Praskovya ivanovna pearl-sheremeteva. About the only son of Count Sheremetev and Praskovya Pearl A son to be proud of

Praskovya Ivanovna Zhemchugova 1768-1803

Few people know that the appearance on Sukharevskaya Square in Moscow of a huge building, which now houses the Sklifosovsky Ambulance Institute, is due to the remarkable serf actress of Count Nikolai Petrovich Sheremetev - Parasha Zhemchugova.

The Counts Sheremetevs had the best serf theater of their time. The Sheremetevs have been fond of amateur performances for a long time. “The opportunity for my late father to start a small theater was presented to my late father,” recalled Nikolai Petrovich Sheremetev, “which was facilitated by the already quite established musical drops. The most capable people were recruited from the employees in the house, accustomed to theatrical performances and at first small plays were played. "

On February 1, 1765, an amateur performance was given for Catherine II at the Fountain House of the Sheremetevs in St. Petersburg - the French comedy The Married Philosopher, or the Shy Husband, composed by Neriko de Touche, and another small prose comedy, The Morals of the Ages.

In 1768, after the death of his wife P. B. Sheremetev moved to Moscow in the Kuskovo estate. Theaters occupied a very special place in Kuskovo, there were several of them: "home" - in mansions, "Turkish kiosk" and "air theater" - in the park, "closed" or "old theater" - in one of the most beautiful corners of the park - Gay. Serf actors and musicians from the yard played on their stage. The organizer of the performances was the son of the serf county governor Vasily Voroblevsky.

P. B. Sheremetev gave the following instructions regarding the training of actors: "Having opened a new tenor with an excellent voice, who would represent an actor, learn to sing from an Italian, play from a Russian, bow and bow with his hands decently."

For teaching theatrical art, P. B. Sheremetev selected the most capable boys and girls from the serfs. A relative of the Sheremetevs, Princess Marfa Mikhailovna Dolgoruka, was entrusted with the training of future actresses.

Among the girls destined for training was seven-year-old Parasha Kovaleva, who had sophisticated, non-peasant manners. The girls were taught to read and write, sing, dance, "the ability to keep oneself". Parasha's father, Ivan Stepanovich Kovalev, was a serf blacksmith and was a hard hitter, his name is found in the list of those punished "for malfunction and wine."

On June 29, 1779, Parasha first appeared on the stage of the estate theater. She is not yet 11 years old. Parasha's first role was in the exit role of a maid in Gretry's Trial of Friendship. At that time, she continued to live with her father, did household chores and developed her voice in every possible way, not only in the theater, but also in the field and in the rural round dance.

In 1780, Parasha was first assigned the title role in Sacchini's opera Colonia, or New Village. She sang the part of Belinda. The plot of the opera was devoted to a love theme. Governor Fontalba and Belinda fell in love, but Fontalba was told that his beloved had cheated on him. Outraged, Fontalbus decides to marry the gardener Marina. And the slandered Belinda, in despair, decides to leave the island by boat. But at the very last moment, it turns out that Belinda is not to blame. Fontalbe returns her, and everything ends with a general reconciliation.

Parasha excellently performed this role, captivating the audience with a wonderful lyric soprano and the ability to behave on stage. Although it is difficult to imagine how a twelve-year-old girl actually coped with the role of a loving and suffering heroine. However, according to the testimony of contemporaries, Parasha Kovaleva was a huge success.

It was then that Parasha first appeared on the stage under the name of Zhemchugova. Sheremetev decided to give his actresses new, "not peasant", more euphonious surnames, according to the names of precious stones. Thus, the Izumrudovs, Yakhontovs, Biryuzovs appeared on the stage.

Perhaps the fact that young Parasha was already in love and, it seems, for real, played a role in her stage success. At this time, the pharmacist's son Ivan Ushakov wooed her. His father Yegor Ivanovich Ushakov was a fellow countryman of Parasha's father and often visited their house. Most likely, IS Kovalev did not mind this marriage, but ... But Parasha's heart already belonged to another. She fell in love with the young count, Nikolai Petrovich Sheremetev. However, he already had a favorite — the soprano owner, the beautiful and talented serf actress Anna Buyanova-Izumrudova.

Nikolai Sheremetev studied and traveled abroad for four years. He was a very highly educated young man, familiar with the works of Montesquieu, Diderot, Rousseau. In the last years of his life, the library of Nikolai Petrovich Sheremetev consisted of more than 16,000 volumes, and a significant part of them were books about music and theater. Returning from abroad, Nikolai Sheremetev immediately received the position of director of the Moscow Bank.

Theatrical hobbies of his father seemed to Nikolai Sheremetev behind the times, and he personally set about reorganizing the theatrical business in Kuskovo.

Soon after the premiere of the play "Colony, or New Village" Parasha Zhemchugova was moved to a special wing where all the actors of the Sheremetev theater lived. She was assigned a "supreme dacha" - meals from the master's table.

Nikolai Sheremetev guessed a great talent in the girl and began to devote a lot of time to her: he played the clavichord, accompanying her, and often talked. However, the young count was still fascinated by Anna Izumrudova.

Parasha Zhemchugova was surrounded by all kinds of care. The best Russian and foreign teachers were invited to teach her. The famous harpist Cordon taught her how to play the harp. (In the 17th and early 19th centuries, the harp was a very common musical instrument in noble families, and experienced harpers were certainly men.) Señor Torelli taught Parasha the Italian language, Madame Duvrin and Chevalier, and Barborini and Olympius singing. To teach dramatic art, they invited Maria Stepanovna Sinyavskaya, who very well played the roles of virtuous and suffering heroines. Singing lessons were given by the singer E.S. Sandunova. Parasha was also taught by the famous actor Ivan Afanasevich Dmitrevsky.

Parasha studied diligently and, unlike many of her peers, read a lot, mainly in French, which she was fluent in - the Sheremetevs' library consisted mainly of books by French authors.

In 1781, Monsigny's comic opera The Fugitive Soldier (The Deserter) was staged at the Sheremetev Theater, in which there were not only musical numbers, but also conversational dialogues. The opera The Fugitive Soldier has already been staged by many theaters in Europe. Nikolai Sheremetev ordered all the illustrations for this opera from Paris, acquired an organ, one of the rollers of which he performed the overture to the opera. Parasha Zhemchugova in this opera created the image of a loving woman, full of despair, fear and courage in the struggle for the life of a loved one.

The plot of the opera is quite simple. Soldier Alexei is in love with Louise. He learns that the bride was unfaithful to him, and in despair flees from the royal army. He is caught and sentenced to death. It turns out that the stories of Louise's infidelity are the machinations of the evil duchess. Louise is loyal to Alexei and does the impossible: she achieves an audience with the king and asks him to spare the groom. At the last moment, the king, touched by Louise's pleas, forgives the soldier Alexei. A few minutes before the execution of the sentence, Louise runs to prison. She brings the pardon order. The opera ends with the reunion of the lovers.

Let's forget the grief

Now the days of joy have come,

Our love was torment

But it became nicer for everyone.

The main character in the opera was a simple girl Louise. Fulfilling this role, Parasha, as it were, was talking about herself, about her feelings. However, it was very difficult for her to play. The audience was prejudiced against the "serf girl" who dared to portray deep human feelings. Many noble guests of the Sheremetevs believed that feelings are available only to people of the "noble class". In addition, the visitors knew that the young count was having an "affair" with Parasha.

And Nikolai Sheremetev was more and more convinced that he loved Parasha and he was not able to pull her out of his heart.

Rumors of Zhemchugova's excellent performance spread among Moscow theatergoers. And the young count was justly proud of his brainchild - young Parasha.

Soon he began to build a new theater building. Its opening was timed to coincide with a visit to the Sheremetev estate near Moscow by Catherine II, who arrived in Kuskovo on June 30, 1787. In the entire entertainment program, the central place was given to the theater. Catherine II was shown the best production of the Sheremetev Theater - Gretry's opera "The Marriages of the Samnites".

The opera is heroic in nature, although its plot is built around a love conflict. The young Samnite woman Eliana fell in love with the brave warrior Parmenon. But according to the laws of the country, she does not have the slightest hope of marriage: the elders select grooms and brides for Samnite girls and boys. Eliana is ready to part with her life, just to be with her beloved:

Smite the gods on me, there is no fear in the heart,

I expect your blows

I will go to him, despising all the clouds of troubles ...

The girlfriends tell the girl that she is going against the law. Eliana replies: "The law is mine, the gods and all offices are to love ..."

The play shows how war broke out between the Romans and the Samnites. The Samnite army faces defeat. But at a critical moment, when the army is ready to falter, Eliana, disguised as a warrior, appears on the field and inspires the warriors. The Samnites are victorious, and they return to the sound of the march, carrying weapons and the banners of their enemies. On a war chariot with a spear in hand, a brave warrior, who inspired everyone to win, enters the stage. Everyone recognizes in him Eliana, who is showered with flowers. Priests and elders offer sacrifices to the gods. And Eliana won the right to free choice of the groom.

On the new stage, which was 24 meters deep, it was possible to effectively present mass paintings. Theatrical machines discharged from Paris made it possible to make quick, almost silent changes. Everything in the new theater was no worse, and perhaps even better than on the court stage of the Hermitage. But the main impression on the empress was made by the inspired play of Parasha Zhemchugova, to whom, after the end of the performance, Catherine II presented her diamond ring.

On October 30, 1788, the old Count Pyotr Borisovich Sheremetev dies, all his countless riches and estates are transferred to his son, Nikolai Petrovich, who becomes the heir of 210 thousand serfs.

After the funeral of his father, Nikolai Sheremetev spent several months "in joy" drunk and having fun in every possible way. The theater is forgotten. The serf actors languish in the unknown: what will happen to them? What will become of the Sheremetev theaters? But one girl was able to stop the count's drunkenness, despite her young age and numerous count's mistresses. It was Parasha Zhemchugova.

The theater began to revive. Nikolai Sheremetev was not fascinated by his service career. Although he was listed as the chief director of the Moscow Noble Bank, became a senator and chief chamberlain, his soul was tied to the theater. Often Nikolai Sheremetev could be seen in the orchestra among his serf musicians, where he played the cello. Nikolai Petrovich I Sheremetev became an outstanding amateur cellist and entered the history of musical art.

Now in the theater appeared not only the owner, but also the hostess - Praskovya Ivanovna, as all the musicians and actors began to call Parasha. For himself and Parasha, the count built a new house and reconstructed the theater. But Parasu could not but oppress the dependent position under the graph, although she loved with all her heart. Yes, and Nikolai Sheremetev doted in her, did not leave Parasha a single step. However, rumors and gossip about Sheremetev's excessive affection spread throughout Moscow. Relatives and friends were very unhappy with this long-term relationship of the count. The "yard girl" Parasha was threatened with all kinds of revenge from everywhere. The situation was complicated by the fact that Nikolai Sheremetev was fabulously rich and ... single. Many noble families dreamed of marrying their daughters to him, but the count already had his only love - the serf actress Parasha Zhemchugova.

In 1795, the patriotic opera The Capture of Izmail was staged at the Sheremetev Theater (the Turkish fortress of Izmail fell in 1792). The libretto of the opera was composed by a participant in the storming of the fortress Pavel Potemkin, the music was written by the popular composer Osip Antonovich Kozlovsky, known for his stately polonaises. His "Thunder of Victory Rush Out" became the official Russian anthem. The plot of the opera was devoted not so much to a patriotic event as to love, which, despite the prohibitions and all sorts of intrigues, won the right to life.

The Russian colonel Brave (whose name, according to the poetics of classicism, revealed his essence) is captured by the Turks. The brave one falls in love with the daughter of the commandant Ishmael Osman, Zelmira. But the military duty to continue the fight against the enemy forces him to flee from captivity. Zelimira also fell in love with Smelon. Zhemchugova raised the melodramatic situation to the level of a genuine tragedy. Having learned that the beloved is going to run away, Zelmira asks to take her with him (despite the difference of faith). But Brave still leaves Zelmira to lead the Russian army. Soon he enters the fortress victorious. Brave thanks Osman for his humane treatment during his captivity. And, seeing Zelmira, sings:

Beautiful Zelimira! The mistress of all feelings and all my soul! Falling at your feet, I am to my joy. I don’t know how to say that my heart feels, Your presence delights me so much, That my mind is confused, and I myself am outside myself ...

Zelimira answers him:

Smelon! My gentle friend! Oh, as if I can see you!

Smelon at my feet? Can I believe my eyes? ..

Zhemchugova put all her love for Count Sheremetev into the theatrical image she created, forcing the audience to breathe in one breath with her.

The production of the opera was carried out with great pomp: excellent scenery was written, special Russian and Turkish costumes were ordered, decorated with expensive furs, brocade, beads and semi-precious stones.

However, after a few years, Kuskovo turned into an "evil" place. Zhemchugova did not cease to be pursued from all sides. One day she went to church.

“Madam, can you point out where the smithy is? - she heard a voice.

Before her stood a daring young man who knew perfectly well who he was talking to. Behind him are the curious faces of his companions, Moscow bourgeois women.

- Who is the blacksmith here? - he continued to ask.

“Turn to the watchman, he will show you,” answered Zhemchugova and turned back to the house. In pursuit she heard:

- Does the blacksmith have children? One of the women shouted. Running into the count's office, Zhemchugova fell on the sofa in hysterics. Nikolai Sheremetev decided to move to another estate - Ostankino.

Praskovya Zhemchugova and Nikolai Sheremetev, as well as the entire staff of actors, musicians and stage workers, soon moved to the new estate.

In Ostankino Zhemchugova was happy. There was no gossip and rumor, and nothing reminded her that she was just a forced serf actress. Sheremetev built a new theater for her here.

But the happiness was short-lived. Soon she fell seriously ill with tuberculosis and forever lost the opportunity to sing, only the count's tireless care helped her to rise to her feet.

In December 1798, the count decided to give freedom to Praskovya Zhemchugova, as well as to the entire Kovalev family. For substantial money, the serf of the Sheremetevs, the solicitor Nikita Svorochaev, picked up the necessary documents from the archives, from which it followed that the entire Kovalev family belonged to the ancient noble family of the Kovalevskys, and the ancestor of the Kovalevs, Yakub, ended up in Russian captivity in 1667, and allegedly his descendants found themselves shelter in the house of the Sheremetevs. "And therefore," wrote NP Sheremetev, "I give the Kovalevskys family eternal freedom to assure them of their noble origin, so that they can choose a kind of life befitting their title." There was even found a "live and cash" nobleman Kovalevsky, who "adopted" Parasha. Portraits and a small miniature that Parasha wore on a chain were urgently painted from him.

On November 6, 1801, the count secretly married Parasha in the small church of Simeon the Stylite on Povarskaya Street in Moscow.

Zhemchugova "with all the strength of the soul" was hated by the sister of Nikolai Sheremetev, married VP Razumovskaya. She was abandoned by her husband, who, like Nikolai Sheremetev, linked his life with a simple woman - the daughter of a servant M. M. Sobolevskaya. V.P. Razumovskaya did everything possible and impossible to prevent her brother's marriage, in the hope of receiving his inheritance.

In February 1803, Praskovya Kovaleva-Zhemchugova gave birth to a son. The marriage with the count was still a secret. Both mother and father were very afraid that the child, who was the only heir to the count's fortune, would be kidnapped. To protect the heir, a special vigilant round-the-clock watch was established.

“With special doors outside,” wrote N. P. Sheremetev, “to be in shifts and without interruption, two people from the common people. From the inside, the bedroom doors must always be locked with a key ... The commoners assigned to the doors at night, changing, sleep in the room where they are assigned at the door, and watch that two do not sleep at all, but two rest ... "

After giving birth, the child was immediately taken away from the mother, fearing that he would not contract tuberculosis. Praskovya Zhemchugova's health continued to deteriorate rapidly. Twenty days after giving birth, Praskovya Ivanovna died.

Only the next day after his death, the count announced to everyone that he was married. There was no limit to indignation in high society, but Emperor Alexander I recognized this marriage as legal.

They buried Praskovya Zhemchugova in St. Petersburg. For the coffin of the deceased, which was taken to the cemetery of the Alexander Nevsky Lavra, only serfs followed: actors, painters, artisans. Among them was the great architect Giacomo Quarenghi, who saw Zhemchugova on stage and was an admirer of her talent.

In 1803, in memory of his beloved wife, Sheremetev decided to build a charitable Home in Moscow in Moscow. It was supposed to "give the homeless lodging for the night, the hungry bread and a hundred poor brides a dowry." The architect D. Quarenghi took part in the design of this house.

And, like the eternal memory of the actress Praskovya Zhemchugova, the austere classical building on Sukharevskaya Square, which now houses the Sklifosovsky Institute of Emergency Medicine, adorns Moscow today.

From the book "The most famous artists of Russia"

The heroine of this touching story was born on July 31, 1768. The girl's name was Praskovya, which translated from Greek means "the eve of the holiday." The love story of the richest man in the Russian Empire for a serf actress , whom he made his lawful wife before God and people, is similar to the tale of Cinderella. But the end of this tale is sad.

Pasha was the daughter of a skilled blacksmith Ivan Kovalev, who loved to drink and rage. She lived in her father's house until she was 6 years old, after which she was raised in Kuskovo under the supervision of Martha Mikhailovna Dolgoruka... Such a change in the fate of the future star of the musical theater, the Sheremetevs, happened thanks to her bewitching, soul-taking voice. 22-year-old Nikolai Sheremetev, when he first heard the girl singing, was amazed at her talent.

So the serf girl received a good education, which the parents of today's talents would be glad to see. She mastered the harp and harpsichord, musical notation, mastered two languages ​​- French and Italian.

Praskovya Zhemchugova was destined to become a singer, from a young age she already shone on the stage of the theater. At the age of eleven, she performed under the pseudonym Gorbunov, since her father had a hump due to a spinal disease. Later she became Zhemchugova. According to one version, the actress received such a name for her beautiful voice, Praskovya's singing was really pearl. Other actresses - Almazova, Biryuzova, Granatov, Yakhontova, etc. received “precious” pseudonyms.

According to legend, the fatal meeting between the radiant Count Nikolai Petrovich and the young Parasha happened outside the Melpomene possessions. They met by chance in an open field when the count was returning from a hunt. Although this version can be questioned: it is unlikely that Nikolai and Parasha had not met in the theater before, and he could not help but notice such a gifted young girl.

Many noble persons, except, perhaps, Catherine II, were tormented by the question of what he found in her. The Empress attended a play in which a 19-year-old peasant woman starred in Gretry's Samnite Marriages. On the stage, a fragile girl, playing the brave Eliana, ready to part with her life in order to be with her beloved, transformed ... Impressed by her talent the empress granted the actress a ring with diamonds from her hands and.

Sheremetev's feelings for Zhemchugova were tender and passionate. Watching the girl he noted her virtuous mind, philanthropy, sincerity, fidelity, constancy and attachment to the holy faith... These qualities captivated the count more than her beauty, as extremely rare and surpassing any external charms.

After the death of his father, Nikolai Petrovich fell into depression and started drinking. Only thanks to Praskovya did the young count come back to life. It was during this period that he decides to marry a serf ... For that time and their position, this was unheard of insolence: the high society did not want to hear about the girl Sheremetev, and the villagers simply hated her.

Paul I, who reigned at that time, did not give permission for marriage. Then Sheremetev acted in a cunning way: he invited the sovereign to listen to the serf choir, in which Pasha sang. Paul I was shocked by the singer's talent and allowed the count to marry ... According to another version, Sheremetev, being sure of the Tsar's refusal, acted in secret. Praskovya and her family received freedom from the count.

On November 6, 1801, 17 years after the beginning of the novel, Sheremetev and Zhemchugova were secretly married in the Moscow church of Simeon the Stylite on Povarskaya ... The situation at the wedding was strictly secret, with the participation of two witnesses.

The Sheremetevs moved to St. Petersburg. The move turned out to be fatal for the singer, since the damp Petersburg climate undermined her health, and consumption began to progress. She no longer sang and felt worse and worse. But the Lord rewarded this couple for their perseverance: Praskovya became pregnant. The spouses, despite the illness of the future mother and a difficult pregnancy, were happy and happily awaiting an heir. At this time, the serf artist Ivan Argunov creates, which later became famous, a portrait of Zhemchugova in a striped hood.

After the birth of her son Dmitry Praskovya lived another twenty days... Her last will was the construction of a strange house on Sukharevka. Today, this building houses the Research Institute of Emergency Medicine named after N.V. Sklifosovsky.

Praskovya Ivanovna Kovaleva ( Zhemchugova) was born in the village of Berezniki of the Yukhotsk volost of the Yaroslavl province on July 31, 1768. Parasha was the eldest in the family. Father - the serf blacksmith of the Sheremetyevs Ivan Stepanovich Kovalev - was known throughout the district as a wonderful master of his craft and as an amateur to take a pile or two, and then play around.

At the age of eight, a sharp turn took place in the fate of the serf girl - she was taken up in the Kuskovo estate near Moscow, under the supervision of one of the count's accouterments, Princess Marfa Mikhailovna Dolgoruka. Parasha was taken to the manor house for her excellent vocal skills in order to prepare her for entering the stage of the musical theater of Count Sheremetyev. Under the guidance of first-class mentors, the peasant girl quickly mastered the musical literacy, playing the harpsichord and harp, singing, learned French and Italian. Possessing great musical abilities and a good voice, she successfully began performing on the theater stage under the name Pravskovya Zhemchugova.

At first there were small weekend roles. But soon Parasha began to turn into a real actress. She had not yet turned eleven when she brilliantly performed in Gretry's opera "The Experience of Friendship", and at the age of 13 this fragile girl played with unusual persuasiveness, strength and depth the role of Louise from Seden's drama "The Fugitive Soldier" to the music of Monsigny.

It was then, obviously, that this teenage artist attracted the attention of the count's son, Nikolai Petrovich. Love for music and joint activities brought them closer together. It was at his insistence that Parasha performed the main role in the Italian opera Colonia, or a new village, staged next year by Sacchini - as always talented and virtuoso. The count could not help but discern in the awakening talent the future glory of his theater.

The opening of the palace-theater in the estate of the counts was celebrated, timed to coincide with a reception in honor of the winners in the war with Turkey, on June 22, 1795. The count invited the participants in the military events to the holiday. A musical drama by I. Kozlovsky to the text by P. Potemkin "Zelmira and Smelon, or the Taking of Ishmael" was staged on the stage. Praskovya Ivanovna played in this performance, as has long been accepted in the Sheremetyevo theater, the main role - the captive Turkish woman Zelmira, who fell in love with the Russian officer Smelon.

April 30, 1797 N.P. Sheremetyev received Paul I, who had just been crowned to the throne. On this day, the theater staged "The Marriages of the Samnites" - an opera in which the talent of Praskovya Zhemchugova was revealed with special brilliance. Then she was 17 years old.

Count Sheremetyev was awarded the title of Oberhof Marshal of the Imperial Court by the Tsar. This award required leaving for St. Petersburg. Nikolai Petrovich decides to take the best part of the troupe there, including Praskovya Ivanovna. The damp climate of St. Petersburg immediately affected the state of health of Zhemchugova. Her hereditary tuberculosis worsened, her voice disappeared. But this did not stop the count from loving her. On November 6, 1801, the wedding of Praskovya Ivanovna and Nikolai Petrovich took place. It took place in the parish church of Simeon the Stylite, built back in 1679. This temple has survived to this day. Nikolai Argunov, the serf artist of the Sheremetevs, captured the appearance of Praskovya Ivanovna on that memorable day in her life: a red shawl, a white wedding veil, a precious medallion around her neck. The wedding was celebrated only in the narrowest circle of friends. For the Moscow and Petersburg nobility, the marriage of Count N.P. Sheremetyeva remained a secret. The marriage was announced only in 1803, after the birth of his son Dmitry. Despite the approval of the marriage by Emperors Paul and Alexander I, high society and relatives were shocked. Countess Sheremetyeva died without knowing about the reaction of the world to this news. It is possible that for the best, since the Petersburg ladies would never have accepted a former serf in their salons, without family and tribe. The reaction of relatives can be judged by the remark of Anna Semyonovna Sheremetyeva, which she made in her memoirs: "An excellent trickster, our elder relative."

It should be noted that the views of the count and the attitude towards serfs differed from the views of many. Having barely entered into the rights of the heir, Nikolai Petrovich gave an order that each of the peasants had access to him and would submit their petitions personally.

The peasant countess, knowing about the hard life of beggars, orphans and sick people, constantly helped them, and her husband, according to her will, built in Moscow a hospitable house with a hospital (now the Sklifosovsky hospital) and invested capital on issuing dowries to poor brides, which, undoubtedly, testified to the count's tender affection for his chosen one.

On February 23, 1803, the most talented Russian singer and actress died. She died of consumption, leaving behind a three-week-old baby when she was only 35 years old.

Count Nikolai Petrovich Sheremetyev died in 1809 and was buried in the Alexander Nevsky Lavra, in the Sheremetyevo tomb, next to Praskovya Ivanovna, his beloved serf actress and wife.

Nikolay Sheremetyev and Praskovya Zhemchugova

The love story of the serf Praskovya and her owner, the brilliant Count Sheremetyev, is not for nothing called the most touching story of the 18th century, and it really is.

Praskovya Zhemchugova. Nikolay Argunov

Praskovya Kovaleva was born into the family of a serf master blacksmith. However, the girl lived in her father's house only until she was six years old - then she was taken to Kuskovo and given to the upbringing of Martha Dolgorukoy. The girl was taken away from her parents with a distant sight: contemporaries wrote that the future star of the Sheremetyevs' serf theater from early childhood had an amazing, mesmerizing voice. Having heard this voice once, twenty-two-year-old Count Nikolai Sheremetyev could never forget him.

The talented daughter of a blacksmith was raised as a future prima. Praskovya perfectly mastered musical notation, playing the harp and harpsichord, spoke and sang both French and Italian. Not every noblewoman of that time could boast of such a versatile education!

However, the girl was not prepared at all for a happy marriage - Praskovya began performing on the stage of the famous serf theater of the Sheremetyevs, which thundered all over Russia, from the age of eleven. At first, Parashenka performed under the pseudonym Gorbunov, but then the count himself began to invent euphonious surnames for his serf actresses: Yakhontova, Granatova, Biryuzova ... So Praskovya became Zhemchugova.

History has brought to us many versions of the first meeting of Parasha and Nikolai, but the only thing that can be considered reliable is that the count noticed the gifted girl as a little girl and then followed her fate from afar. Praskovya's talent was so outstanding that Empress Catherine the Great herself, who was present at the play "Samnite Marriages" to the music of Gretry, in which Praskovya Zhemchugova sang the part of Eliana, was shocked by the young artist's play and presented her with a diamond ring from her own hand.

A fragile, seemingly sickly girl, entering the stage, was completely transformed. In addition to the amazing, mesmerizing listeners, soprano Zhemchugova also had an undoubted stage talent. In addition, the young actress was characterized by a meek disposition, modesty and dedication.

Nikolai Sheremetyev did not even have to dream of calling Praskovya his own before God: serf girls taken as mistresses, whether they were laundresses or actresses, were intended only for one thing - to bring carnal joy. However, the sublime nature of Nicholas did not find any pleasure in venal or forcibly caresses.

The sudden death of his beloved father had such an effect on the young Count Sheremetyev that he drank heavily and fell into depression. The same Praskovya brought him back to normal life, and then, feeling enormous gratitude to the girl, the count decided to commit an act unprecedented at that time - to marry a serf.

Praskovya Zhemchugova, with whom her talent and the count's decision played a cruel joke, found herself caught between two fires: high society did not accept the "girl" and the "slave", and her former rural environment also rejected the young actress, who had gone far from the peasant way of life. In addition, Catherine II, who patronized the actress, died, and Paul I, who ascended the throne, did not want to give permission for the marriage of a serf and a count.

Nikolai Sheremetyev was distinguished by enviable persistence, and the emperor's refusal did not bother him: he decided to achieve his goal, if not by persistence, then by cunning. The count invited the sovereign to his palace to listen to the serf choir. Pavel I, who had never seen or heard Zhemchugova before, but only heard from the courtiers about the "impudent girl", was so shocked by the voice and appearance of this extraordinary artist that he immediately gave his consent to the marriage to Count Nikolai Petrovich.

Praskovya Zhemchugova and Count Nikolai Sheremetyev got married only 17 years after the beginning of their romance, in 1801, in Moscow, in the temple of Simeon the Stylite on Povarskaya. The wedding was almost secret - only two obligatory witnesses were present at the wedding.

The count took the love of his life to St. Petersburg, but the damp climate of the capital did not benefit the singer: Praskovya, prone to tuberculosis, fell seriously ill. The newly-made Countess Sheremetyeva herself considered her illness a punishment for the years spent in the sin of adultery, but, as if wishing to disbelieve her of this, God gave her unexpected joy - she became pregnant. The pregnancy was difficult, but Praskovya herself and Nikolai Petrovich were in seventh heaven, dreaming of a long-awaited heir. It was during Praskovya's pregnancy that the artist Ivan Argunov painted her famous "Portrait of Zhemchugova in a striped hood".

Fairy tales do not always have a happy ending: so the love story of a serf singer and a count ended on a tragic note. Praskovya died on the twentieth day after giving birth, leaving her son Dmitry to her inconsolable husband. In memory of his untimely deceased wife, the count built a hospitable house on Sukharevka, which today houses the N.V. N.V. Sklifosovsky.

Count Sheremetyev was never able to find solace from other women, and he did not seek it. He outlived his beloved Pashenka by only six years ...

Nicholas II In fact, I have always felt sorry for Nicholas II. No doubt he was a deeply unhappy man. He could not impress anyone, and his personality evoked neither fear nor respect. He was an ordinary man. But justice still requires confirmation that at the first