Antiquities of the Russian state, published by the Highest order of Emperor Nicholas I. "Facial Saints" by F.G. Solntseva

Solntsev Fedor Grigorievich

Solntcev Fedor

(1801 - 1892)

A nation rising to its feet always shows an increased interest in its past. It was after the Napoleonic Wars, when Russia began to play a significant role in solving European problems, at Russian society there was a need to know more about myself.

Did a lot to learn ancient Russian art a graduate of the Academy of Arts Fyodor Grigorievich Solntsev, who, under the leadership of Varnek and Yegorov (1815-1825), mastered everyday art and icon painting.

While still at the Academy, Fyodor Solntsev painted the picture "A Peasant Family Before Dinner" (1824), for which he received gold medal... Tempting prospects open up before the young artist. Moreover, the family of Nicholas I favors him. Perhaps the emperor himself had a decisive influence on creative life F. Solntseva. In 1830 he was sent on an artistic and archaeological expedition to the ancient cities of Russia. From the business trip of F.G. Solntsev brings over 3000 watercolors related to ancient Russian art. From now on, he is the main connoisseur of the antiquities of the Russian state, and therefore, as an authoritative expert, he is attracted to restoration work and new buildings in the Byzantine-Russian style.

Solntsev F.G. (fragment of an engraving, Pity)

The artist still does not part with oil and watercolors, but his main merits are associated with artistic and archaeological activities. It was for her that he received the title of professor in 1876. And in 1885 the public of St. Petersburg warmly celebrates the 50th anniversary of F.G. Solntsev, the title of academician - pleasing longevity, lived with great benefit for the dear Fatherland.

____________________________

Solntsev Fedor Grigorievich

The life and works of the artist Fyodor Solntsev
“Solntsev was one of those best and few,
who taught us all to appreciate and love
real root Russia ”.
V.V. Stasov

One of the halls of the State Tretyakov Gallery exhibits small picture"Peasant family", executed in 1824 by a graduate of the Academy of Arts as a program for the Small (second) gold medal. Traditional program task with a straightforward plot, uncomplicated, but thoughtful compositional construction, warm flavor is a real academic work. She earned the recognition and approval of the members of the commission, its author received a gold medal, and the young artist received the right to a pensioner's trip, which he did not use. This picture at the end of the XIX century. took P.M. Tretyakov, students of the Academy of Arts made educational copies from it. And who could then, in 1824, imagine that this simple programmatic work would begin great way outstanding Russian artist, without whom it is unthinkable today to talk about culture XIX v. in general, about Russian architecture and Russian books, in particular. The name of this artist is Fyodor Grigorievich Solntsev (1801-1892).

Russian science owes Solntsev's work to the collection of Antiquities Of the Russian state"And" Kerch and Phanagorian antiquities ". According to Solntsev's drawings, the towers and churches of the Moscow Kremlin were restored, the halls of the Kremlin Palace were decorated. He owns the honor of the discovery and restoration of mosaics and frescoes of St. Sophia of Kiev, the Assumption Cathedral of the Kiev-Pechersk Lavra, Dmitrov Cathedral in Vladimir.

In 1876, during the celebration of the 50th anniversary of the artistic and archaeological activity of F.G. Solntseva Chief Editor famous magazine"Russian antiquity" Mikhail Ivanovich Semevsky said: "Drawings by Solntsev, in scientific and artistic terms - a pictorial chronicle Ancient Rus, the source of the revival of the domestic style. And if Karamzin found living colors for the style of his history in the annals and other archaeographic monuments of our Fatherland; if Pushkin is in folk tales found a living, fresh stream, with which he renewed the language of Patriotic poetry, the artist Solntsev, with his works, awakened in Russian artists a sense of national identity and respect for the images bequeathed to us by our ancestors. "

Fedor Grigorievich Solntsev was born on April 14, 1801 in the village. Verkhne-Nikulsky, Mologsky district, Yaroslavl province, in the family of landlord (serfs) peasants, Count Musin-Pushkin. After the birth of his son Fyodor, his father, Grigory Kondratyevich, left for St. Petersburg and began to work as a cashier at the imperial theaters. Soon in northern capital the older brother, Denis, also moved. Fedor and his mother Elizaveta Frolovna remained in the village. Thanks to the efforts of his mother, a former literate woman, he began to learn to read. But study as a whole was given with difficulty. It was much more interesting to draw or copy popular prints, to play on the bank of a stream that flows into the famous river Sit.

When, in 1815, his father, as usual, visited his family, they complained to him about a negligent child who was only interested in drawing various village and church objects. Grigory Kondratyevich, apparently possessing a good instinct, took the child with him to St. Petersburg. Here, on the Admiralty Square in the house of Count Kutaisov, living with his brother and father, Fyodor Grigorievich began to study arithmetic, French and German, study a number of general subjects, as well as drawing.

While Fyodor Grigorievich was quietly studying with his brother, his father fussed about getting him into the Academy of Arts. This happened in the same, 1815, having gone one day on the orders of Grigory Kondratyevich to the inspector of academic classes, famous artist K.I. Golovachevsky, Fyodor Solntsev was immediately enrolled in the number of his own pupils. In 1815 he was assigned to the first drawing class. Less than six months later, Solntsev found himself in a full-scale class. Having passed into the third age, F.G. Solntsev chose history and portrait painting, and began to work under the guidance of famous Russian painters, professors S.S. Shchukin, A.A. Egorova and A.G. Varneka. Solntsev worked a lot and interestingly, took part in the painting of the Kazan Cathedral. Soon the director of the Imperial Public Library A.N. Olenin, who became President of the Academy of Arts in 1817. "Lover and connoisseur of antiquities", widely erudite in matters of literature and art, historian, archaeologist and ethnographer, he attracted young artist for execution various works and orders, aiming at artistic and archaeological research. A.N. Olenin contributed to the formation and formation of a unique historical painter, expert in archeology and Russian history.

In 1829, almost five years after Solntsev graduated from the Academy of Arts, Olenin recruited him to work on the publication of a book about Ryazan antiquities. F.G. Solntsev made drawings of Ryazan antiquities: precious plaques, barmas, rings. He later recalled this work: “Aleksey Nikolayevich invited me to draw 'Ryazan antiquities'. I set to work. It was necessary to draw in the office of Alexei Nikolaevich. By the way, I had a badge drawn, and this drawing was lying on the table. Once a professor of perspective - M.N. Vorobiev. Noticing a badge on the table and taking it for a real one, he wanted to move it with his hand, but, seeing his mistake, he said: "Is it really drawn!" On this occasion, Aleksey Nikolayevich remarked: "Yes, the best praise for art cannot be done."

The work on the Ryazan antiquities finally linked the life and work of Fyodor Grigorievich with archeology.

The most important stage in creative biography F.G. Solntsev became the 30s of the XIX century. At this time, he worked in Moscow, removing drawings from the most ancient things stored in the Armory Chamber of the Moscow Kremlin and its cathedrals, making watercolor sketches different types Moscow. Some of these drawings were made for the Russian historian, full member of the Imperial Society of Russian History and Antiquities - Ivan Mikhailovich Snegirev. In an introductory article to one of them, the publisher August Semyon noted:

“A description of the antiquities of the first throne, the royal capital of Russia, worthy of the greatness of the subject and the reverent attention of the Russian people and the Russian land to the shrines and monuments of Moscow, has long been the common desire of all enlightened people. The study of Patriotic monuments is the duty of everyone who loves his Motherland. Preserving them in descriptions and images from accidental death and destruction of time should be revered as a testament to our respect for ancestors and the honor of the people.

Lucky chance, the long-desired enterprise found a zealous patron in the former, forever unforgettable mayor of Moscow, Prince D.V. Golitsyn. The description of the monuments of Moscow antiquity was entrusted to the scientist connoisseur of Russian antiquities I.M. Snegirev. Curious descriptions of Mr. Snegirev were enriched by drawings of the excellent isographer of Russian antiquities, academician F.G. Solntseva.

The elegance of the decoration of the drawings and the completeness and clarity of the descriptions aroused concordant praise from all our not only Russians, but also foreign newspapers and magazines, which unanimously recognized the Monuments of Moscow Antiquity as the first magnificent publication of all that have been published in Russia so far. "

This joint work of outstanding Russian researchers I.M. Snegirev and F.G. Solntsev, along with "Monuments of Old Russian Architecture" by F.F. Richter and "Russian antiquity" by A.A. Martynov and I.M. Snegireva laid the foundation for the education of Russian architects in terms of national heritage.

In May 1830, the work of the artist F.G. Solntsev on "copying our ancient customs, robes, weapons, church and royal utensils, belongings, horse harness and other items belonging to historical, archaeological and ethnographic information" that were in Moscow and stored in the Armory. Solntsev's work in the Kremlin and in the Armory was assisted by prominent public and state figures of XIX century: the Metropolitan of Moscow Filaret (Drozdov), the president of the Moscow palace office, Prince V.V. Yusupov, historian M.P. Pogodin and, of course, A.N. Olenin.

Created by F.G. Solntsev's collection of drawings of Russian antiquity (and there were more than three thousand of them by the end of the 40s) attracted the attention of Emperor Nicholas I, and he granted about one hundred thousand silver rubles for their publication. Such a donation from the emperor for publication caused a lively response in the public and scientific circles of Russia. In the journal "Moskvityanin" historian M.P. Pogodin noted that "lovers of Patriotic antiquity and history bless the royal generosity" and "look forward to a magnificent publication." And 20 years after the publication of "Antiquities of the Russian State" by M.P. Pogodin writes: “The most important and at the same time the most magnificent edition of our monuments, in fact archaeological, is in the Antiquities of the Russian State. Archeology received a rich manual in this magnificent edition! "

V.V. Stasov, giving a speech in memory of F.G. Solntsev, highly appreciated the "Antiquities of the Russian State". He said: "The book came to the general taste, it constituted an era in Russian historical consciousness and had a tremendous impact on the growth of all the last artistic generations of ours."

The works of F.G. Solntsev was assisted in every possible way by Emperor Nicholas I, who brought national traditions to the fore. Among them, some attention was paid to Russian historical relics.

The enormous work done by Solntsev to restore the Terem Palace of the Moscow Kremlin was highly appreciated by the emperor. He was awarded a diamond ring and was awarded the Knight Commander of the Order of St. Vladimir 4 degrees.

Nicholas I issued a number of orders related to Russian antiquity. In Kiev, in 1832, the remains of the Golden Gate were uncovered, and from 1835 a special Commission for the Research of Antiquities was operating. The collected collections entered the Kiev University, where an archaeological museum was opened on March 17, 1837. In 1847, an essay by the Kiev civil governor I.I. Fundukley "Review of Kiev", and in 1848 - "Review of graves, ramparts and settlements of the Kiev province." Most of buildings and things were presented in drawings and drawings. The engravings for the book were created according to the drawings of F.G. Solntseva.

It was F.G. Solntsev was honored with the discovery and restoration of the famous frescoes and mosaics of the 11th century. in the Kiev Sophia Cathedral, the existence of which until 1843 no one suspected. “It has long been noticeable in one of the side offices of the Cathedral, on the southern side, on the vault, ancient images of angels, seraphim and cherubim, and one could look closely and read Greek inscriptions here,” Archpriest I.M. Skvortsov in his book on the restoration of the cathedral, published in 1854. But this was only a part of the 8-century frescoes that had to be looked for on all the walls of the cathedral. In 1843, “when in the altar of the limit of the Monks Anthony and Theodosius, after the accidental fall of the plaster, there were traces of frescoes, who was on some business in Kiev, academician F.G. Solntsev had the idea of ​​existence similar images throughout the Yaroslav's temple. This idea was confirmed when we tried to clean the newest whitewash and tint in different places. Thus, this matter seemed to merit the attention of the Most High, it was reported to the Sovereign Emperor, and His Majesty deigned to instruct the Holy Synod to find means, both for the opening and renewal of ancient frescoes on all the walls and pillars of the Kiev-Sophia Cathedral. Consequently, a committee has been drawn up for the renewal of this council in all its parts; moreover, according to the highest will, the whole part of the picturesque is entrusted to the main supervision of Academician Solntsev. "

Restoring frescoes and revealing the mosaics of St. Sophia Cathedral, F.G. Solntsev copied his painting with jewelry care. In March 1853 he submitted 80 drawings to the Imperial Russian Archaeological Society for publication. The Archaeological Society agreed to undertake the publication work, deciding to lithochrome and engrave the drawings. At the same time, the emperor ordered that the publication of new drawings by F.G. Solntsev was a continuation of the "Antiquities of the Russian State". But due to lack of funds, the process of preparing the publication dragged on for many years and began only in 1866. In 1871, the first issue of Antiquities was published - Kievsky Sophia Cathedral».

From 1830 to 1853 F.G. Solntsev traveled a lot to ancient Russian cities, studying and sketching objects and ancient monuments, making ethnographic sketches. “From that time to the present, from the antiquities of the Kerch, Moscow, Trinity-Sergius Lavra, New Jerusalem and their environs, in Ryazan, Vladimir, Kiev, Novgorod, Pskov, Smolensk, Chernigov, Vitebsk, Mogilev and many other district cities, as well as in the sacristy of the Imperial Winter Palace in St. Petersburg was made by Solntsev watercolors and presented to the Emperor up to 2000 drawings. In addition, he is engaged in drawing with watercolors and for other Imperial commissions, as well as for the newly built Kremlin Palace in Moscow. Renewed under his watch antique painting in the Kiev Dormition Lavra and in the Vladimir Dmitrovsky cathedrals, and in the Kiev Sophia cathedral ancient frescoes are being renewed.

Solntsev for his labors was most mercifully bestowed with orders: St. Vladimir 4th degree, St. Stanislaus 2nd degree with a crown and St. Anna of the 2nd degree, and for the painting performed in the program from the Imperial Academy of Arts, he was awarded an Academician.

In 1836 F.G. Solntsev was awarded the title of academician for his work. From 1844 to 1867 he taught icon painting at the St. Petersburg Theological Seminary, for which he received the Order of St. Anna 2nd degree and the order of St. Vladimir 3rd degree. In 1858-1866. under his supervision, more than 200 iconostases were made for churches in western Russian provinces by order of the Ministry of State Property. He himself made sketches of images, crosses, banners and so on.

Working with the monuments of ancient Russian art and household items, studying the monuments of Russian antiquity, F.G. Solntsev constantly came into contact with Russian handwritten books, from which he drew the information necessary for dating the objects under study, to determine the place of their creation and purpose.

While working in the Moscow Kremlin in the 30s. XIX century. with objects of Russian antiquity of the Armory Chamber, the artist's attention was attracted by such masterpieces of Russian book literature as Izbornik Svyatoslav 1073, Tsarist letters. In the Moscow Synodal Printing House, he drew attention to the unique Yuryev Gospel, to the old printed books. F.G. Solntsev copied the most interesting materials: splash screens, capital letters, examples of writing from different eras, i.e. everything that could be useful to the artist for understanding, characterizing and reproducing a particular era. The collection of drawings and watercolors by F.G. Solntsev, stored in the Department of Manuscripts of the Russian national library, turned out to be a number of sheets representing ancient Russian book art. It can be assumed that F.G. Solntsev thought about systematization visual material, contained in handwritten and early printed books, thought about creating an album on the history of Russian book ornament.

Since the late 1930s, when Emperor Nicholas I received F.G. Solntsev, under his patronage, for members of the imperial family, the artist created prayer books and other books of spiritual content. One of them was the book "Holidays in the House of the Russian Orthodox Tsar".

For members of the imperial family F.G. Solntsev also wrote: A Prayer Book for Empress Alexandra Feodorovna, wife of Nicholas I; Prayer book for Empress Maria Alexandrovna, wife of Alexander II; Prayer books to guardian angels for the Grand Duchesses Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna; Lives of the Chosen Saints; "Holidays in the House of the Russian Orthodox Tsar"; Life of Sergius of Radonezh; Service to St. Mary Magdalene; “Russian saints who stand before God for the Tsar and Holy Russia”; “Significant days in the House of Emperor Alexander III”.

For several years F.G. Solntsev often visited M.P. Volkonskaya, daughter-in-law of the head of the Palace Chancellery, Oberhof Marshal P.M. Volkonsky, who took care of the artist after the death of A.N. Venison. In the house of Maria Petrovna, artists, writers, composers gathered, among them Professor N.I. Pokhvisnev, L. Kikina, L. Lvov, M.A. Mezhakova, P.V. Basin. In the circle of M.P. Volkonskaya in the 50s of the 19th century. under the leadership of Solntsev and with his direct participation, the manuscript book "The Prayer Book with the Month" was created.

They wrote about this handwritten book in the Stolitsa i Usadba magazine, drawing attention to the obverse Mesyatseslov located at the end of the book. These are images of saints, as well as feasts of the Lord and twelve. “One can imagine how much labor it cost, for example, to place on a space less than four inches high and about three widths - the image of the daily saints celebrated throughout the month. To highlight the faces and vestments of semi-topped figures, one had to use a magnifying glass and have a real stock of patience, and, with all possible diligence, closer than two or three months it was impossible to finish the table with all the saints of thirty days and the images of the twelve feasts that were part of them. "

By order of Princess L.N. Menshikova F.G. Solntsev created a unique, extraordinary beauty handwritten book "The Gospel of John". Academicians G.G. Gagarin and Premazzi.

The logical result of turning to the Russian handwritten tradition was the creation in the early 60s. XIX century. on the instructions of the Holy Synod of Big Facial Saints. During the preparation of the Saints, the artist used nine icon-painting originals of the 14th - 15th centuries. and performed the work of a historian and ethnographer. He also used many figurative images- icons, drawings, own drawings. In 1866 the Saints were published. They consisted of 12 sheets, 48 ​​weeks each, and each week 100 figures of saints. Nestor Kukolnik, anticipating the release of the Svyattsy, wrote that "the publication would be of great benefit to artists in their performance of church painting." The Solntsevskaya Svyattsy "represented a whole reference lexicon, an archaeological museum."

It became quite logical for F.G. Solntseva work on the design and illustration of various printed publications - books and magazines - using the design principles of Russian handwritten books.

In the 40s, while working in Kiev, the artist met Metropolitan Filaret (Gumilevsky). This acquaintance grew into a close collaboration. For the works undertaken by Filaret, F.G. Solntsev made over 400 drawings. Metropolitan Filaret's works were reprinted several times in the second half. XIX - early. XX centuries. and all the time they came out with illustrations by F.G. Solntseva. Many of these illustrations have been used for other publications, carried out by order of the Holy Synod. Drawings for various publications dedicated to the saints glorified by the Russian Orthodox Church, F.G. Solntsev performed many times. Among them there are illustrations created at the request of I.P. Khrushchov for his books about holy ascetics published in the series "People's Readings". Drawings by F.G. Solntsev were used in the reprint of "Reflections on Divine Liturgy"N.V. Gogol.

Love for Russian history, for "Russian antiquities" brought together and made friends F.G. Solntsev with M.I. Semevsky - editor of the Russian Starina magazine. For more than 30 years (before his death), the artist created screensavers, vignettes and endings for the design of this magazine.

The feeling of love for the ancient Russian book tradition of F.G. Solntsev tried to instill in his students, among whom was A.P. Ryabushkin. Together they wrote congratulatory addresses, decorating them in the Russian style. A.P. Ryabushkin independently created several handwritten books. Old Russian handwritten tradition and handwritten book tradition, the development of which in the 19th century. facilitated by F.G. Solntsev, contributed to the fact that Russian artists began to create handwritten books, including V.M. Vasnetsov, M.V. Nesterov, D.S. Stelletsky.

In 1876, the fiftieth anniversary of the artistic and archaeological activity of F.G. Solntseva. From the Imperial Archaeological Society F.G. Solntsev received a large gold medal with his portrait, knocked out on the occasion of the 50th anniversary of artistic and archaeological activity. And in the magazine "Russian antiquity" M.I. Semevsky published the artist's memoirs "My Life and Artistic and Archaeological Works". In November 1886, the Academy of Arts honored the 50th anniversary of F.G. Solntsev the title of academician.

Little is known about the last 15 years of the artist's life and work. And these years were full of daily painstaking work for the Synod and the Synodal Printing House, for the magazine "Russian Starina", for various publishing houses, and the execution of private orders. During these years, Solntsev continued to carry out a large trusteeship work for scholars from state peasants - students at the Imperial Academy of Arts.

Solntsev worked until last day, before his death. In the "Formulary list about the service of the former enlisted in the Imperial Academy of Arts for the compilation full collection archaeological and ethnographic drawings of the professor and honorary free associate of the Academy ", the last entry, made in 1892, reads:" By the will of God, he died. "

The artist was buried with honors at the Volkov cemetery.

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Irina Bogatskaya

Antiquities of the Russian State in the Works of Fyodor Solntsev. "RI" No. 1/2005.

Fyodor Grigorievich Solntsev (1801-1892) - Russian graphic artist was born on April 14, 1801 in the village of Verkhnenikulsky, Mologsky district, Yaroslavl province, into a family of peasants, Count Musin-Pushkin. In 1815 he was assigned to the Academy of Arts. The President of the Academy of Arts, director of the Imperial Public Library A.N. Olenin, he began to attract Solntsev for the execution of various works and orders, aiming at artistic and archaeological research. In 1829 F.G. Solntsev executed drawings of Ryazan antiquities: precious plaques, barmas, rings. This work finally linked the life and work of Fyodor Grigorievich with archeology: his contemporaries called him exclusively an artist-archaeologist, and later his half-century artistic and archaeological activity was awarded the gold medal of the Imperial Russian Archaeological Society. Since the end of the 20s. XIX century. F.G. Solntsev became the main assistant to A.N. Olenin in the publication of archaeological works. At the beginning of 1830 he painted "Kerch" and "Phanagorian antiquities". In the 20s of the XIX century. A.N. Olenin attracted Solntsev to work on the creation of projects of various uniforms.

The 30s of the XIX century became a new stage in the creative biography of F.G. Solntseva. He worked in Moscow, removing drawings from the most ancient things stored in the Armory Chamber of the Moscow Kremlin and its cathedrals, made watercolor sketches of various views of Moscow. Some of these drawings were made for the works of the Russian historian, a full member of the Imperial Society of Russian History and Antiquities - Ivan Mikhailovich Snegirev, who was engaged in the study of Russian antiquities. Created by F.G. Solntsev's collection of drawings of Russian antiquity from the 6th to the 18th century was used in the publication of Antiquities of the Russian State (1849-1853). The edition consisted of 500 large-format drawings.

From 1830 to 1853 F.G. Solntsev traveled a lot to ancient Russian cities, studying and sketching objects and monuments of antiquity, making ethnographic sketches. In 1847, an essay by the Kiev civil governor I.I. Funduklea "Kiev Review", Most of the buildings and things that were described in the "Kiev Review" are presented in pictures and drawings. The engravings for the book were created according to the drawings of F.G. Solntseva. F.G. Solntsev restored the frescoes and uncovered the mosaics of the Kiev Sophia Cathedral (X1 century), copied its murals with jewelry thoroughness. In March 1853 he submitted 80 drawings to the Imperial Russian Archaeological Society for publication. Due to lack of funds, the process of preparing the publication dragged on for many years and began only in 1866. In 1871, the first issue of Antiquities, the Kiev Sophia Cathedral, was published.

In 1836 F.G. Solntsev was awarded the title of academician. From 1844 to 1867 he taught icon painting at the St. Petersburg Theological Seminary, for which he received the Order of St. Anna 2nd degree and the order of St. Vladimir 3rd degree. In 1858-1866. under his supervision, more than 200 iconostases were made for churches in western Russian provinces by order of the Ministry of State Property. He himself made sketches of images, crosses, banners and so on.

The artist's collaboration with the publishing department of the Holy Synod was fruitful. To the publication of the "Lives of the Saints, Revered Orthodox Church»F.G. Solntsev made 400 drawings. According to Solntsev's drawings, the Antimension was published. With his illustrations, the books "Explanations for the Liturgy" by Dmitrievsky, "Explanations for the Liturgy" by N.V. Gogol and others.

Since the end of the 30s, when Emperor Nicholas I received F.G. Solntsev, under his patronage, for members of the imperial family, the artist created a number of handwritten books: Prayer Book for Empress Alexandra Feodorovna, wife of Nicholas I; Prayer book for Empress Maria Alexandrovna, wife of Alexander II; Prayer books to guardian angels for the Grand Duchesses Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna; Lives of the Chosen Saints; "Holidays in the House of the Russian Orthodox Tsar"; Life of Sergius of Radonezh; Service to St. Mary Magdalene; “Russian saints who stand before God for the Tsar and Holy Russia”; “Significant days in the House of Emperor Alexander III”. In the 50s of the nineteenth century. the "Prayer Book with Months" was created by order and with the participation of Princess M.P. Volkonskaya. Analysis of the painting technique shows that two artists worked on the design. The main work was done by F.G. Solntsev and only a small part - P.V. Basin. Around the same years, in 1854, by order of Princess Leonilla Nikolaevna Menshikova F.G. Solntsev created a unique handwritten book "The Gospel of John", which in 1887, according to the will of the princess, entered the Department of Manuscripts of the Imperial Public Library.

The second half of the artist's life was filled with equally important and serious works. Since the 50s. XIX century. F.G. Solntsev took part in painting work to fix the interior in the Cathedral of the Alexander Nevsky Lavra. In 1861-1862. he renewed the Holy Trinity Alexander Nevsky Cathedral, and in 1863-1864. oversaw the renovation of the Lavra Church of the Holy Spirit.

In the 1860s. strong friendship and cooperation was tied by F.G. Solntsev with journalist, publisher and writer M.I. Semevsky. For 30 years, the magazine "Russian Starina" was published in the design of the artist Solntsev. In 1873, at the Imperial Russian Archaeological Society, a special commission of 5 members was formed, chaired by N.I. Stoyanovsky, for the publication of numerous works of Olenin, who died in 1843. Some of them were published already in 1877. 100 illustrations included in the "Archaeological Works" belonged to F.G. Solntsev. (Antiquities of the Cimmerian Bosphorus, stored in Imperial Museum The Hermitage. Rice. F.G. Solntseva. SPb., 1854.2 vols .; Olenin A.N. Archaeological works in 4 vols. ed. N.I. Stoyanovsky with 100 photographs by F.G. Solntseva. SPb., 1877, 1881, 1882.)

Fyodor Grigorievich Solntsev lived a long life - almost the entire 19th century. Before his eyes alone historical era replaced by another, and artistic activity of this humble worker of art had a strong influence on the entire era, on the work of entire generations, affirming the "Russian style".

http://www.artcyclopedia.ru/solncev_fedor_grigorevich.htm

Solntsev (Fedor Grigorievich) - painter and archaeologist (1801 - 1892). His father, serf c. Musin-Pushkin, placed his son in his own pupils at the Academy of Arts (in 1815).

Solntsev (Fedor Grigorievich) - painter and archaeologist (1801 - 1892). His father, serf c. Musin-Pushkin, placed his son in his own pupils at the Academy of Arts (in 1815). Here, studying under the guidance of S. Shchukin and A. Egorov, S. quickly showed success in painting. At the end of the academic

course in 1824 for the painting "A Peasant Family", he received a small gold medal, and in 1827 for the painting "Render Caesar's Things to Caesar, and God's Gods" - a large gold medal. After that, S. left the Academy and for some time earned a living by drawing lessons, painting portraits

etc. The then president of the Academy A. Olenin began to direct S. to the road on which S. later became famous. Thanks to Olenin, the young artist became an archaeologist-draftsman and for the rest of his life was chained to the study and depiction of various ancient monuments. In 1830 by Vysochaish

to him, he was sent to Moscow and other places of the Empire "to copy our ancient customs, attire, weapons, church and royal utensils, belongings, horse harness and other items." S. carefully reproduced in watercolors any old thing, having any historical significance, and all

e sent his drawings to Olenin, who constantly supervised these works (especially the first years) and gave him detailed instructions... For his work, S. was reckoned in 1833 to the Academy and to the Cabinet of His Majesty. From this time on, a whole series of S.'s trips through the ancient cities of Russia began to sketch

Russian antiquities. Until 1836 he worked in Novgorod, Ryazan, Moscow, Torzhok and other cities; in Moscow he studied at the Armory, in the Assumption and Archangel Cathedrals and in other places. Sketching and examining in detail the royal utensils in the Armory, he made the discovery that the so-called

The crown and barmas of Monomakh were made during the reign of Tsar Mikhail Feodorovich, in Greece. In addition, he made arrivals to Ryazan, Yuryev-Polsky, Smolensk and other cities. At the end of 1835, he received a program from the Academy to obtain the title of academician: to paint a picture "Meeting of the Grand Duke Svyatoslav with John

m Tzimiskes. "A year later, this picture (located in the museum of Emperor Alexander III) was finished, and S. made an academician. Almost simultaneously with this S. was engaged in the restoration of the ancient royal palaces in the Kremlin, composed projects for their restoration and a tower on them by the end of 1836 were completely renewed.

Emperor Nicholas, who unconditionally believed in the knowledge of S., instructed him to sketch many of the things that are in the Armory and in the Annunciation Cathedral. Of the huge number of Solntsevo drawings depicting antiquity - and there are more than 3000 of them in total - not a single one has passed the Tsar's eyes. Execution

I instructed him, S. determined, among other things, that the so-called crown of the Astrakhan kingdom was made under Mikhail Feodorovich, and the Siberian crown - under Alexei Mikhailovich. From 1837 to 1843, Mr .. S. worked mainly in Moscow, although he visited other ancient cities. At the same time, he took part

e in the structure of the Moscow The Grand Palace, built on the site of the previous one, which burned down in 1812. When, in 1843, Olenin died, the Tsar undertook to lead S. himself and sent him to Kiev to copy and restore the antiquities there. From here begins new era S.'s career, which lasted

ten years. In the summer he usually worked in Kiev, and for the winter he moved to St. Petersburg, where he brought with him each time from 80 to 100 drawings, which he presented to the Emperor. Examining the Kiev-Sophia Cathedral, he discovered there wall frescoes of the XI century. Not limited to this discovery, which

e can be considered one of the most important merits of S., at the Highest command, he proceeded to restore the interior of the aforementioned cathedral as much as possible in the form it had, and finished this work in 1851. Moreover, S. took pictures of some of the temples, made drawings the interior of the cathedral Kiev-Pechersk

lavra, participated in the temporary commission for the analysis of ancient acts of South-West Russia, established in 1844, and was appointed to the committee for the publication of the drawings he took. This edition lasted from 1846 to 1853 and consisted of six huge volumes of Antiquities of the Russian State, in which

most of the drawings (up to 700) belong to S. The Crimean War, the death of Emperor Nicholas I and the onset of the era of reforms during the reign of his successor on the throne - all this pushed S. into the background. Nevertheless, from 1853 he worked for St. Petersburg St. Isaac's Cathedral, fulfilling orders from C

the Most Holy Synod, such as, for example, drawings of antimensions, images of saints for placement in prayer books, saints, etc .; for eight years he was in charge of the work on the manufacture of iconostases for the churches of the western provinces. Since 1859, S. again receives official business trips (for example, to Vladimir

on the Klyazma) and is included in the imperial archaeological commission. In view of his merits, the Academy of Arts in 1863 gave him the title of her honorary free associate. In 1876, the 50th anniversary of S.'s activity was solemnly celebrated, and he was presented with a gold medal knocked out in his honor and he was

the title of professor. Not possessing a particularly bright artistic talent, S. occupied a very prominent place in the history of Russian art with his tireless work in the field of study artistic monuments Russian antiquity: he performed an uncountable number of drawings of all kinds of antiquities Ross

and many of which were later published and made a valuable contribution to our archeology. Also very curious are the drawings of the common people, now for the most part already disappeared, the costumes of different regions of Russia, which S. studied and reproduced with love during his travels; finally, he has a lot

they owe both Russian iconography and the ornamentation of buildings and utensils, mainly church ones. Wed N. Sobko "F. G. Solntsev and his artistic and archaeological activities" ("Bulletin fine arts", vol. I, p. 471);" My life and artistic and archaeological works ", the story of FGS (" Rus

) - the largest Russian specialist in artistic archeology (artist, architect and historian), head of the famous publication "Antiquities of the Russian State". Supervised decoration Of the Great Kremlin Palace.

Origin

Creation

At the end of the academic course, in 1824, for the painting "Peasant family", he received a small gold medal, and in 1827, for the painting "Render Caesar's things to Caesar, and God's Gods" - a large gold medal.

In 1830, at the highest command and commission of Olenin, he went to Moscow and other places “to copy our ancient customs, clothes, weapons, church and royal utensils, belongings, horse harness, and so on. objects ". For all the time he drew more than 3000 high-precision drawings, sketches, distinguished by great detail. They depicted historical household items, icons, structures, clothing, weapons, armor, etc. About 700 of these sketches made up the bulk of the publication "Antiquities of the Russian State", conceived by Olenin and carried out after his death by Emperor Nicholas I, with a circulation of 600 copies.

In 1836, for the painting “The meeting led. book Svyatoslav with John Tzimiskes ”Fyodor Grigorievich was made an academician. In addition, Solntsev took part in the painting and restoration of many Temples. In 1836-1849, together with the architect P. A. Gerasimov, he restored the Terem Palace in the Moscow Kremlin. In 1876, in honor of the 50th anniversary of his activity, he was elevated to the rank of professor.

He died in 1892 and was buried at the Volkovskoye cemetery in St. Petersburg. The memorial room of the artist-archaeologist FG Solntsev is located in Borka (Yaroslavl region).

Major works

• "Ryazan antiquities"
• "Monuments of Moscow Antiquity"
• "Antiquities of the Russian State" (from 1846 to 1853).
  • Issue "Kiev Sophia Cathedral" (1871)
• "Clothes of the Russian State"
• "Kerch and Phanagorian antiquities"
• "Motives of ornaments taken from old Russian works"
• "Review of Kiev" by the Kiev civil governor I. I. Fundukley (1847)
• "Review of the graves, ramparts and settlements of the Kiev province" (1848)
• a number of handwritten books for the royal family:
  • Prayer book for Empress Alexandra Feodorovna, wife of Nicholas I;
  • Prayer book for Empress Maria Alexandrovna, wife of Alexander II;
  • Prayer books to guardian angels for the Grand Duchesses Maria Nikolaevna, Olga Nikolaevna and Maria Alexandrovna;
  • Lives of the Chosen Saints;
  • "Holidays in the House of the Russian Orthodox Tsar";
  • Life of Sergius of Radonezh; Service to St. Mary Magdalene;
  • “Russian saints who stand before God for the Tsar and Holy Russia”;
  • “Significant days in the House of Emperor Alexander III”.
• "The Gospel of John" commissioned by Princess Leonilla Nikolaevna Menshikova (1854)
• Solnevskaya "Saints"
• illustrations for the works of Metropolitan Filaret
• Memoirs "My life and artistic and archaeological works"

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Notes (edit)

Literature

• M. M. Evtushenko Fedor Grigorievich Solntsev: New data for the artist's creative biography // Russian art in the Hermitage. - SPb., 2003. - S. 240-249.
• Tarasov E.// Encyclopedic Dictionary of Brockhaus and Efron: in 86 volumes (82 volumes and 4 additional). - SPb. , 1890-1907.

Links

• Solntsev F.G.// Russian antiquity, 1876. - T. 15. - No. 1. - P. 109-128; No. 2. - S. 311-323.

An excerpt characterizing Solntsev, Fedor Grigorievich

The Cossack was summoned, questioned; Cossack commanders wanted to take advantage of this opportunity to repulse the horses, but one of the commanders, familiar with the highest ranks of the army, reported this fact to the staff general. V recent times the situation at army headquarters was extremely tense. Ermolov, a few days before this, having come to Bennigsen, begged him to use his influence on the commander-in-chief in order to make an offensive.
“If I didn’t know you, I would think that you don’t want what you ask for. It is worth advising me one thing, so that His Serene Highness would probably do the opposite, - answered Bennigsen.
The news of the Cossacks, confirmed by the sent trips, proved the final maturity of the event. The stretched string came off, and the clock hissed, and the chimes began to play. Despite all his imaginary power, in his intelligence, experience, knowledge of people, Kutuzov, taking into account the note of Bennigsen, who personally sent reports to the sovereign, expressed by all the generals the same desire, the sovereign's supposed desire and the bringing of the Cossacks, could no longer restrain inevitable movement and gave the order for what he considered useless and harmful - blessed the accomplished fact.

The note submitted by Bennigsen about the need for an offensive, and the information of the Cossacks about the uncovered left flank of the French were only the last signs of the need to order an offensive, and the offensive was scheduled for October 5th.
On the morning of October 4, Kutuzov signed the disposition. Toll read it to Yermolov, inviting him to take up further orders.
“Okay, okay, I don’t have time now,” said Ermolov and left the hut. Tol's disposition was very good. Just as in the Austerlitz disposition, it was written, although not in German:
“Die erste Colonne marschiert [The first column goes (German)] this and that, die zweite Colonne marschiert [the second column goes (German)] this and that,” etc. And all these columns are on paper came at the appointed time to their place and destroyed the enemy. Everything was, as in all dispositions, perfectly thought out, and, as with all dispositions, not a single column came in due time and in its place.
When the disposition was ready in the proper number of copies, an officer was summoned and sent to Yermolov to give him the papers for execution. A young cavalry officer, Kutuzov's orderly, pleased with the importance of the assignment given to him, went to Yermolov's apartment.
- They left, - answered the orderly Ermolov. The cavalry officer went to the general, whom Ermolov often visited.
- No, and there is no general.
The cavalry officer sat on horseback and rode to another.
- No, they left.
“How would I not be responsible for the delay! What a shame! " - thought the officer. He traveled all over the camp. Who said that they saw how Ermolov drove with other generals somewhere, who said that he was probably at home again. The officer, without having dinner, searched until six o'clock in the evening. Ermolov was nowhere to be found and no one knew where he was. The officer had a quick bite to eat at his comrade's and went back to the vanguard to Miloradovich. Miloradovich was not at home either, but then he was told that Miloradovich was at the ball at General Kikin's, that Ermolov must be there.
- But where is it?
“And over there, in Echkin,” said the Cossack officer, pointing to a distant landlord’s house.
- But what about there, behind the chain?
- They sent two of our regiments into the chain, there is such a revelry nowadays, trouble! Two music, three choirs of songwriters.
The officer went by the chain to Echkin. From a distance, still driving up to the house, he heard the friendly, cheerful sounds of a soldier's dancing song.
"In oluzya ah ... in oluzi! .." - with a whistle and with a torban he heard him, occasionally drowned out by the shout of voices. The officer felt cheerful in his soul from these sounds, but at the same time it was also scary for the fact that he was guilty, for so long not giving the important order entrusted to him. It was already past nine. He dismounted from his horse and entered the porch and the front hall of a large, intact landlord's house, located between the Russians and the French. In the pantry and in the hall, footmen were bustling about with wines and food. There were songbooks under the windows. The officer was led through the door, and he suddenly saw all together the most important generals of the army, including the large, noticeable figure of Yermolov. All the generals were in unbuttoned coats, with red, lively faces and were laughing loudly, standing in a semicircle. In the middle of the room, a handsome, short general with a red face was briskly and deftly making a trepak.
- Ha, ha, ha! Ah yes Nikolai Ivanovich! ha, ha, ha! ..
The officer felt that, entering at that moment with an important order, he was doubly guilty, and he wanted to wait; but one of the generals saw him and, learning why he was, told Ermolov. Ermolov, with a frowning face, went out to the officer and, having listened, took the paper from him, without saying anything to him.
- Do you think he left by accident? - said that evening the staff comrade to the officer of the cavalry guard about Yermolov. - These are things, this is all on purpose. Give Konovnitsyn a ride. Look, what porridge will be tomorrow!

The next day, early in the morning, the decrepit Kutuzov got up, prayed to God, dressed, and with the unpleasant consciousness that he should lead a battle, which he did not approve of, got into a carriage and drove out of Letashevka, five miles behind Tarutin, to that place, where the advancing columns were to be assembled. Kutuzov rode, falling asleep and waking up and listening to see if there were any shots on the right, was the case starting? But it was still quiet. The dawn of damp and cloudy was just beginning autumn day... Approaching Tarutin, Kutuzov noticed the cavalrymen leading the horses to the watering hole across the road along which the carriage was traveling. Kutuzov looked at them closely, stopped the carriage and asked which regiment? The cavalrymen were from the column that should have been already far ahead in ambush. "A mistake, maybe," thought the old commander-in-chief. But, having driven even further, Kutuzov saw infantry regiments, guns in the box, soldiers with porridge and firewood, in underpants. An officer was called. The officer reported that there was no order to march.

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Providence ordered that the great Russian artist Fedor Solntsev lived in the 19th century. If he were our contemporary, he would certainly have been the art director of some eminent fashion house, and world architecture, design, fashion developed along a different trajectory. The trajectories of the blossoming complexity of the original Russian mode, which Fyodor Solntsev felt like no other.

Having scrolled through the album “Russian Style. The genius of Fedor Solntsev ", you probably decide to revise your own wardrobe. T-shirts with prints, jeans, sneakers will puzzle you. Your apartment will appear to you as a random haven filled with meaningless things, and fashion magazines will be perceived as the epitome of stupidity.

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Fedor Solntsev - the creator of "archaeological painting"

In one of the halls of the State Tretyakov Gallery, a small-sized painting "Peasant Family" is exhibited, executed in 1824 by a graduate of the Academy of Arts as a program for the Great Gold Medal. A traditional programmatic task with an uncomplicated plot, an uncomplicated but well-thought-out compositional structure, a warm flavor is a real academic work. She earned the recognition and approval of the members of the commission, its author received the Great Gold Medal, and the young artist received the right to a pensioner's trip, which he did not use. This picture at the end of the XIX century. took P.M. Tretyakov, students of the Academy of Arts made educational copies from it. And who could have imagined, then in 1824, that this simple work would begin the great path of an outstanding Russian artist, without whom it is unthinkable today to talk about the culture of the 19th century. in general, about Russian architecture and Russian books, in particular. This is Fyodor Grigorievich Solntsev (1801-1892) - an outstanding Russian graphic artist, about whom the critic V.V. Stasov said that this is "one of those best and few who taught us all to appreciate and love real native Russia."

He was born on April 14, 1801 in the village. Verkhnenikulsky, Mologa district, Yaroslavl province, in the family of peasants, Count Musin-Pushkin. In 1815 he was assigned to the Academy of Arts. The President of the Academy of Arts, director of the Imperial Public Library A.N. Olenin. Aleksei Nikolaevich Olenin was called by his contemporaries "an amateur and connoisseur of antiquities." He was one of the most educated people of his time. Widely erudite in matters of literature and art, Olenin systematically studied history, was engaged in archeology and ethnography, was the author of a number of works on historical themes... He began to involve him in the execution of various works and orders, aiming at artistic and archaeological research. A.N. Olenin contributed to the formation and formation of a unique historical painter, an expert in archeology and the history of Russia, which was due to the growing interest of Russian society in native history and the need to create a real historical workshop within the walls of the Academy of Arts.

Genuine collaboration of F.G. Solntsev with A.N. Olenin and his archaeological painting began with the Staroryazan find and work on it.

In 1822, three peasants found a unique gold treasure, wrapped in a leather bag, in the ground while repairing a road on the site of Old Ryazan, the former capital of the specific Ryazan principality. The things of the treasure undoubtedly belonged to the grand-ducal family and were buried before the invasion of the Mongol-Tatar hordes, which ruined Old Ryazan in 1237. The found gold items were created by Ryazan craftsmen in the 12th century. In total, there were 45 items in the treasure, mostly jewelry for a woman's dress. So, for example, 13 gold plaques were found different sizes strewn with precious stones and pearls (plaques are somewhat similar to the current panagias, usually worn by bishops), barmas - ornaments for royal or grand ducal clothes, various rings, signet rings and other things.

A.N. Olenin and prepared scientific description Ryazan treasure. To create drawings - exact copies from the objects found, the president of the Academy of Arts attracted the artist F.G. Solntseva. But the decision to involve the young artist in the execution of rather complex works did not come immediately. Several different testimonies have been preserved about this, including the following, preserved in the Veltman archive: Privy Counselor Alexei Nikolaevich Olenin, in the course of his active and useful life, in particular was engaged in the publication of ancient Russian works of art, as the most ancient guidebooks of the deeds of the past for painters and sculptors, and invited many artists to draw up drawings for his aforementioned enterprise; but this publication was not carried out for not finding capable employees, and in 1829 he was instructed by him to academician Fyodor Grigorievich Solntsev, who was brought up at the Imperial Academy of Arts, at the end of the course of sciences and arts graduated with the rank of 14th grade, to make watercolor drawings from old ones found near old Ryazan Russian things. Solntsev fulfilled this commission and His Excellency found in these drawings that clarity that he had long sought. The drawings were presented to the highest view and His Imperial Majesty, taking into account Solntsev's excellent ability to engage in this kind of painting by decree. "

In 1829 F.G. Solntsev made drawings of Ryazan antiquities for him: precious plaques, barmas, rings. About this work F.G. Solntsev later recalled: “Alexei Nikolaevich suggested that I draw 'Ryazan antiquities'. I set to work. It was necessary to draw in the office of Alexei Nikolaevich. By the way, I had a badge drawn, and this drawing was lying on the table. Once the professor of perspective - M.N. Vorobiev. Noticing a badge on the table and taking it for a real one, he wanted to move it with his hand, but seeing his mistake, he said: "Is it really drawn!" On this occasion, Aleksey Nikolaevich remarked: "Yes, the best praise for art cannot be done."

The work on the Ryazan antiquities finally linked the life and work of Fyodor Grigorievich with archeology: his contemporaries called him exclusively an artist-archaeologist, and later his half-century artistic and archaeological activity was awarded the gold medal of the Imperial Russian Archaeological Society.

Since the end of the 20s. XIX century. chief assistant A.N. Olenin in the publication of archaeological works was F.G. Solntsev. In his memoirs, many years after the death of the President of the Academy, the artist wrote: “After I painted“ Ryazan Antiquities ”, A.N. Olenin instructed me to paint "Kerch" and "Phanagorian antiquities". At the same time, Alexei Nikolaevich said that when I made several drawings, I would have to try to publish them in Paris. However, this intention was not fulfilled. We tried to publish the drawings here in St. Petersburg, but nothing came of it. At the beginning of 1830 I finished the drawings of the Kerch and Phanagorian antiquities. I drew some things in stone. Alexei Nikolaevich was extremely pleased with my drawings and presented them, along with some others, to Emperor Nikolai Pavlovich. " By the way, A.N. Olenin died in 1843. Many his works having huge scientific significance have remained unreleased. In 1873, at the Imperial Russian Archaeological Society, a special commission of 5 members was formed, chaired by N.I. Stoyanovsky, for the publication of numerous works of Olenin. Some of them were published already in 1877. 100 illustrations included in "Archaeological Works" belonged to F.G. Solntsev. (Antiquities of the Cimmerian Bosphorus, kept in the Imperial Museum of the Hermitage. Fig. F.G. Solntsev. St. Petersburg, 1854.2 volumes; Olenin A.N. Archaeological works in 4 volumes. Edited by N.I. 100 photographs by F.G.Solntsev.SPb., 1877, 1881, 1882.)

Olenin, promoting development artistic ability Solntsev, attracted him to a wide variety of works. In the 20s of the XIX century. A.N. Olenin, who simultaneously held several important government posts and was famous as a person who loves order in everything, considered it necessary for employees to have an official uniform. Ideas for creating uniforms for civil servants A.N. Olenin expressed in the 1810s. In 1826 the project was carried out with some changes. In preparation for the opening in 1814 Public Library Olenin developed an official uniform for her employees: according to his drawings and descriptions, festive and everyday uniforms were approved.

Age and employment in the civil service did not allow A.N. Olenin to work independently on everything that he conceived. Therefore, F.G. Solntsev. “I went to see Alexei Nikolaevich,” the artist wrote in 1876. - He received me cordially and said: “That's the way he came; I need to draw the academic uniforms, since the current ones are supposed to be changed. Make uniforms. ” I drew the uniforms very soon. Alexey Nikolaevich was satisfied with the drawing and assigned me 300 rubles for my work. "

Work on the projects of uniforms and the fulfillment of orders for copying and copying various antiques instilled in the young artist a taste and interest in the subtlest study of the mores, customs and clothing of the Russian people.

The 30s of the XIX century became a new stage in the creative biography of F.G. Solntseva. He worked in Moscow, removing drawings from the most ancient things stored in the Armory of the Moscow Kremlin and its cathedrals, making watercolor sketches of various views of Moscow. Some of these drawings were made for the works of the Russian historian, a full member of the Imperial Society of Russian History and Antiquities - Ivan Mikhailovich Snegirev, who was engaged in the study of Russian antiquities. In the 40s of the XIX century, a book by I.M. Snegirev on the monuments of Moscow antiquity, dedicated to Emperor Nicholas I. The publisher August Semyon wrote an introductory article to the book, which said the following:

“A description of the antiquities of the first throne, the royal capital of the Russian, worthy of the greatness of the subject and the reverent attention of the Russian people and the Russian land to the shrines and monuments of Moscow, has long been the common desire of all enlightened people. The study of Patriotic monuments is the duty of everyone who loves his Motherland. Preserving them in descriptions and images from accidental death and destruction of time should be revered as a testament to our respect for ancestors and the honor of the people.

By a lucky chance, the long-desired enterprise found itself a zealous patron in the former, forever unforgettable mayor of Moscow, Prince Dmitry Vladimirovich Golitsyn. The description of the monuments of Moscow antiquity was entrusted to the scientist connoisseur of Russian antiquities I.M. Snegirev, a member of this society, who has devoted himself for many years to the review and study of ancient Moscow. Curious descriptions of Mr. Snegirev were enriched by drawings of the excellent isographer of Russian antiquities, academician F.G. Solntseva.

The elegance of the decoration of the drawings and the completeness and clarity of the descriptions aroused concordant praise from all our not only Russians, but also foreign newspapers and magazines, which unanimously recognized the Monuments of Moscow Antiquity as the first magnificent publication of all that have been published in Russia so far. "

This joint work of outstanding Russian researchers I.M. Snegirev and F.G. Solntsev, along with "Monuments of Old Russian Architecture" by F.F. Richter and "Russian antiquity" by A.A. Martynov and I.M. Snegireva introduced huge contribution in the education of Russian architects in terms of national heritage.

In May 1830, the work of the artist F.G. Solntsev on "copying our ancient customs, robes, weapons, church and royal utensils, belongings, horse harness and other items belonging to historical, archaeological and ethnographic information" that were in Moscow and stored in the Armory. Solntsev's work in the Kremlin and in the Armory was assisted by prominent public and state figures of the 19th century: the Metropolitan of Moscow Filaret (Drozdov), the president of the Moscow palace office, Prince V.V. Yusupov, historian M.P. Pogodin and, of course, the president of the Academy of Arts A.N. Olenin. Thanks to the professional advice of A.N. Olenin and M.P. Pogodina Fyodor Grigorievich Solntsev not only selected rich material for sketching, but learned to distinguish the original from a fake, to correctly date antiques and systematize them.

Created by F.G. Solntsev's collection of drawings of Russian antiquity (and there were more than three thousand) attracted the attention of Emperor Nicholas I, and he granted about one hundred thousand silver rubles for their publication. This donation of the emperor for such a publication has evoked a lively response in the public and scientific circles of Russia. In the journal "Moskvityanin" the outstanding Russian historian M.P. Pogodin noted that "lovers of Patriotic antiquity and history bless the royal generosity" and "look forward to a magnificent publication."

Summing up some of the results of the development of historical and archaeological knowledge in Russia in 1871, M.P. Pogodin gave a proper assessment to the "Antiquities of the Russian State", created on the basis of the drawings of the academician of painting F.G. Solntseva. In his work "The Fates of Archeology in Russia," he wrote: "The most important and at the same time the most magnificent edition of our monuments, in fact archaeological, is in" Antiquities of the Russian State "(1849-1853). Sovereign Emperor Nikolai Pavlovich deigned to command that everything worthy of attention and constituting the material of history or the subject of archaeological curiosity of scientists and artists should be copied with all clarity, described and published. The execution of this was imperially entrusted to the President of the Academy of Arts A.N. Olenin, and the image of the monuments of Russian antiquity was entrusted to Academician F.G. Solntsev. For several years, making annual trips across Russia, F.G. Solntsev copied a significant number of Russian antiquities of all kinds. Olenin's goal was the most accurate study of the mores, customs and clothing or costume of the Russian people from the 6th to the 18th century A.D., especially for artists. Olenin died at the very beginning of the enterprise.

The Sovereign Emperor ordered the establishment in Moscow of a special committee chaired by Count S.G. Stroganov. The committee ordered the drawing up of a new draft of the publication and decided to print the watercolor drawings of Academician Solntsev by means of lithochromy oil paints, in Moscow, according to A.F. Veltman, who was the main actor with this edition, and by the way, we have the honor to see here the chairman of the meeting. The edition, consisting of 500 large-format drawings, is divided, according to its content, into six sections, with a corresponding description.

Archeology received a rich manual in this magnificent edition! "

V.V. Stasov, giving a speech in memory of F.G. Solntsev, highly appreciated the "Antiquities of the Russian State". He said: "The book came to the general taste, it constituted an era in Russian historical consciousness and had a tremendous impact on the growth of all the last artistic generations of ours."

The works of F.G. Solntsev was assisted in every possible way by Emperor Nicholas I, who brought national traditions to the fore. Among them, certain attention was paid to Russian historical relics. The sovereign "loves everything Russian, he erects new monuments and protects old ones," wrote V.A. Zhukovsky.

In connection with the implementation of a protective policy, taking care of the preservation of cultural monuments, during the years of his reign, Nicholas I issued a number of orders related to national antiquity. In Kiev, in 1832, the remains of the Golden Gate were uncovered, and from 1835 a special Commission for the Research of Antiquities was operating. The collected collections were transferred to Kiev University, where an archaeological museum was opened on March 17, 1837. In 1847, an essay by the Kiev civil governor I.I. Fundukley "Review of Kiev", and in 1848 - "Review of graves, ramparts and settlements of the Kiev province." Most of the buildings and things that were described in the "Kiev Review" are presented in pictures and drawings. The engravings for the book were created according to the drawings of F.G. Solntseva.

Sources ofAksenova G.V. http://www.portal-slovo.ru/history/35459.php?ELEMENT_ID=35459&PAGEN_2=2