львы были, но они достаточно быстро разрушились.  Затем они были заменены какими-то фигурами (по обнаруженным С. Царевой документами). Однако и они простояли не долго.  Именно поэтому только на некоторых гравюрах были изображены какие-то «звериные» фигуры, а большее время на гроте их просто не было

Но на этом “тайна” этих двух львов  из Александровского сада не заканчивается….

Коль скоро можно утверждать (с большой вероятностью), что по замыслу Бове на гроте не было львов, то возникает вопрос – по каким же таким аналогам,  как указывают приведенные выше документы,  нынешние “обитали” были “воссозданы”? Оказалось, что эти аналоги  сейчас “обитают” буквально в нескольких сотнях метров от Александровского сада, на Воздвиженке, во дворе Музея архитектуры имени Щусева.

Ниже приведены парные фотографии льва из музея архитектуры и из Александровского сада.

Действительно, самое простое сравнение, что называется “не вооруженным взглядом” показывает, что, во-первых, очевидно полное сходство позы, во-вторых, у всех львов явно читается совершенно идентичный древнеегипетский царский головной убор – клафт. Дальше еще больше – не вызывает сомнения идентичность “выражение лица”,  одинаковое “решение” лап вплоть до когтей, положение хвоста. И еще более убедительные доказательства:  “украшение” (или нижняя часть ?) под ухом…да и одинаковое количество обозначенных в пасти зубов. Понятно, что имеет место разное состояние камня, но при увеличении фотографии  становится “читаемыми” и частично утерянные детали на фигуре льва с Воздвиженки,  и воссозданные затем на фигурах львов из Александровского сада.

Таким образом, есть все основания полагать, что и на гроте “Руины”, и во дворике музея архитектуры размещены одни и те же львы, но созданные резчиками по камню в разное время. Львы, возлежащие на гроте “Руины” в Александровском саду  — это просто современная копия исторически львов из музея архитектуры. А их “родина”, как на это указывает табличка во дворике музея — усадьба Хераскова-Разумовского, он же Английский клуб на Тверской.

Когда речь заходит о доме Хераскова-Разумовского, прежде всего,  вспоминаются известные “львы на воротах”, о которых писал Пушкин в романе “Евгений Онегин”. Но  появились они при Льве Кирилловиче Разумовском уже только в начале 19 века. А эти  львы — изваяния 18 века, и со слов специалистов музея архитектуры, были вывезены в 30-х (?) годах 20 века из… сада этой усадьбы. Сад когда-то простирался за усадьбой в сторону нынешнего Трехпрудного  переулка. На территории Донского монастыря после образования Государственного научно-исследовательского музея  архитектуры им. А.В. Щусева с 1935 размещались его экспонаты. Именно  сюда и были вывезены львы из сада усадьбы Хераскова-Разумовского. Но уже в 90-ые года 20 века, когда территория монастыря была передана в руки РПЦ, экспонаты музея, включая и этих львов, были перемещены на Воздвиженку.

Огромная благодарность тем сотрудникам музея, настоящим сподвижникам, которым удалось буквально спасти в конце 90 годов прошлого века бесценные памятники истории и культуры. На этой фотографии как раз сохранен для истории тот самый момент,  когда львы из усадьбы Хераскова перевезли во дворик на Воздвиженке из Донского монастыря.

Какая непростая история скрывается за, казалось бы, таким, всем хорошо  известным памятником в самом центре Москвы. Не вызывает сомнения, что этот знаковый для Москвы памятник фактически имеет сейчас новый облик, несколько отличный от своего первоначального, задуманного великим Осипом Бове.

Не менее удивительна и судьба львов из усадьбы Хераскова-Разумовского. Они, эти львы, побывали в 18 веке и в саду около Трехпрудного переулка, и через две века в Донском монастыре, и теперь и на Воздвиженке. А их современные “клоны” вот уже больше полувека  как поставлены на охрану  уже совсем “не своего” исторического памятника– итальянского грота “Руины” Александровского сада.

PS В книге «Москва архитектора-реставратора Дмитрия Кульчинского «, Москва, Правительство Москвы, Департамент Культурного наследия города Москвы, 2018, на стр. 62 указано, что моделью скульптур львов для грота были выполнены были львы из музея архитектуры, хранившиеся тогда, на территории Донского монастыря

Armenian diamond «Graf Orlov»
(from «The Moscow Lions» review)

Two lions placed on the pylons of the gates of the Lazarev Institute in the Armenian side-street (# 2) — old manor,  survived the fire of 1812, for two hundred years now  have been watching to all those are entering in. They are clearly not asleep, and their only seemingly serene, seemingly pose, leaves no doubt that they have something to guard here. And this is not only a miraculously preserved example of Moscow’s manor development, dating back to the 17th century, but also a mystery connected with the place itself and its owners.

«Great Mongol», and even earlier «Lunar (or yellow) diamond», and perhaps also «Durianur» (which means «sea of ​​light» or «Sea of ​​sunlight» — the original Indian name) … that’s how many different, by its remarkable naming, is attributed to only one stone. But to what! Diamond weight (in the current state after cutting) 189.62 carats! Who has not heard about the famous diamond «The “Orlov Diamond» which adorns the scepter of Russian Autocrats. Yes, yes it is this «our» » Orlov Diamond » before its appearance in Russia bore such names. The history of this diamond, however, like much associated with precious stones is shrouded in secrets. This stone became the «hero» of many adventures that left a “visible trace” somewhere, but somewhere just vague hints and riddles.

But «the case, the god inventor» has left a place for Moscow in the way of the history of the adventures of this diamond. And this is not only the Diamond Fund of the Moscow Kremlin itself, where the Scepter of Russian Autocrats with this diamond is being kept, but also the seemingly quiet, cozy and distant «from power» Moscow lane in Myasnitskaya part — Armenian Lane. And earlier — Stolpovsky (or Nikolsky) lane by the name of the church (St. Nicholas in the pillars and Semion Stylites). More precisely, the story of earl Orlov and the stone and the earl  itself is inextricably linked to the building 2 along the Armenian lane. Now  the Embassy of the Republic of Armenia is placed here. And actually it is a property of Armenia. Amazing ! — an object of cultural heritage of Russia!  The amazing fate of the object of Russia’s cultural heritage!

About this wonderful possession, and the secrets that enveloped its owners like a ghostly veil that hides the riddles of the origin of the financial capital and the history of entry into the «higher world,» and will go below speech.

In 1758, wealthy merchant of Armenian origin, who moved from Astrakhan to Moscow, Lazar Nazarovich Lazaryan, bought the property in Stolpovo  with two floors stone buildings. The owner and seller of this property was Zachary Sharimanyan (Sheriman, Shahriman, Sharimyan, Shahrimanian, Seriman) another representative of the Armenian Diaspora in Moscow,  was not yet so numerous. It is noteworthy (is it an accidental coincidence only?) Is the fact that both families come from one Armenian suburb of the former capital of present-day Iran, in the past of Persia — New Julfa (Isfahan). Various Armenian printed sources note the great financial wealth  of the Sherimanian family. They also note their business ties connected practically all over the world — Burma, England, Holland, Italy. A 1699 Austrian Archduke (1657), Holy Roman Emperor (since 1658) Leopold I of Habsburg granted them the title of Count for his services in the spread of Catholicism! in Iran. It was the genus of Sherimanianov who headed the Armenian Catholic community in Iran. Khoja Zahar (Zachary) Sagramov (another family name of the Sherimanian family) being in the 1660s the Persian ambassador at the court of Tsar Alexei Mikhailovich did much to develop relations not only of Persia, but of Armenian merchants in Russia. It is believed that it was Khodja Zakhar Sadradova who in the 17th century laid the foundations that have survived to this day, the penetration of Armenian capital into the Russian economy. By the way, it were  Khodja Sagradov with his partner Grigor Lusikovoff who brought the famous diamond throne, which is stored in the Faceted Chamber of the Kremlin, on behalf of the Persian Shah Alexei Mikhailovich. Here is what the chronicle mentions were preserved: «1660, the Great Sovereign Tsar Alexei Mikhailovich was struck by the whip of Kizilbashskoy Shahov’s blessed man Modevletov, the merchant Armenian Zakharey Saradarov in the gifts: the cross was decorated with gold with stones, with diamonds and with jacinth and pearls, valuation of 22,591 rubles. Altyn. »

In the early 18th century, the Sherimanian family, in addition to several sites with buildings in Moscow, owned and silk manufactory in the present Fryanovo, and even before the official proclamation of St. Petersburg  capital built several shopping store there. However, with the accession of Anna Ioannovna, having lost  high-ranking protection of of Volynsky  family, Sherimanians curtail their activities in Russia and move to Europe. It was at this time (1758) that they sold their «assets» (in Moscow, St. Petersburg, Fryanovo) to the Lazarians, who were destined to continue strengthening the role of the Armenian diaspora in Moscow and Russia as a whole.

Over time, the Lazarian family, in front of their new mansion in Stolpos, builds the Armenian Church (only the almost completely reconstructed house of the parable survived), and in its own  possession — in the right wing — opens the Armenian school in 1815. It received the official name — Lazarevsky Institute of Oriental Languages. And behind the lane the stable name Armenian was fixed.

As for the very possession of #2 along the Armenian lane, it acquired the form that has survived to us as a result of two reconstructions. The first, executed in 1814-1823, gave to the central building of the manor and two wings the Empire style, characteristic for the post-fire Moscow view. The author of this project is not exactly known, but there are still references to the fact that the construction was supervised by T.G. Prostakov with the participation of the serf architect I. Lazarev. Podyacheva. The Obelisk of Lazarev (established in 1822) was at that time behind the main building in the manor park, and was moved to the central line of the main entrance only in 1914.

But the iron lions decorating the pylons of the front gate still carry their guard duty. However, we must not forget that on the coat of arms of the Lazarevs (nobility was granted to them by Empress Catherine II in 1774) there is a lion. Therefore, the appearance of a lion, albeit not in an explicit, coat of arms, is nevertheless called to serve as a reminder of the aristocratic family that owns this mansion.

Apparently, to give importance to the forests during the regular reconstruction of these cast-iron lions, they were «gilded.» It is not right to say that these are exactly the iron lions, it’s impossible to check their cast-iron nature, but the general view of them, as far as one can judge, is exactly the same as in the lithographs of the first half of the 19th century.

On the lithography (watercolor) of 1836, made in Paris, you can clearly see and imagine what the manor and the Lazarevsky Institute looked like after the work of I.M. Podyacheva.

In the 1840s, the architect A.G. Grigoriev connected the side wings with the main building with transitions. Later, in 1850, the neighboring chambers of the middle of the 18th century, which had been purchased earlier, were rebuilt and joined to the northern (right) wing.

By themselves, these chambers are noteworthy for the history of Moscow. Like many others, these chambers built in stone back in the 17th century passed to many owners. So Miloslavskiy Larion Semenovich, Prince Peter Alexandrovich Yusupov (?), Pakitan Vasily Priklonsky, Artsebashevs owned the chambers in the Armenian side-street (and also a separate building placed at the Krivokolenny lane). Then, in the 1730s, the owners of this site became merchants of Dutch origin, the brothers Möller. For a short time the owners were Nevsitskie (on the female line — Veshnyakova, daughter, as they say, a major diplomat of the early 18th century Alexei Andreyevich Veshnyakov). But Lazarian bought these possessions from M.A. Saltykovoy. Exactly so far it was not possible to confirm, but there are reasons to believe that this is the Princess Maria Alexandrovna Pototskaya, who was born Saltykova (1807-1845), proceeding in the same way as Veshnyakova, from the genus of diplomat A.N. Saltykov. If this assumption is true, then the portrait of the owner of this estate can be found in the portrait gallery of Orest Kiprensky. And among her “circle” of contacts were Zhukovsky and Vyazemsky.

After the accession of these 17th-century chambers to the main building of Lazarev’s manor they housed the so-called Printing House.

During the restoration work of recent years, the old brickwork, typical of the 18th century, has been partly uncovered (recreated). But unfortunately the fate of another ancient building, also located on the territory of the Armenian embassy — causes obvious fear for their safety — are the ruined fragments of the Nesvitsky’s mansion  (probably Miloslavskys?).  It’s  wanted  to believe that the Republic of Armenia will take care of this as carefully as it does to the main building of the Lazarev Institute itself.

Ruined chambers of Nesvicki

The facade of the main building of the manor and its outbuildings is decorated with typical masks of lions (http://mascaron.org/?pid=875) and a medallion with three faces accompanied by torches of enlightenment (http://mascaron.org/?pid = 2218)

Possession 2 on the Armenian lane survived and has survived to the present day. It contains not only an interesting architectural and artistic heritage, but also a whole layer of legends inherited from its notable owners — the ancient Armenian families Sharimanyan and Lazyaryanov.

By the way, it is thanks to its Armenian «patronage» that the ancient chambers in possession of 2 in the Armenian lane were not damaged during the fire of 1812. Documentary evidence apparently did not remain, but numerous memories that eventually turned into legends, argue that the Armenian community appealed to the personal bodyguard of Napoleon, Mameluke Rustam, asking about the management  of protection from a fire. Rustam, being himself Armenian by nationality, could not refuse his fellow tribesmen by blood, and possession survived the Moscow firefighting affair under the supervision of the French troops that seized Moscow. That’s how the solidarity of the Armenians was saved by the current cultural heritage in Moscow, but which the Republic of Armenia began to own!

But there is one more, not even tradition, but the history of this domain, wrapped in the «diamond secret», and Lazaryanov himself. Here is what is written about the origin of the Lazyaryanov family in the «General Gerbovik of the noble families of the All-Russian Empire»: «The ancestor of the Lazarev family, as evidenced by the letters from Tsar Teymuras of Georgia and from the Armenian Patriarch, Manuk Lazarev on suppressing the State name in Armenia, was the Owner of some part of the Armenian State . The son of Manuk, Lazarus (or Elizar — note www.mascaron.org) was under the second Shah Abasse the Chief Over the Mint Persian court and the treasure-keeper. The grandson of this Lazarus, Lazar Lazarev, when he was in Persia, we use many commissions and was the Chief of the City of Zhulfa; and finally with his children he left for Russia and started a noble Manufactory. In 1774, on May 20, he Lazarev, for the many services rendered to him by the Decree of the blessed and eternal glory of the passive memory of the Empress Ekaterina II, the Most Gracious, was granted to his children and their descendants in the Russian nobles. All of this is written out from the submitted copy of the Diploma, granted in 1776 October 3 day to the aforementioned Lazar Lazarev for noble dignity. »

What should be noted in the context of the «diamond secret»: the grandfather of Lazar Lazaryan, who moved to Russia, was the actual keeper of the treasures of the Iranian Shah. Namely, there, in this treasury of the Iranian Shah, and was located, mounted in the throne, the very huge diamond — «The Orlov Diamond». However, then, for obvious reasons, he could not yet be called earl Orlov.

In the special literature, you can find enough descriptions of the origin of this diamond, up to its mysterious disappearance from the Shah’s throne. There is also no doubt, and it is possible to document the fate of the stone, beginning with the «operation» on its acquisition by Count Orlov.

In the Middle Ages, almost all the most luxurious diamonds were mined on the richest Golconda diamond mines in present-day India. The Golconda fortress, which has survived to this day, was only a market where diamonds were sold and bought. The richest mines, where the largest historical stones were found, were nearby, near the Kistna River. Some studies suggest that our «hero» was a fragment of a large crystal, probably weighing 400 carats, also found in these mines. It is possible that the famous diamond «Shah» (which also now resides in the Diamond Fund) could be a part of this crystal. The original owner of our Stone («Durianura») in the 17th century was the Golconda Raja. The stone was almost immediately attributed various mystical properties, perhaps because of its unique properties — an unusual greenish-yellowish glow especially noticeable in the moonlight. It was believed that the stone possessed a mystical power to carry to the Earth the Cosmic energy, and this force was transferred to the owner of the stone. There are legends that this stone at one time adorned the brow of the Indian god of the moon Chandra (by other — Vishny) and was particularly revered, giving the owner of the stone a mystical undivided power over the world.

Belonged to the beginning of the XVII century to  Raja Golconda (at that time an independent territory) diamond «Lunar Diamond» after the conquest of the great Moguls padishah Shah Jahanon  (the empire was located on the territory of modern India, Pakistan, Bangladesh) goes into the possession of the ruling Mughal dynasty. So the stone, now bearing the name «Great Mogul», found itself in Delhi.

By this time the first documentary description of the stone also applies. This description was made by the French traveler Jean Baptiste-Tavernier in 1665 during his visit to the treasury of the padishah of the Mughal Empire Aurangzeb. There is no unequivocal opinion regarding the cuting. There is a point of view that have survived the original cuting  even the ancient Indian (or rather — Golkondskih) Masters, but there is also an opinion that the stone on behalf of Shah Jahan of the Mughal emperor (his father Aurangzeb, and, by the way, the builder Taj Mahal), an additional cuting could be performed by the Venetian carver Ortenzio Borjo. But, one way or another, the faceting of a stone is recognized by almost everyone as unique and exemplary, maximally preserving and revealing the original forms and properties of the stone. There are names of such cut — «Indian rose» — it has about 180 faces. That description of Jean Baptiste Tavernier (mention a slight incision, and in it a subtle muddy spots on the bottom edge) and allowed Academician Fersman in the 20-ies of XX century to reaffirm the identity of our «The Orlov Diamond», exactly as the  «Great Mogul «.

In 1739, the city of Delhi itself, the capital of the Mughal at that time, captured the Nadir Shah. Nadir Shah created a huge empire, which apart from present-day Iran included Armenia, Azerbaijan, Georgia, part of Dagestan and Afghanistan. «Great Mogul» was in the service of Nadir Shah — the diamond was mounted in the back of the Shah’s throne. But not long this magnificent stone had to decorate even the throne, but still after the «third eye» of the moon god, the controversial place assigned to him by the shah — in the back of the throne.

In the early 40-ies of the XVIII century, the empire of Nadir Shah declined. And already from 1745 and for more than 20 years, the documentary «marks» of the diamond itself are completely lost.

Again, documentary evidence appears in 1867 only : a certain Grigory Safras (as the Armenian Encyclopedia of the Hayazg Foundation — Khojaminas Grigory Safrazovich points out the descendant of the famous Khodja Minas family), transfers a huge diamond to the Amsterdam bank of the British East India Company for storage. Amsterdam was already at that time recognized as a diamond exchange. From documents it is known that Grigory Safras was a wealthy merchant, a native of Julfa. And the name of this city was already mentioned above: it was in Djulfa that the birth conditions of Lazaryanov and Shiramanianov were formed.

But not only the place connected Gregory Safras with the Lazyaryans. The nephew of Grigory Safras’s wife was none other than Ivan Lazarev (Lazaryan), the son of Lazar Nazarovich Lazyaryan, who moved from Persia to Russia (recall — Lazar Nazarovich’s grandfather, too, Lazar (Elizar)) «was under the second Shah Abasse chief of the Monetary Persian courtyard and treasure keeper. «)

And it was exactly  Ivan Lazaryan who in 1772 carried out a successful deal — he buys and sells the diamond to Count Orlov, who in turn presents the Empress Catherine II as a gift for her name-day.

But in what way after his «service» to several regal dynasties, this amazing diamond was found by Grigory Safras? In the literature on stones, you can find different versions, one more mysterious than the other. But here is what the publication «Brotherly Aid to Turks Affected in Turkey» says in 1897: «Lazar Lazarev had jewelry trade in Moscow, and he owned the world’s best «Orlov» diamond (185 carats), presented by Count Orlov to Catherine II and now decorating the Russian imperial scepter. There are several legends about this diamond. They say that Lazarev, covering his treasure from the Persian shah, made himself an incision on his thigh and hid him there. Orlov paid Lazarev 450 thousand rubles (according to other sources — 400 thousand, note www.mascaron.org) and 2 thousand rent, now he is valued over 2 million. »

Remembering the family ties of Grigory Safras and Ivan Lazarev, and the general origin of their genera Djulfa, with a fairly high degree of probability, we can assume exactly how the diamond turned out to be for Lazarians, and then for Safras. It is noteworthy that it was by mutual agreement of Grigory Safras and Ivan Lazaryan that a unique diamond, most likely secretly exported by Lazar Lazarian from Persia, was placed in the Amsterdam bank. Most likely, in order not to “wake a sleeping dog”, in Amsterdam, the diamond already appears as the property of Gregory Safras. Confirmation of this kind of «partnership» from the very beginning of the «operation» on the official acquisition of a diamond can partly serve as the text of Ivan Lazarev’s petition filed in 1779 concerning the division of the property of the deceased Grigory Safras: «In 1772 October 20, Grigory Safras of his one hundred ninety-five carat diamond a half share, sold me for 125,000 rubles … so that I try to sell to the common account and at a cost that in the proceeds will be equal to half us to divide, as in 1774 the aforementioned diamond and sold from me to the lighter mu Prince Orlov, in seven-year terms, for 400,000 rubles). And before the sale of the stone and for five years at the expense of trying to sell this stone, the expenditure was 11,800 rubles. »

Many rumors were circulating about the sale of the stone to Count Orlov, but many documents were unexpectedly «lost,» as evidenced, in particular, by Gavriil Romanovich Derzhavin. He retained memories that allegedly the former director of the Imperial Secret Chancer, had kidnapped and destroyed (?) Documents about the sale of a diamond by Ivan Lazarev. Allegedly these documents contained discrediting business reputation about the fraud of the Lazarevs, thanks to which they took possession of the diamond. According to one information Ivan Lazarev was a jeweler of the Empress, according to other sources, Graf Orlov himself played only the role of «cover», and the sum of 400 000 rubles — at that time very significant — was singled out by the Empress herself …. Questions and puzzles only multiply.

But, one way or another, already in 1874 Catherine II granted Lazarev a hereditary nobility, and Ivan Lazarev permanently and firmly strengthened in the «highest» light at the Court. And the amount of 400 000 rubles is beyond doubt ….

At the bequeathed in 1800 by Ivan Lazarev 200 thousand rubles banknotes his heirs and was in 1814-1823 built (converted) complex «Lazarevsky Institute», where the lions are adorned on the pylons of the gate.

It is possible that these lions, in addition to their decorative purpose, as well as the coat of arms of the noble family of Lazarevs, guard this mystery of the appearance of the diamond «The Earl of the Eagles» in Russia.  Perhaps, therefore, it is not accidental that the object of cultural heritage of federal significance — a monument of the history and culture of the peoples of the Russian Federation — is in the ownership of the Republic of Armenia.