Bolshaya Sukharevskaya Sq. Bolshaya Sukharevskaya Square

Big and Small Kolkhoz areas located between 3rd Meshchanskaya and Bolshaya Spasskaya streets. They are named so because in 1934 a “Board of Honor” was erected on Bolshaya Kolkhoz Square, on which the names of the best collective farms in the Moscow region were entered. Later, the board was moved to Samotechnaya Square, but the name of the square - Kolkhoznaya - remained.

The most remarkable building on the square is currently the building of the Research Institute of Emergency Medicine named after. Sklifosovsky, built in 1792-1807. Count Sheremetev for a hospice house (almshouse), since 1810 turned into the Sheremetev hospital. The building was built by the serf architects of the count - P. I. Argunov, A. F. Mironov and G. E. Dikugpin under the supervision of the architect E. S. Nazarov, according to the design of the famous architect Giacomo Quarenghi. This is one of the wonderful architectural monuments of Moscow. Built in the form of a powerful arc, the building of the institute essentially decides the design of the entire area. A well-designed lattice connects its wings, which are decorated along the street with a monumental colonnade. The central entrance in the front courtyard is very impressive, framed by a semicircle of a magnificent colonnade designed by Quarenghi.

It is believed that the architect V.I. Bazhenov also took part in the design of the building. High reliefs in the interiors were made by G. Zamaraev and T. Timofeev, painting in the dome of the former church was made by D. Scotti.

The following have been preserved: the main building, two side wings in the courtyard, a gate and fence, and partly a park. Sheremetev's serf, composer S. A. Degtyarev, lived here.

In 1954, during the reconstruction of the main building of the Institute of Emergency Medicine, workers discovered a stone niche in the wall, covered with a copper plaque, on which was written: “1792, June 28th. The builder of this is Count Nikolai Sheremetev.” This is a laying board that precisely defines the beginning of construction of a building.

Until 1925, a large market was held on the square, mainly on Sundays. Here, along with food, clothing, shoes, furniture, dishes and other things, antique items were sold: rare paintings, books, sculptures and jewelry.

Here, as in any old-time market, one could buy copper brooches, rings, and watches skillfully forged to look like gold. But connoisseurs and regulars at Sukharevka sometimes found wonderful things here. The organizer of the Theater Museum in Moscow, A. A. Bakhrushin, purchased many exhibits at Sukharevka, which he himself talked about interestingly. It was also visited by I.E. Zabelin and other antiquity lovers.

Stolen items were also sold here, and the affected Muscovites first of all looked for them at Sukharevka. In his “Notes of a Muscovite” N. M. Ezhov draws interesting picture, how Moscow millionaires bought items for their collections from antique dealers at Sukharevka: “Sukharevka met on Sundays from 5 a.m. to 5 p.m.

Of the Moscow collectors, the one who visited here most often was the late A.P. Bakhrushin, a man of incredible stinginess and stinginess. Once I was looking at a display case with miniatures. I really liked Metropolitan Filaret, artistically drawn. I asked about the price - twenty-five rubles. It was a little expensive for me, so I put the little thing back. Suddenly I saw the round figure of Bakhrushin, like a small balloon, slowly walking towards us.

“Here,” I said to the merchant, “here’s who you offer it to.” He has a museum of rarities and a lot of miniatures...
“Bakhrushin?” the merchant asked with obvious disdain, looking at him. “I won’t show him anything.”
- Why?
- The matter is known. He needs to buy nickels for a penny. He has been selling this Metropolitan Philaret to me for two years. I started with fifty rubles and have now reached ten rubles. And he’s still trying to trap me. “This,” he says, “is not a real miniature - there is no signature...”

When did Sukharevka appear? Writer V. A. Gilyarovsky dates its beginning to 1812, when the commander-in-chief of Moscow, Count F. V. Rostopchin, after the expulsion of the French, allowed all sorts of things to be sold here. In fact, the market was here much earlier...

At the wooden tower of the “Sretensky Gate of the Zemlyanoy Gorod” in 1613, Muscovites met Mikhail Fedorovich, who was elected to the kingdom. From 1683 to 1722, the earthen rampart was the customs border, and until 1699, the Streltsy regiment of Colonel L.P. Sukharev, located along Sretenka and in the alleys, carried out patrol duty at its gates, from which the entire area was called “in Sukharev.”

In 1692-1695. Peter I built here, instead of wooden ones, a stone gate-tower according to the Dutch model, as the entrance gate to the city on the large trade road leading from Arkhangelsk. On both sides of the gate there were stone guardhouses, and above them there was a second floor of “chambers”, from the middle of which rose another three-tiered stone pillar with the state coat of arms.

In 1698-1701, returning from abroad, Peter I built the tower with a third floor, and its pillar with two more tiers and placed here the “School of Navigation and mathematical sciences"- the first higher secular specialized educational institution in Russia, which gave the country its first nautical scientists, engineers, architects, surveyors, teachers, etc. In the tower, the column of which rose 100 m above the level of the Moscow River, at the same time she worked under the guidance of the famous Y. V. Bruce Astronomical Observatory. In 1706, for the first time in Russia, it was scientifically observed solar eclipse.

The “Sukhareva” tower began to be called no earlier than the 1730s - after the tract where it was located.
In 1715, the “School of Navigational and Mathematical Sciences” was transferred to St. Petersburg, and later arose from it Marine Academy. In Moscow, the tower housed preparatory schools - “digital schools”, liquidated in 1753. Later, the tower was used by the Admiralty. When in 1828 the cast-iron reservoirs of the Mytishchi water supply system were installed in it, until 1893 it served as its water tower, supplying water to the city fountains.

In the 18th century near the tower, behind an earthen rampart, there was a square where peasants sold their products. The meat stalls were moved here from Sretenka in 1789, and this year should be considered the beginning of the emergence of a market here, where various old things soon began to be sold. L.N. Tolstoy in “War and Peace” indicates that Pierre Bezukhov bought himself a pistol in this market in 1812.

In 1881-1887 The area was expanded by demolishing the front gardens in front of the houses to Bolshaya Spasskaya Street. The crowding here increased every year, so the horsecars, and since 1904 the tram that replaced them, literally crawled across the square, all the time ringing warning bells.

Sukharev Tower in 1920-1925. was renovated and housed the Moscow Communal Museum. But in the 1930s, it began to interfere with the increased traffic through the square and was demolished in 1934.

The renaming of the square to Kolkhoznaya destroyed the very memory of the old Sukharevka.

Behind the Garden Ring, not far from the Moscow Compound of the Holy Trinity Sergius Lavra, in a quiet, shady lane, there is the house of the outstanding Russian artist V. M. Vasnetsov, built in 1894 according to the design of the artist himself in the neo-Russian style. V. M. Vasnetsov lived here for the last 32 years of his life (1894–1926). On August 25, 1953, a museum was opened in the house; in 1954, 3rd Troitsky Lane, in which the house stands, was renamed Vasnetsov Lane.

Straightaway After the artist’s death, the relatives came up with the idea of “preserving everything as it was, setting up something like a house-museum.” Having turned to the Tretyakov Gallery for help, they received consent to work together to organize a posthumous exhibition of works by V. M. Vasnetsov with the further prospect of creating a museum.

On January 27, 1927, the artist’s son Alexey Viktorovich Vasnetsov submitted a statement to the gallery’s Board stating that the family was ready to accept all obligations related to the organization of the exhibition. He was also approved as a commissioner for the conduct of affairs. Alexey Viktorovich was helped by his sister Tatyana Viktorovna and his wife Zinaida Konstantinovna. In the design of the exhibition direct participation hosted by M.V. Nesterov, P. Korin, Ap. M. and Vl. V. Vasnetsov and scientific secretary of the Tretyakov Gallery N. S. Morgunov. The necessary renovation work, several hundred posters with information about the exhibition were printed and posted, tickets were prepared and a catalog was published.

The exhibition opened on March 13, 1927. On the first day, about 600 people visited it. In the following days, many interested visitors came to the exhibition and school groups, there were excursions. The exhibition was kept on display until 1933.

The preface to the catalog stated that the works exhibited at the exhibition, in particular the fairy tale cycle, were presented to the public for the first time and that in the future landscapes, studies and sketches would be shown, “which, combined with what is being shown now, should form the Victor Vasnetsov Museum.” . The exhibition featured 212 exhibits: paintings, graphics and objects of decorative and applied art. The exhibits were housed in the living room, the former classroom and in the workshop. The authors of the catalog provided fairy-tale-epic paintings short texts from a literary source.

During the Great Patriotic War, the artist’s relatives continued to live in the house. The large paintings were rolled up, the rest of the works were placed in boxes. The house itself was not damaged, but the fence and terrace were not preserved. In September 1946, the heirs expressed a desire to organize a museum in the house for the centenary of the birth of V. M. Vasnetsov in 1948 and negotiated with the Tretyakov Gallery about this. The exhibition of the master’s paintings, which opened in May 1948 in the exhibition hall of the Union of Soviet Artists, aroused great interest among visitors and contributed to the decision to organize the museum.

On June 29, 1950, a decree was issued by the Council of Ministers of the USSR on the organization of the V. M. Vasnetsov House-Museum. The Committee for Arts Affairs under the Council of Ministers of the USSR issued an order to begin organizing the museum, for which it would accept the house, as well as art collections and property donated by the artist’s heirs to the state.

A month later, on July 29, 1950, the heirs signed a statement to the Committee for Arts under the Council of Ministers of the USSR on the gratuitous transfer of property and valuables to the state for the organization of the V. M. Vasnetsov House-Museum. On July 18, 1951, by order of the Committee, the “Regulations on the House-Museum of V. M. Vasnetsov” were approved. On August 28, 1951, an act of acceptance by the commission of the house was signed, works of art– paintings, graphics, works of decorative and applied art, household items and property of V. M. Vasnetsov from his heirs.

The first director of the museum (from 1951 to 1957) was the artist’s nephew Dmitry Arkadyevich Vasnetsov, a participant in the First World War and the Great Patriotic War, an actor in the Musical Theater of K. S. Stanislavsky and V. I. Nemirovich-Danchenko, director of the Children’s Theater music school. Z. K. Vasnetsova was appointed chief custodian. Together with Tatyana Viktorovna, D. A. Vasnetsov was engaged in renovating the house, restoring its layout and recreating the environment that was during the life of V. M. Vasnetsov. The architecture of the house was completely preserved, the furnishings of the house were restored to the beginning of the twentieth century. The decoration of the dining room, living room and workshop has been almost completely preserved. All other rooms, including the exhibition rooms, contained original objects donated to the museum by the artist’s family.

The part of the collection that remained in the ownership of the heirs was transferred to the museum according to the will of T.V. Vasnetsova in 1959 and on the basis of her deed of gift in 1961. Thus, all collections: paintings, graphics, objects of decorative and applied art and everyday life, personal archive and the artist’s library, photographs and reproductions became part of the museum’s collection, which was replenished through gifts from various individuals, purchases, and currently has about 25 thousand museum objects.

In 1978–80, the house was restored and restored appearance outbuildings, where a janitor's room, a laundry room and a carriage house were located under a common roof, during courtyard The cobblestones and brick path were restored. On the eastern side, the building erected in the 80s has been preserved. years XIX century firewall (brick wall), onto which in the 1970s the mosaic “The Savior on the Throne,” made at the beginning of the twentieth century according to a sketch by V. M. Vasnetsov in the St. Petersburg mosaic workshop under the direction of V. A. Frolov, was transferred. On the north and west side of the house there is a garden with centuries-old oak and elm trees.

At the time of its organization, the museum was under the jurisdiction of the Committee for Arts under the Council of Ministers of the USSR. Practical guide The work of the museum was carried out by the Main Directorate of Fine Arts Institutions. In 1954, the museum was transferred to the jurisdiction of the Ministry of Culture of the RSFSR, and in January 1955 - to the jurisdiction of the Moscow City Council Department of Culture. In 1963, it was decided to join the Museum of History and Reconstruction of Moscow, and in 1986, the V. M. Vasnetsov House Museum became part of the All-Union Museum Association “State Tretyakov Gallery” as a scientific department.

Sukharevskaya Square

O. A. Kadol. Sheremetevskaya hospital. Lithograph from the 1830s.

Behind the tents the Garden Ring is buzzing. In a dense, growling, smoking, multi-colored stream, filling its entire width, from sidewalk to sidewalk, cars rush along the dead gray asphalt.

We usually do not pay attention to the meaning and meaning of familiar city names. But if you think about what this street is called Garden Ring, then one cannot help but admit that the name sounds at least a mockery of common sense.

When it appeared, the street was really all in gardens. And this was, in general, relatively recently; Not only legends tell about the gardens on the Garden Ring, they can be seen in photographs and film footage, they are remembered by older Muscovites.

The gardens and front gardens on the Garden Ring were destroyed under the 1935 General Plan for the Reconstruction of Moscow in 1936–1937.

However, since we are talking about the name of the Garden Ring, this is an opportune opportunity to talk about why the Garden Ring and why the Ring. Like all true Moscow names, this name is a hieroglyph that contains the contents of an entire book.

The Garden Ring was formed after the demolition of the fourth ring of ancient defensive fortifications Moscow at the end of the 16th century, the so-called Zemlyanoy City, which consisted of a powerful earthen rampart and wooden fortress walls and towers erected on it. The Zemlyanoy City ringed the entire city, that is, both the part that was on the left bank of the Moscow River and Zamoskvorechye. Opposite Sretenka stood the passage tower of Zemlyanoy Gorod, which, as was customary, was called the Sretensky Gate after the street that approached it. IN late XVII centuries, the wooden Sretensky Gates were replaced by stone ones. The newly built stone Sretensky Gates officially continued to be called Sretensky Gates until the middle of the 18th century, but at the beginning of the same 18th century they received a different name among the people - the Sukharev Tower, and this popular name in the end it completely replaced the official one. TO mid-18th century century, the walls and towers of Zemlyanoy Town lost their defensive significance, they were not repaired, and by the beginning of the 19th century the fortifications collapsed, the ditches were filled in, the rampart was torn down, and a wide passage was formed. But the stone Sukharev Tower was preserved. A square formed around it, called Sukharevskaya after the tower.

In 1816, Emperor Alexander I signed a decree on the restoration and improvement of Moscow after its burning and destruction in 1812 by Napoleon's troops. The restoration plan included a special clause regarding Zemlyanoy Val.

“The space from under the Zemlyanoy Val,” it was written in the decree, “should be distributed to the owners, who have their own houses on both sides of it, to each in length according to the space, and in width as limited by the purpose in the middle of the street, which is supposed to be 12 fathoms wide , so that these additional places are fenced with decent low sieve fences, the pedestals of which would be exactly the same height, thickness and shape; and the lattice between the cabinets is at the choice of the owners from the drawings of the Commission; and so that in these places attached to each courtyard, the owners try to plant gardens along the entire length of their places in front of the houses on the rampart, so that over time, the entire passage around Zemlyanoy City on both sides will be between the gardens.”

Muscovites called the entire street formed along the line of the demolished fortifications of Zemlyanoy Gorod Val. But very soon, due to its length, which is more than 15 kilometers, individual parts of the Val received their own names. In Zamoskvorechye there appeared Valovaya Street, Korovy Val, on the left bank of the Moscow River - Zemlyanoy Val, Novinsky Val (in the 19th century - Novinsky Boulevard), as well as the longest Sadovaya Street, sections of which over time acquired indications clarifying their location, forming double names: Sadovaya-Kudrinskaya, Sadovaya-Samotechnaya, Sadovaya-Sukharevskaya and so on. There are now eight Garden streets on the Garden Ring.

By 1824, Sadovaya was already arousing admiration among Muscovites: “It is impossible not to mention the beautiful Sadovaya,” we read in the “Moscow Guide” of this year’s edition. - Given the width and swampy ridge, it was difficult to pave this street. The benevolent government dismissed (that is, obliged with its will. - V.M.) owners of adjacent houses, so that each of them has a beautifully fenced garden near the house. In this way a large and pleasant garden was created.”

In the 1870s, a horse-drawn railway line was laid along Sadov, which immediately began to be called affectionately and unofficially in Moscow horse-drawn. In 1908, the horse-drawn tram replaced the tram. Since 1912, the ring tram route along Sadov was given the name “Line B”. Muscovites immediately called it “Bukashka” (from the Old Church Slavonic name for the letter B - “beeches”), and the street received another name - “Ring B”.

At the beginning of the 20th century, as in early XIX, there were green gardens along the Ring. Only in some areas, mainly in squares, out of necessity, as, for example, on Sukharevskaya, when the Sukharevsky market no longer fit within the boundaries allocated to it, the plantings were removed. But as soon as the need passed - when the market was closed in 1924 - in its place they immediately built, as a contemporary wrote, “several exemplary public gardens - with trees, flower beds, lawns...”

At the beginning of the 20th century, P. D. Boborykin, and he was not alone, considered the appearance of the Garden Ring provincial and argued that it “still retains the most landowner-philistine character of Moscow.” However, behind the greenery of the gardens there were already tall apartment buildings and mansions in the Art Nouveau style. From the beginning of the 1930s, projects for the reconstruction of Moscow began to be practically implemented, the basis of which was laid political idea transforming the capital from a capitalist into a socialist city.

Among the specific issues of the reconstruction of Moscow - housing construction, water supply and others - the problem of transport was placed almost in the main place. Workers at the Institute of the General Plan of Moscow - the main think tank for reconstruction - solved this problem (and is now being solved) in an elementary way in a simple way: as the number of vehicles in the city increases, streets should be expanded and new passages should be created, destroying “obstructive free movement transport" urban buildings.

In the conditions of a historical city, and Moscow is one of them, such a practice is inevitably fraught with such significant destruction that it will certainly lead to the destruction of its historical appearance. Many outstanding architectural monuments and even entire districts of Moscow became victims of this solution to the transport problem. Among them were the Garden Ring and the stone Sukharev Tower, which by that time had been recognized as an architectural monument of world significance and, despite this, was demolished in 1934.

Urban planners from the Moscow General Plan Institute considered it necessary to turn the Garden Ring into highway, arguing that it will take over the excess traffic in the historical part of the city and thereby solve the problem. World urban planning science, even before the Moscow General Plan Institute decided to turn the Garden Ring into a highway, made a reasonable conclusion that historical city construction of similar roundabouts transport arteries not only makes no sense, but also makes the problem worse.

Panorama of Sukharev Square in left side from Sretenka. Photography of the 20th century.

In 1935, the fences separating the gardens from the sidewalks on Sadovye were demolished and passages were cut through the gardens themselves, and in 1937 all the trees and shrubs were completely cut down. Reporters wrote about the Garden Ring as a “transformed highway” that “became an adornment of the capital.” Prestigious houses for management began to be built on it. But over time, this “decoration” rightfully began to be called a “gas chamber.”

Muscovites, thinking sensibly, could not believe that the Garden Ring was “reconstructed” in order to solve the transport problem. There were persistent rumors in Moscow that the explanations of urban transport planners were just a fiction masking the real goals of the project. In the pre-war years in Moscow, it was quietly but widely said that turning the streets of the Garden Ring into an asphalt track for auto racing would have strategic importance: in case of war, military planes will take off and land on it. However, it seems that the transport workers of the General Plan were really confident in the reasonableness of their project and had in mind precisely the resolution of the transport problem, and not something else, because at the same time they intended to reconstruct the Boulevard Ring in the same way.

Looking at the modern Garden Ring, we can clearly imagine what Chistye Prudy, Tverskoy and other boulevards would turn into if these “transport workers” managed to carry out their barbaric project. Unfortunately, they still return from time to time to the idea of creating a transport artery out of boulevards.

The Sukharev Tower stood directly opposite Sretenka. Before its demolition, only a small part of Sukharevskaya Square in front of the tower was visible from the corner of Sretenka and the Garden Ring, but now from this place there is a wide view of the Garden Ring. Directly opposite Sretenka, on the other side of the ring, Mira Avenue, the former First Meshchanskaya, begins. To the left of the Sretenka - Mira Avenue line - the part of the Garden Ring going down to Samoteka is called Malaya Sukharevskaya Square, to the right - Bolshaya Sukharevskaya. Previously, they were separated by the Sukharev Tower. After its demolition, this division lost its meaning, and they actually merged into a single Sukharevskaya Square, but formally such a division remained.

On Malaya Sukharevskaya Square, none of the buildings attract attention: two standard multi-storey residential buildings built in the 1940s (the famous actor and singer M. N. Bernes lived in building 1, there is a memorial plaque on the house) and several with third floors built on them shops of the last century.

On Bolshaya Sukharevskaya, the eye immediately stops at the building of the Hospice House, better known in Moscow before the revolution as the Sheremetev Hospital, and after the revolution - the Sklifosovsky Institute, or simply Sklif.

Fifty years ago, P. V. Sytin wrote in the book “From the History of Moscow Streets”: “The most remarkable building on the square at present is the building of the emergency hospital and the Sklifosovsky Institute, built in 1802 by Count Sheremetev for the Hospice House (almshouse).” . Today we can only repeat these words. “The Hospice House of Count Sheremetev in Moscow” - under this name this outstanding monument of Russian architecture went down in history - a truly remarkable building, and not only among the buildings of Sukharevskaya Square, but generally one of the most interesting architectural structures Moscow.

Its majestic palace building is located in the depths of the courtyard. Through the low cast-iron fence with cast-iron patterned gates, on the sides of which there are two granite two-column gazebo pylons, you can see behind the overgrown trees and bushes central part houses and front entrance.

The buildings of the Hospice House cover the entire courtyard in a majestic semicircle, and its wings face the Garden Ring. The facade of the main building is decorated with a powerful double colonnade, above which rise a triangle pediment and a helmet-shaped large dome, ending with a church dome - a sign that there is a house church underneath.

Sukharev Tower and the facade of the outbuilding of the Hospice House. Photograph from the 1880s.

Sheremetev's hospice house is an architectural monument of Russian classicism. It was built by two architects: E. S. Nazarov, a student of V. I. Bazhenov, and Giacomo Quarenghi, a famous and fashionable St. Petersburg architect at that time. In addition, some art historians expressed the opinion that the great Bazhenov himself took part in the creation of the project; their guesses, although not directly supported by documents, are quite convincing. From the very beginning, the building was intended to be a small almshouse for Sheremetev's elderly servants. But during the construction process the project changed. These changes were caused not only by architectural considerations, but also to a greater extent what's the point in different stages Count N.P. Sheremetev invested in the creation of the house.

Tradition claims that Count Nikolai Petrovich built the Hospice House in memory of his deceased wife Praskovya Ivanovna, a former serf actress who performed on stage under the name Parasha Zhemchugova. Their love, the secret marriage and early death of Parasha, the grief of the widowed count, who sought peace of mind in matters of charity - everything lined up in a logical and a beautiful legend. Moreover, soon after Parasha’s death, a song was sung throughout Russia about the miraculous transformation of a simple peasant woman into a noble countess. The song told about how one evening a serf peasant woman was driving cows out of the forest and met a gentleman returning from a hunt in a meadow near a stream - “two dogs in front, two lackeys behind.” The master asked her: “Where are you from, beauty, where did you sit?” “Your Grace, a peasant woman,” she answered. The master remembered that in the morning the headman asked permission to marry his son, and asked if he was wooing her. The beauty replied that she was coming to her. To which the master resolutely declared: “He is not worth you at all, you were not born for this. You were born a peasant, tomorrow you will be a mistress.”

This song - a Russian variation of the ever-attractive and moving story of Cinderella - was one of the most popular folk songs in the 19th century, it is still well known today. Tradition claims that the song was composed by Countess Praskovya Ivanovna Sheremeteva herself. Praskovya Ivanovna has direct relation to the creation of the Hospice House, but it was not her death, contrary to legend, that served as the reason for the start of its construction.

P.I. Sheremeteva died on February 23, 1803. The construction of the Hospice House began eleven years before this sad event, irrefutable evidence of which is the foundation copper plaque found in 1954 during restoration work with the inscription: “1792 June 28, the builder of this Count Nikolai Sheremetev.”

IN Russia XVIII centuries, it was considered common practice for serf actresses to also be concubines of the landowner - the owner of the theater. This did not cause condemnation from either the gentlemen or the actresses, who, as a rule, accepted their position, since it fit into the morals and customs of a society based on serfdom. However, even in the feudal society of that time, contrary to the prevailing customs and morality, individuals appeared who did not accept slave morality and morality. There were only a few of them, but thanks to them, unusual, extraordinary life situations developed. Parasha Zhemchugova was exactly this kind of person.

Her relationship with Count Sheremetev became (or perhaps was from the very beginning) a union of people who fell in love with each other. But having united with her beloved, Parasha was not happy. Deeply religious, she could not get rid of the thought that she had brought the person dearest to her into sin and therefore he must inevitably undergo heavenly punishment. She prayed to God that all suffering - both for her and for his sin - would be sent down to her alone. In the love of Parasha and the count, happiness and suffering were united in mental anguish. The mood of the beloved woman could not help but be transmitted to the count. Sheremetev and Parasha tried to soften their consciences with charity. It was then that the construction of an almshouse was conceived. Both knew that they could be truly happy only by consecrating their relationship with a church marriage. But for this, the count had to overcome his own aristocratic prejudices and neglect public opinion. More than ten years passed before he could decide to do this. But even having made up his mind, he did not dare to act openly.

To implement his plan, Count N.P. Sheremetev resorted to deception. He instructed his serf solicitor Nikita Svorochayev to find documents about the “noble origins” of Praskovya Ivanovna. He fulfilled the count's instructions. Parasha was the daughter and granddaughter of the serf peasant blacksmiths Sheremetevs from the village of Berezina, Yaroslavl province, and by their craft they had the nickname Kovalevs. The solicitor found information in the Sheremetev archive that in 1667 the Polish nobleman Yakub Kovalevsky was captured by the Russians. On this basis, the solicitor drew up a paper from which it followed that his descendants were among the servants of the Sheremetevs and therefore Parasha “irrefutably has a noble origin.”

In 1798, Count N.P. Sheremetev signed Parasha’s manumission, freeing her and all her relatives from serfdom, and in 1801 he married her in a church marriage. But by this time Praskovya Ivanovna’s health was already undermined. A year and a half later, she died after giving birth, leaving behind a three-week-old son...

In these days of sadness, Nikolai Petrovich wrote a letter-testament - “to my son Count Dmitry about his birth.” Having told about the origin of his mother, Sheremetev wrote: “I had the most tender, most passionate feelings for her. For a long time observed her properties and qualities and found reason adorned with virtue, sincerity and love of mankind, constancy and fidelity, found in her attachment to the holy faith and the most zealous worship of God. These qualities captivated me more than her beauty, for they are stronger than all the charms and are extremely rare...”

After the death of Praskovya Ivanovna, the Hospice House was truly built in memory of her. The design of the house was changed to a more stately building. The completion of the construction of the Hospice House and its consecration took place in 1810, a year and a half after the death of Count N.P. Sheremetev. The hospice house consisted of an almshouse and a hospital, where, as stated in its Charter, “persons of both sexes and every rank, the poor and the crippled” were admitted completely free of charge. But with a caveat: “except for serfs.” Serfs were accepted only from the Sheremetev household. Until 1917, the Hospice House was supported by income from the Sheremetev estates.

In 1919, the Sheremetevskaya hospital was transformed into the Moscow city emergency medical care station. Now it is the world famous research institute named after N.V. Sklifosovsky. On its territory there are several large buildings equipped with modern equipment. And the old Sheremetev building houses the Research Center and the Medical Museum.

On the building of the Hospice House there are three memorial plaques. One says: “In this building, Vladimir Ilyich Lenin participated in a secret meeting of the Zamoskvoretsky district committee of the RSDLP in March 1906.” The meeting took place in an outbuilding, in the apartment of a paramedic; Lenin’s name was not mentioned among the participants in the meeting; he was introduced as “a comrade from St. Petersburg.” It was about the Councils of Workers' Deputies and their relationships with party bodies. The plaque was installed in 1965, sculptors O.K. Komov and Yu.L. Chernov.

The second plaque was installed in 1966: “In this building from the first days of the Great Patriotic War of 1941–1945. there was a hospital for wounded soldiers of the Soviet Army.”

And the last one: “He worked here from 1928 to 1954 outstanding surgeon Sergei Sergeevich Yudin." (Sculptor M.P. Olenin. The plaque was opened in 1967.) He lived in the outbuilding of the institute in apartment No. 20. From here, on December 23, 1948, Yudin was taken to Lubyanka. He spent more than three years in solitary confinement in Lubyanka and Lefortovo, then was sent into exile in Novosibirsk region. Investigators pressed him to confess that he was a spy. In 1953, on July 5, he was rehabilitated and returned to Moscow, to his apartment. Less than a year later, on June 12, 1954, Yudin died. A memorial room for S.S. Yudin has been opened in the Medical Museum of the Hospice House.

Sukharevskaya Square has always been large; at the beginning of the 20th century, as V. A. Gilyarovsky writes, it “occupied huge space five thousand square meters" Gilyarovsky describes the appearance of the square: “And all around, except for the Sheremetev hospital, in all the houses there were taverns, pubs, shops, all sorts of wholesale trade and shops - shoemakers and those with ready-made clothes, where the buyer was dragged almost by force.”

Many of the houses Gilyarovsky talks about have survived. To the left of the Hospice House, opposite Sretenka, in the corners of the beginning of Mira Avenue, the former First Meshchanskaya, the houses are just one of them. Three-story house in which there is book Shop and which is adjacent to the Hospice House, built in 1891. The corner house on the other side of the avenue - house No. 7 on Malaya Sukharevskaya Square and house No. 1 on Mira Avenue - was built at the end of the 18th century; it burned in the fire of 1812, and during restoration it was built on a third floor. Before the revolution, it housed Romanov's tavern; in 1917, it housed the regional Military Revolutionary Committee and the headquarters of the Red Guard.

To the right of the Hospice House there are several two- and three-story houses (the third floor has been built on), standing here since the beginning of the 19th century; they end with Bolshaya Sukharevskaya Square. The next house is an old estate of the 18th century, which belonged to Count I. S. Gendrikov. Its main three-story building was built according to the design of V.I. Bazhenov. IN late XVIII century, for a short time the printing house of N.I. Novikov was located here. In 1798, the building, which became the treasury, was converted into military barracks, and new buildings were built along the street. Based on the neighboring Church of the Transfiguration (now demolished), this section of the Garden Ring will be called Sadovaya-Spasskaya, and the barracks were called Spassky. In these barracks there was an underground prison in which A.I. Polezhaev was imprisoned.

Typical buildings around the Sukharev Tower. Photography from the early 20th century.

After the revolution, remaining barracks, they were renamed Krasnoperekopsky, since 1926 they housed the 1st Proletarian Division, which blocked the path of advance near Narofominsk in the fall of 1941 German troops. In the post-war years, the former Spassky barracks were transferred to civilian institutions.

The right even side of Sukharevsky Squares (the Garden Ring is numbered according to the sun - from left to right), both Small and Bolshoi, was almost completely demolished.

Two old houses have been preserved on Malaya Sukharevskaya mid-19th century. In one of them, in house No. 6, in the 1900s, the young engraver I. N. Pavlov lived in cheap rooms, who in the future became famous for his works dedicated to old Moscow.

The first houses (2–12) on the even side of Bolshaya Sukharevskaya Square - the characteristic two- and three-story buildings of the middle of the last century, with shops and taverns, were demolished, and after their demolition a view of Pankratyevsky Lane and the typical strange-looking Moscow streets opened up. for the German landscape, houses with attics, decorated along the facade with clearly outlined squares, outlining the shapes of the structural details. They were built by German engineers in the early 1930s. These residential buildings were intended for workers of the Supreme Economic Council.

There was also a view of a bright apartment building sparkling with multi-colored ceramic tiles, built by architect S. K. Rodionov in 1900. This house is a fantasy on the themes of Russian mansions from the 17th century. Its roof is made in the form of two hipped boxes perpendicular to each other with a patterned lattice along the ridge; in addition, a turret with a weather vane is installed on one of the corners of the roof. The main structural vertical and horizontal elements of the house are white, and the colored tiles inserted between them are reminiscent of the white and red decor common in ceremonial buildings of the 17th century, only instead of red, bright green dominates here. This house, with its unusualness, had previously attracted everyone’s attention, but before it had a side façade facing Sukharevskaya Square, but now the main façade, facing Pankratievsky Lane, is open.

The next building - house No. 14 - was built in 1936. This is a constructivist, dull residential building with very small windows for workers of the People's Commissariat of Heavy Industry. “Keeping in mind the residents of the house - the commanders of the rapidly developing heavy industry in those years, the architect D. D. Bulgakov deliberately gave the house a resemblance to an industrial structure,” explains Yu. A. Fedosyuk of its artistic and architectural image.

The last ones related to the square - then Sadovaya Spasskaya Street begins, houses No. 16–18 - are typical capital apartment buildings built in the 1910s, in 1953 they were built with three floors. (Initial design by architect A.F. Meisner.)

V. I. Dal in “ Explanatory dictionary living Great Russian language" defines the concept " square in cities or villages" as "an undeveloped space wider than the streets." In general, this is also the modern idea of the area. If we are guided by these considerations, Sukharevskaya Square cannot actually be called a square. Its width is the width of the Garden Ring; there are no clear visible boundaries of length at all. When Garden Ring cars are driving, it can be called a street, a highway, an avenue, no one even thinks that this is a square. But it is still a square. Area by origin and architectural design. Like many historical classical squares of world capitals, for two and a half centuries it had an organizing center, which made the square a square around which movement took place. This organizing center was the famous Sukharev Tower, built in the 17th century and demolished in the 20th century. Without it, the square actually became a simple street intersection, but...

A great expert on Moscow and Russian folk life in general, novelist, poet (some of his poems became folk songs, among them the most famous and beloved song “Across the wild steppes of Transbaikalia”, as well as the famous folk romance “Charming Eyes”, Ivan Kuzmich Kondratyev wrote in his book “The Hoary Old Age of Moscow” (1893): “Which of the Russians, who have not even been to Moscow, the name of the Sukharev Tower is unknown? It should be noted that in the inner, especially remote, provinces of Russia, the Sukharev Tower, together with Ivan the Great, enjoys some kind of special fame: they know about it that it is a tall, huge tower, and that it can be seen from everywhere in Moscow, like the Temple Christ the Savior. That’s why almost everyone who comes to Moscow considers it an indispensable duty, first of all, to visit the Kremlin, pray in the Church of the Savior, and then at least drive near the Sukharev Tower, which, moreover, became famous for some miracles that happened on it ... "

The seven decades that have passed since the demolition of the Sukharev Tower have been unable to influence either its fame or its glory. Now in Moscow they know and talk more about the demolished Sukharev Tower than about many works of architecture that are safely standing on the streets of the city and also worthy of attention and respect.

Sukharev Tower - Moscow myth. And the cars making a U-turn on Sukharevskaya Square, driving around its empty center, seem to be moving around an invisible, but still standing in place, legendary tower.

This is the secret of Sukharevskaya Square, and therefore it will never become just a crossroads.

From the book Legendary Streets of St. Petersburg author Erofeev Alexey Dmitrievich

From the book Where the Kryukov Canal is... author Zuev Georgy Ivanovich

THEATER SQUARE Theater Square is rightfully considered one of the oldest urban planning objects in St. Petersburg. Its emergence dates back to the thirties of the 18th century. Since construction Bolshoi Theater, opened in 1783, a classicist appearance began to take shape

by Robb Graham

24. Place Saint-Germain-des-Prés Two WOMEN of unknown age, dressed in mourning, carry bags; they look indignant. JULIET and her two FRIENDS are standing in front of the bar; everyone is dressed in men's jackets with wide shoulders and trousers with rolled-up legs. Juliet begins

From the book Parisians. A story of adventures in Paris. by Robb Graham

37. Place Saint-Germain-des-Prés JULIET and DAVIS. His arm hugs her shoulders - his tall body turned to the camera, face in profile, he kisses JULIET. Her face is also in profile, her head is thrown back, her body is curved, like musical instrument. (Copy pose from photo

From the book Parisians. A story of adventures in Paris. by Robb Graham

38. Place Saint-Germain-des-Prés...now appears in color. (All final scenes shot in color.) Long take, handheld camera. From a distance: life on the square - people, cars, bicycles. Dark screen. Captions: “Five

From the book Parisians. A story of adventures in Paris. by Robb Graham

42. Place Saint-Germain-des-Prés During this scene, film crew members appear. A film crew is standing on the square. JULIET in a Dior coat; Otherwise everything is the same as in the previous scene. ACTORS in gabardine coats and soft felt hats stand around,

From the book Book of Changes. The fate of St. Petersburg toponymy in urban folklore. author Sindalovsky Naum Alexandrovich

Mozhestva, square 1960. By the middle of the 20th century, on the border of Lesnoy and Bolshaya Kushelevka, a square was formed, which was popularly called Murinskaya. According to one version, this name came from a stream of the same name that flowed nearby, according to another, from the 2nd Murinsky Avenue,

From the book 100 famous architectural monuments author Pernatyev Yuri Sergeevich

Palace Square Classicism is the art of the New Age, which came to Russia from the West, but has completely taken root on Russian soil, especially in architecture. Already at the end of the 18th century. and the beginning of the 19th century. in many cities Russian Empire buildings begin to appear, nothing in beauty

From the book Istanbul. Story. Legends. Legends author Ionina Nadezhda

Augusteion Square After the slave market, the Mesa led to Augusteion Square, named after Augusta Helena (mother of Emperor Constantine the Great). It was a vast quadrangular forum, surrounded on all sides by magnificent columns. Among

From the book Moscow Art Nouveau in Faces and Fates author Sokolova Lyudmila Anatolyevna

Mansion V.V. Pravdina Sadovaya-Sukharevskaya, No. 5 (1908) This beautiful two-story mansion on Sadovaya-Sukharevskaya is today known mainly from the cult film “The meeting place cannot be changed” - it was here that Gleb Zheglov forced Kirpich to open the tight door of the 17th department

From the book Vladivostok author Khisamutdinov Amir Alexandrovich

From the book Noon: The Case of the Demonstration of August 25, 1968 on Red Square author Gorbanevskaya Natalya

Instead of the afterword “You can go to the square, you dare to go to the square” (“Russian Thought” No. 3479, August 25, 1983) Fifteen years later - what new could I tell about the demonstration? Even in order to restore its exact picture now, I would have to turn to me

From the book Moscow Akuninskaya author Besedina Maria Borisovna

Almost everyone knows what Sukharevskaya Square and its famous market are. But perhaps the most succinct definition of the history of this grandiose flea market was given by Gilyarovsky: “Sukharevka is the daughter of war... After the war of 1812, as soon as they began to return to Moscow

In the area of modern Sukharevskaya Square and the metro station of the same name - where Sretenka Street ends - there was a Streltsy settlement. Previously, these were two squares - Bolshaya and Malaya Sukharevsky, which in the period from 1936 to 1990 were destined to bear the names Bolshaya Kolkhoznaya and Malaya Kolkhoznaya. To find the connection between the toponym Sukharevskaya Square and the settlements of the Moscow Streltsy, let us turn not only to the history of Moscow toponymy and Streltsy army, but also to tragic story a unique Moscow architectural monument, which, together with the Kremlin, St. Basil's and Christ the Savior Cathedrals, was a unique symbol of the capital - the famous Sukharev Tower.

At first, at the end of Sretenka there was a wooden tower, erected in 1591-1592 as part of the fortifications of Skorodom. This Moscow fortress burned down in 1611. Instead, at the end of the 30s of the 17th century, a high earthen rampart was built. Two decades later - in 1659 - a wooden fence With travel towers. At the very end of the 17th century (in 1692-1695), the young Tsar Peter I replaced the wooden tower and gate at the exit from Sretenka to the Trinity Road with a new stone building - two-story chambers with a through passage and a three-tier tower above them. From 1698 to 1701, this building was completed - a third floor was erected, and the tower increased by two tiers. The construction became the largest secular building in Russia - the height of this majestic and unique architectural monument, which partly resembled the town hall building in Western European cities (it was not for nothing that the tower was completed precisely after Pyotr Alekseevich’s trip abroad), was 60 meters!

Residents of Moscow began to call the building the Sukharev Tower, since the guard service in this area of Moscow was carried out by a rifle regiment under the command of Colonel Lavrentiy Pankratyevich Sukharev. This streltsy commander forever entered into Russian history, for in the difficult August 1689 for Peter, which became the month of confrontation between the young tsar and his half-sister - the then ruler Sophia - it was Sukharev’s regiment (the only one of the nine rifle regiments then stationed in Moscow) that remained loyal to Tsar Peter and came to his defense. Then everything could have ended disastrously for Peter, who was forced to flee at night from the rebel archers to the Trinity-Sergius Lavra.

It is traditionally believed that the Sukharev Tower was erected by Peter in gratitude for the faithful service of the colonel and his archers. However, to be fair, it should be said that this opinion is not currently shared by all Muscovite scholars. The first doubts appeared with P.V. Sytin, who initially adhered to the traditional version. However, then he changed his point of view and already in the book “History of Planning and Development of Moscow” he emphasized that the Sukharev Tower could not be built in honor or memory of Colonel Sukharev, since this does not follow from the memorial inscription. P.V. Sytin also mentioned that Sukharev was awarded by Peter for the Trinity Campaign much more modestly compared to others. In our time famous explorer history of Moscow and its monuments S.K. Romanyuk in his book “Moscow. Loss,” published in 1992, also draws readers’ attention to the fact that there is in fact no documentary evidence in favor of the version that the Tsar erected the Sukharev Tower in gratitude to Colonel Sukharev. Indeed, on two memorial plaques placed back in Peter’s time on the walls of the Sukharev Tower, we do not find direct evidence of this: “The Sretensky Gate was built in the second Streletsky Regiment in the Zemlyanoy City, and above those gates there were chambers and tents with a clock, and near the gate both sides of the small chamber, and the state barn, and behind the gate to the new Meshchanskaya Sloboda there is a chapel with cells to the St. Nicholas Monastery, which is on Pererva. And the construction of that building began in the summer of 7200 (1692), and was completed in 7203 (1695), and at that time the future captain and colonel of that regiment was Lavrentiy Pankratyev Sukharev.”

But in any case, the Sukharev Tower building has become one of the architectural symbols of Moscow. Its name is closely connected with the names of many surrounding objects (some of which have not survived): Bolshaya and Malaya Sukharevsky Squares, Sadovo-Sukharevskaya Street, Bolshaya and Maly Sukharevsky Lanes, the famous Sukharevsky Market.

Moscow poet Mikhail Dmitriev dedicated the following lines to the tower, written on July 30, 1845:

What a wonderful green tower it is!
Tall and thin; and under it, like a footstool, huge;
A house with three dwellings, and adjacent to it, on a slope, under the roof,
A long porch on the side, like a bird’s wing on flight!
It seems that they are about to wave! - Not really! heavy!
Sukharev built that tower, Colonel of the Streltsy! - During
The mutiny of the archers young kings Peter and John.
He remained faithful with his regiment to the two brother-kings.
In the name of the faithful one, in memory of him, Peter nicknamed that tower...
...Your great-grandfathers studied here,
How to rule the thunderous masses along the sea route!
The same simple-minded people love a funny joke!
He wants to get married, and you can hear that he is taking that tower for himself!

In the Sukharev Tower, in the vast chambers, Peter established for the first time in Russia a mathematical and navigation school (where, in addition to overseas teachers, the author of the first Russian arithmetic textbook, Leonty Magnitsky, also taught), astronomical observatory and a library. IN Soviet time In 1926, the famous Moscow Communal Museum was opened in the Sukharev Tower, the director of which was the outstanding Moscow historian Pyotr Vasilyevich Sytin, the initiator of this new stage in the biography of the Sukharev Tower. But this monument of Moscow architecture and culture was destined to become a victim of the new political regime. Despite official protests even from such famous people, like I. E. Grabar, I. V. Zholtovsky, A. V. Shchusev, K. F. Yuon, A. M. Efros, and others, the top Soviet leadership decided to dismantle, or simply destroy, the Sukharev Tower . Only recently have documents become available indicating that JV Stalin was directly involved in the decision to demolish the Sukharev Tower. In particular, in September 1933, he wrote to L. M. Kaganovich: “We studied the issue of the Sukharev Tower and came to the conclusion that it must be demolished. We propose to demolish the Sukharev Tower and expand the movement. Architects who object to demolition are blind and hopeless.” In June 1934, the authorities’ plan came true - the Sukharev Tower ceased to exist. This is what V. A. Gilyarovsky wrote about those days in a letter addressed to his daughter: “They are breaking her. First of all, they took off her watch and used it for some other tower, and then they broke off the porch, knocked down the spire, dismantled the upper floors brick by brick, and today or tomorrow they will break down her slender pink figure. Still pink as it was! Yesterday it was a sunny evening, a bright sunset from the side Triumphal Gate gilded Sadovaya from below and crumbled into the dying remains with a glow.” V. A. Gilyarovsky supplemented this description with his own poetic lines:

Something terrible! Crimson, red,
Illuminated by the sunset ray,
Turned into a pile of living ruins,
I still see her yesterday -
A proud beauty, a pink tower...

Thanks to the actions of the current Moscow authorities aimed at reviving historical memory, imprinted in old Moscow toponyms, on the map of the capital and in our speech everyday life the name Sukharevskaya Square again exists. But I also think about something else. Over the past few years, Moscow has restored architectural monuments, which served as the decoration of the capital and are closely connected with the very concept of “Moscow” - the Cathedral of Christ the Savior, the Kazan Cathedral on Red Square, the Resurrection Gate of Kitay-Gorod with the Iverskaya Chapel, the Red Porch in the Kremlin. I want to hope that we, Muscovites, will also be able to return the Sukharev Tower to our city, our descendants.

Bolshaya Sukharevskaya Square – area in Krasnoselsky and Meshchansky districts of Central administrative district Moscow. Located between Malaya Sukharevskaya Square and Sadovaya-Spasskaya Street. The length of the area is 320 m.

Bolshaya Sukharevskaya in Moscow - history, name

The name was given in the 18th century. according to the Sukharevskaya (Sukhareva) tower, erected here at the end of the 17th - beginning of the 18th century. and dismantled in 1934. In the 17th century. here was a Streltsy settlement, in which L.P.’s regiment was stationed. Sukharev, guarding the gates of Zemlyanoy Gorod. On the square and in the adjacent alleys there was the famous Sukharevsky market. In common parlance, both the market and the square were called Sukharevka.

In 1939 - 1994 – Bolshaya Kolkhoz Square – “in honor of the 1st All-Union Congress of Collective Farmers-Shock Workers and in commemoration of the implementation of collectivization Agriculture". In 1934-1939 - Kolkhoz Square, together with the former Malaya Kolkhoznaya, now Malaya Sukharevskaya Square.

When the historical name was returned, at first both Kolkhoz squares were united under the name Sukharevskaya. But this required renumbering the buildings, which was unacceptable, because... The house number of the Institute of Emergency Medicine named after. Sklifosovsky. Therefore, the old division of Sukharevskaya Square into Bolshaya and Malaya remained.

Houses on Bolshaya Sukharevskaya Square

Bolshaya Sukharevskaya, 3. Sheremetev's hospice house . The building was built in 1794-1810 by order of Count Nikolai Petrovich Sheremetev as a hospice house with a free hospital. The original project belonged to E.S. Nazarov. In 1803 it was modified by Giacomo Quarenghi. Thanks to him, a semi-rotunda appeared in the center, and porticos appeared at the ends and in the middle part of the side wings. In 1882, the house was rebuilt as a hospital by N.V. Sultanov. In 1919, an ambulance station was organized here, and in 1923, the building of the Research Institute of Emergency Medicine was erected, which is located within these walls to this day. The building was restored in 2000-2006.

Bolshaya Sukharevskaya, 12/12. House of M.N. Miansarova .