BATYUSHKOV Konstantin Nikolaevich (1787-1855), poet, lieutenant colonel (1818). In 1797-1807 he permanently lived in St. Petersburg: was brought up in private boarding schools, served in the Ministry of People's Education (1802-07). Consequently, visited St. Petersburg briefly. He participated in the Napoleonic Wars (1807, 1813-14), in the Russian-Sweden War (1808-09). He was an assistant manuscript curator (1812), librarian assistant (1817) in the Imperial Public Library in St. Petersburg. He was a member of the Free Society for Lovers of Literature, Sciences and Arts (1812), Arzamas Society (1815), the Free Society for Lovers of Russian Literature (1816). He was a secret foreign Russian diplomat in Italy (1818-20). He was a representative of the so-called light poetry in works of 1809-12 (My Penates, 1811-12 and many others) and master of lyric psychology in works from 1814 to 21 (Elegy, 1815, etc.). He was the author of articles on poetry. As a literary critic he argued for the perfection of language and style, was an adversary of the so-called archaists (Visions on Leta Bank, 1809, etc.). He was published by various Petersburg journals, visited A.N. Olenin's Salon (his residence Priyutino, near St. Petersburg, is described in Batyushkov's verses). Artistic insights of Batyushkov had a great influence on the development of Russian literature. The symbolism of the architectural image of St. Petersburg (A Walk to the Academy of Arts essay, 1814) had an influence on The Bronze Horseman poem of A.S.Pushkin. He introduced into literature themes of the iron age, and the black man. He lived in St. Petersburg in 1802-07 at the apartment of his uncle, M.N. Muravyev (Bolshaya Sadovaya Street, a part of Apraksin Dvor, not preserved); later mainly at 25 Fontanka River Embankment (memorial plaque), in the house of Muravyev's widow E.F. Muravyeva.

References: Кошелев В. А. Константин Батюшков: Странствия и страсти. М., 1987; Литературный Петербург пушкинской эпохи: Адрес. указ. / Сост. В. Ф. Шубин // Дома у Пушкина: [Сб. ст.]. СПб., 1994. С. 100-111. (Арс; № 1).

I. E. Vasilyeva.

BERNSTAM Leopold-Bernhard (Leopold Adolfovich) (1859-1939), sculptor. He lived in St. Petersburg in 1872-85. He studied under David Jensen at the Drawing School of Artists Encouragement Fund and in the Academy of Arts (an external student in 1877-83). From 1885 he worked in Paris, often returning to St. Petersburg for commission work. He painted approximately 300 portraits of Russian and European representatives of culture, science and politics, and sculpted many busts and monuments, including sculptures on the ancient and biblical subjects. He created busts of Fedor Dostoevsky (from Dostoevsky’s death mask, 1881), Mikhail Saltykov-Shchedrin (the early 1880s; erected at the writer's grave in 1900), Denis Fonvizin, Alexander Pushkin, and Alexander Ostrovsky for the foyer of the Alexandrinsky theatre (the early 1880s); monuments to Anton Rubinstein (put up in the Conservatory foyer in 1902), Alexander Pushkin (1911, today at the Egyptian Gates to Pushkin) and Peter the Great: Peter the Great kisses the Infant Lois XV (put up in a Peterhof park, not preserved), Peter the Great Saving the Drowning in Lakhta in 1724; Peter the Great Learning Shipping Trade in Saardam, Holland in 1697 (The Tsar-Carpenter, put up in the Admiralty Embankment in 1909 and 1910; removed in 1918; a copy of the latter was erected in the same place in 1996). He made portraits of Nicholas II and members of the Imperial family (1896). His last work for St. Petersburg was the bust of Emperor Alexander III (erected in the garden of the Russian Museum, removed in 1918).

Reference: Северюхин Д. Я. Любимый скульптор Государя // Невский архив: Ист.-краевед. сб. М.; СПб., 1993. [Вып. 1]. С. 246-259.

O. L. Leikind, D.Y. Severyukhin.

CHERKASOV Nikolay Konstantinovich (1903, St. Petersburg - 1966, Leningrad), actor, People's Artist of the USSR (1947). Graduated from the Leningrad Dramatics School in 1926. In 1919-21, worked as a mime at the Petrograd Academic Opera and Ballet Theatre, and in 1922-25, an artist at the Petrograd Studio of Young Ballet (among his parts is Don Quixote in L.F. Minkus's ballet of the same name). Caught the public's attention in productions by the Dramatics School as a brilliant character actor and dynamically expressive comedy actor mainly inclined toward eccentric transformation (Sir Andrew in W. Shakespeare's Twelfth Night, Rabourdin in The heirs of Rabourdin by E. Zola, Pat in the mock dance Pat, Patachon and Charlie Chaplin, which he performed for many years on various stages, and which was filmed). The same qualities characterised Cherkasov's work at the Leningrad Young Spectators' Theatre (1926-29; Don Quixote in A.Y. Brustein and B.V. Zon's play of the same name; father Moor in The Robbers by F. Schiller; Zvezdintsev in The Fruits of Culture by N. Tolstoy), at the travelling Kosmoglaz Theatre of New Operetta (1927-28), throughout Leningrad and Moscow music-halls, circuses in the Moscow and Volga region (1929-30), and as part of the Leningrad Travelling Comedy Theatre (1931-33). In 1934-65, he acted at the Leningrad Academic Drama Theatre (see Alexandrinsky Theatre), where he brilliantly created the comic characters of Varlaam in Alexander Pushkin's Boris Godunov (1934 and 1949), Osip in The Inspector General by N.V. Gogol (1936 and 1952), and Bulanov in The Forest by A.N. Ostrovsky (1936). Other significant roles included Peter the Great in A.N. Tolstoy's play Peter I (1938), Don Quixote in Don Quixote (1941) and Khludov in Flight (1958) by M.A. Bulgakov, Ivan the Terrible in Great Prince by V.A. Solovyev (1945), and Baron in The Miserly Knight by Alexander Pushkin (1962). Found success as a clown, abandoned this specialisation, and began rotating between characters of "historical" and "socially heroic" natures (Dronov in Everything Remains for the People by S.I. Aleshin; for the theatre in 1959, on film in 1963). He began appearing in films in 1927, playing over 40 parts, including Kolka Loshak in Hectic Days (1935), Paganel in Captain Grant's Children (1936), Professor Polezhaev in Baltic Deputy and Prince Alexey in Peter the First (1937), Alexander Nevsky in Alexander Nevsky (1938), Ivan the Terrible in Ivan the Terrible (1945), and Don Quixote in Don Quixote (1957). From 1948, and for the rest of his life, he was the chairman of the Leningrad Department of the All-Union Theatre Society. A major part of Cherkasov's works and recollections about him are collected in the book Nikolay Cherkasov (Moscow, 1976). He won the Stalin Prize (1941, 1946, 1950, and 1951), the Lenin Prize (1964), a prize at the Moscow Film Festival in Stratford, Canada (1958), and the Grand Prix of the International Exhibition in Paris (1937). He lived at 27 Kronverkskaya Street (memorial plaque installed) from 1944 until 1966. Buried at Necropolis of Artists. A new street in the Vyborgsky District was named after Cherkasov in 1970.

Reference: Герасимов Ю. К., Скверчинская Ж. Г. Черкасов. М., 1976.

A. A. Kirillov.

GLINKA Mikhail Ivanovich (1804-1857), composer. Lived in St. Petersburg from 1817; in 1818-22, studied at the Noble Boarding School of the Main Pedagogical Institute (164 Fontanka River Embankment). Glinka's tutor was W.K. Kuchelbecker. He studied piano under J. Field and K. Mayer, and violin under the first violinist of F. Behm's Court Orchestra. In 1824-28, he served in the Chancellory of the Council of the Main Department for Transport Communication (9 Moskovsky Avenue). Visited the Bolshoy Theatre, attended concerts by P.I. Yushkov's orchestra, and the salons of F.P. Lvov and A.F. Lvov (4/7 Pochtamtskaya Street), E.K. Sivers (10 Pochtamtskaya Street), V.F. Odoevsky, the Vielgorskys, A.A. Delwig, and becoming acquainted with V.A. Zhukovsky, Alexander Pushkin and A. Mickiewicz. Began composing music, playing and singing his compositions any time he was given the opportunity, and published small plays and romances. In 1830-34, he toured across Europe. In 1834-44, with breaks, he again lived in St. Petersburg. He took advantage of his reputation as the first ethnic Russian musician, and went on to compose and stage classical operas: A Life for the Tsar (to E.F. Rosen's libretto, premiered on 27 November 1836, the birthday of Emperor Nicholas I at the solemn reopening of the Bolshoy Theatre after reconstruction due to fire) and Ruslan and Ludmila (V.F. Shirkov's libretto, premiered on 27 November 1842, also at the Bolshoy Theater). In 1837-39, he served as Kapellmeister of the Court Capella. It was in that period he came together with A.S. Dargomyzhsky, entered Zhukovsky's circle, gave performances at court and, having married, held his own musical evenings. In the late 1830s, he became friends with the Kukolnik brothers, wrote music to N. V. Kukolnik's tragedy Prince Kholmsky (1841), his romance Doubt, and a vocal cycle called Farewell to St. Petersburg to his poem. Composed sacred music, drafted "motif du chant national" (in 1992-2001 it became Russian Federation's national anthem), and dedicated a romance to Pushkin's verse I Remember the Wonderful Moment (1840) to the daughter of A.P. Kern, Ekaterina. In 1844, he left Russia, visiting St. Petersburg in 1848-49, 1851-52 and 1854-56. In 1850, at a charity concert at the Noble Assembly for the Poor Aid Society, Glinka's symphonic compositions - Recuerdos de Castilla (which later became A Night in Madrid), Jota Aragonesa and Kamarinskaya - were performed for the first time in the composer's absence. In 1851, Glinka acquired fame as the first Russian symphonic composer. During his last Petersburg period, Glinka's circle of friends underwent some changes. V.P. Engelgardt, to whom Glinka presented all his manuscripts, became his close friend; Glinka also became friends with D.V. Stasov and V.V. Stasov, with A.N. Serov, and frequented O.I. Senkovsky's residence. In the winter of 1854/55, he finished his Notes. His final large musical composition written in St. Petersburg was the third orchestral version of Waltz-Fantasy, which was performed for the first time at D. M. Leonova's concert given at the Alexandrinsky theatre in the spring of 1856. Glinka is the first Russian classic composer, and is considered the creator of the national Russian opera and Russian symphonic music. Odoevsky and Serov, the best of Glinka's critics, wrote many articles about his music and artistic credo during Glinka's lifetime. In the 1930s, the opera A Life for the Tsar, based on the Romanovs' family myth about the miraculous escape of Tsar Mikhail Fedorovich, was rewritten as a people's tragedy (new text written by S.M. Gorodetsky) and from 1939 to the beginning of the 1990s it was performed under the name Ivan Susanin. Glinka rented a new flat almost every year. The majority of the buildings where he lived have not been preserved. In 1828-29 and in 1851-52, he rented a flat at the corner of Nevsky Prospect and Vladimirsky Avenue (2/49); in 1836-37 and in 1840-41 at the corner of Fonarny Lane and Glukhoy Lane (today Pirogova Street; building 8/3; memorial plaque installed); in 1837-39 he lived in the flat of the Capella (20 Moika River Embankment); and in 1841-1842 lived at 16 Bolshaya Meschanskaya (today Kazanskaya) Street. In 1848-49 he stayed with his son-in-law V.I. Fleri, director of School for the Deaf and Mute at the corner of Gorokhovaya Street and Moika River Embankment (54/18); in 1854-56 he lived on Ertelev Lane (today 7 Chekhova Street; memorial plaque installed). Originally buried in Berlin, his remains were moved in 1857 to the Tikhvinskoe Cemetery of the Alexander Nevsky Lavra (today the Necropolis of Artists ). On 8 March 1857, the Philharmonic Society organized a memorial concert to Glinka at the Noble Assembly. The State Academic Capella, the Small Hall of the Philharmonic (with a monument on the staircase) and a street close to the Mariinsky Theatre have been named after Glinka. In 1906, a monument to Glinka was opened on Teatralnaya Square near the Conservatory (sculptor R.R. Bach, architect A. R. Bach); a bronze bust (sculptor V.P. Pashchenko, architect A.S. Lytkin) was mounted in 1899 in the Alexandrovsky Garden. The All-Russian (previously All-Union) Glinka Vocal Competition has been held since 1960.

Works: Literary Heritage: in two volumes. Leningrad; Moscow, 1952-1953.

References: Глинка в воспоминаниях современников. М., 1955; Орлова А. А. Глинка в Петербурге. Л., 1970.

A. L. Porfiryeva.

KARAMZIN Nikolay Mikhailovich (1766-1826, St. Petersburg), writer, critic, historian, honorary member of the Petersburg Academy of Sciences (1818). He studied in a Moscow Boarding School. In 1782-84 he served with the Guards in St. Petersburg. After retiring he travelled in Europe (1789-90), and then lived mainly in Moscow. He was the founder of Russian sentimentalism. He was the author of Letters of a Russian Traveller, stories: Poor Lisa, Natalya the Boyar's Daughter, Marpha the Governor's Wife, etc., verses, essays, critique, translations. He played an important role in the development of Russian standard language, establishment of new trends in Russian literature, had an influence on V.A. Zhukovsky, K.N. Batyushkov, A.S.Pushkin. Karamzin's followers and associated formed a friends literature society, Arzamas, while their adversaries, archaists, headed by A.S. Shishkov - Conversations for Lovers of the Russian Word literature society. In 1803 he was appointed a historiographer by Emperor Alexander I and started working on his main work the History of the Russian State, the publication of which (vol. 1-12, 1816-29) was a milestone in the development of Russian science and self awareness. Karamzin was a firm believer in enlightened monarchy, in the early 1810s he argued against M.M. Spiransky's reforms. In 1816 he moved with his family to Tsarskoe Selo, where he was given one of the houses in Chinese Village. Pushkin visited him there as a lyceum pupil. While staying in St. Petersburg in 1816-18 Karamzin lived in E.F. Muravyeva's House (25 Fontanka River Embankment), he spent summer months in Tsarskoe Selo in the Kavalersky Block at 12 Sadovaya Street (1752-53, architect S.I. Chevakinsky; rebuilt in 1784, architect I.V. Neelov). The last Petersburg residence of Karamzin was Mizhuev's House (26 Fontanka River Embankment). Karamzin was a witness of the Decembrist Uprising on 14 December 1825 at Senatskaya Square. Karamzin criticised its participants and organisers for heedlessness, though he endured their fate as a personal tragedy (many of the conspirators were close acquaintances). On the day of the uprising Karamzin caught a cold, which resulted in a severe illness, the latter being fatal for Karamzin. He was buried at the Necropolis of Artists.

References: Эйдельман Н. Я. Последний летописец. М., 1983; Лотман Ю. М. Сотворение Карамзина. М., 1998; Шмидт С. О. Николай Михайлович Карамзин (1766-1826) // Портреты историков: Время и судьбы: В 2 т. М.; Иерусалим, 2000. Т. 1. С. 25-37.

N. L. Korsakova.

LERMONTOV Mikhail Yurievich (1814-1841), poet, prose writer, playwright. The descendant of G. Lermont, an immigrant from Scotland. Without graduating from Moscow University, Lermontov came to St. Petersburg for the first time in 1832, entered the school of Guards Sergeants and Cavalry Cadets, which he left with the rank of a cornet in 1834. The poem Death of the Poet (1837, occasioned by the death of A.S.Pushkin) brought Lermontov not only literary fame but also an arrest and transfer to the Caucases. In 1838 he returned to St. Petersburg, where he stayed until February 1840, when he again was exiled to the Caucasus for participating in a duel; Lermontov's last visit of St. Petersburg was in February - April 1841. His works appeared in Petersburg journals Sovremennik (the poem Borodino, 1837, etc.), Otechestvennye Zapiski (here the majority of life-time publications of Lermontov's works appeared: poem Meditation, 1839, Gratitude, 1840, How often in a motley crowd..., 1840, Motherland, 1841, etc.; separate short stories of the novel A Hero of Our Time, etc.); a regular visitor of Petersburg literary salons of the Karamzins, A.O. Smirnova-Rosset, Count M.Y. Vielgorsky, Count A.G. Laval and Countess I.S. Laval and others. In St. Petersburg the only life-time verse collections of Lermontov's poems Poems by Mikhail Lermontov (1840) and two editions of A Hero of Our Time (1840 and 1841) were issued. In Lermontov's works, that developed in the traditions of the Romanticism, the opposition of prim and prudish St. Petersburg and hospitable and hearty Moscow is distinctly outlined. The unfinished novel Princess Ligovskaya, the story Shtoss and the drama Masquerade are rich in Petersburg realities. The main addresses of Lermontov in St. Petersburg are 10/8 B. Masterskaya Street (today Lermontovsky Avenue), 61 Sadovaya Street (memorial plaque), 20 Sergievskaya Street (today Tchaikovskogo Street). After Lermontov an avenue and a lane, several streets in Pavlovsk, Krasnoselsky District and Kolpinsky District, and the Bridge across Obvodny Canal have been named. The name of the poet was given to the Central District Library of Central District. A bust to Lermontov was placed in the Alexander Garden (1896, sculptor V.P. Creitan, architect N.V. Maximov), and the monument to him was mounted at 54 Lermontovsky Avenue, in front of the building of the former Nikolaevsky Cavalry School (1916, sculptor B.M. Mikeshin). Lermontov's manuscript, his drawings, etc. are treasured in the Lermontovsky Hall of the Institute of Russian Literature of the Russian Academy of Sciences.

References: Лермонтовская энциклопедия. М., 1981; Мануйлов В. А., Назарова Л. Н. Лермонтов в Петербурге. Л., 1984.

D. N. Akhapkin.

PUSHKIN Alexander Sergeevich (1799-1837, St. Petersburg), poet, prose writer, playwright, historian, journalist. Studied at the Imperial Lyceum at Tsarskoe Selo (1811-17; memorial plaque; presently a memorial museum). It was the public performing of his ode Remembrances in Tsarskoe Selo at the Lyceum examination, presided by G. R. Derzhavin on 8 January 1815, that Pushkin consideres the beginning of his literary career. Upon graduation from the Lyceum Pushkin served at the Foreign Affairs Collegium. In 1820 was exiled from St. Petersburg to Chisinau (Kishinev), Odessa, subsequently to the village of Mikhailovskoe in the Pskov province. From 1827-31 occasionally visited St. Petersburg (stayed at the Demutov Traktir). In 1831 after marrying Natalia Goncharova moved to St. Petersburg. Pushkin was a member of the Arzamas society, Zelenaya Lampa (Green Lamp) circle; was closely associated with the Free Society for the Friends of the Russian Philology. Pushkin intermingled with numerous literary figures, was acquainted with А. А. Delwig, V. K. Kuchelbecker, P. Y. Chaadaev, V. A. Zhukovsky, P. А. Vyazemsky, N. М. Karamzin, Е. А. Baratynsky, K. N. Batyushkov, P. А. Pletnev, N. V. Gogol, А. S. Griboedov and many others. During different periods visited salons of Princess Е. I. Golitsyna, А. N. Olenina, Karamzina's salon, D. F. Fikelmon's salon, Odoevsky's salon, the Wednesdays of Smirnova-Rosset and others. Appeared in the Syn Otechestva, Biblioteka dlya chtenia journals, Polyarnaia Zvezda almanac, Severnye Tsvety almanac and others. Took active part in the publication of the Litaraturnaya Gazeta newspaper; founder of the Sovremennik journal. Pushkin's first book - the poem Ruslan and Lyudmila (1820), first poems collection Poems (1826), a lifetime collection of works - Poems by Alexander Pushkin in four volumes (1829-35), first separate full edition of Evgeny Onegin (1833), The Narratives Published by Alexander Pushkin (1834), Poems and Narratives by Alexander Pushkin in two volumes (1835) and many others were published in St. Petersburg. St. Petersburg is considered the city of the poet's early literary fame and the place where his last drama occurred. Pushkin was mortally wounded at a duel in the surroundings of St. Petersburg, in the vicinity of the Chernaya Rechka River [in 1937 an obelisk was erected at the supposed site of the duel (architect А. I. Lapirov, sculptor М. G. Manizer)]. The burial service was read in the Holy Face Church of the Court Stables (1 Konyushennaya Square; memorial plaque). Continuing the traditions of the 18th century, Pushkin harmonically merged diverse genres and styles both in poetry and prose, thus creating a new literature language and a new writing manner, which determined the development of Russian literature in the 19th and 20th centuries. For the first time in Russian literature Pushkin gave a complex, manifold description of St. Petersburg; the poet illustrates the city's past and present, revealing their continuity. The city becomes one of the characters of his works, and the literary phenomenon, later called Petersburg text, is established; it was cultivated in Gogol's, Dostoevsky's works, as well as of other writers. The St. Petersburg theme is closely associated with the evaluation of Peter the Great's reforms (the unfinished novel The Negro of Peter the Great , 1827; The Bowl of Peter the Great, 1835; preparatory material to The History of Peter the Gtreat, 1835; others); the architectural regalia embody the various aspects of Russian history and statehood (see, e.g., Mikhaylovsky Palace as a symbol of tyranny in the ode Freedom 1817, written according to the legend in the house of the A. I. Turgenev and N. I. Turgenev brothers at 20 Fontanka River Embankment); the city's manifold modern life is exposed (the aristocratic, high-society, cultural St. Petersburg in Evgeny Onegin's first chapter, saturated with topographic regalia; an insight into the life of Petersburg outskirts is given in the poem The House in Kolomna, 1830; and others). The image of St. Petersburg is impregnated in The Bronze Horseman with strong symbolic tension (Petersburg Narratives — according to Pushkin's genre definition) (1833; was first published in 1837 after the poet's death with considerable distortions). The explicit apologia of St. Petersburg develops in the poem into the theme of fatal menace and catastrophic downfall of the city over God's elements, the triumph of Peter the Great's historic genius, intellect and his will's creative potency, Russian glory, embodied in the image of St. Petersburg, stand as a rigorous and tragic ordeal measured by the sufferings of an individual. The narrative The Queen of Spades, (1834) with its fantastic atmosphere and a special genuine Petersburg type (Dostoevsky) of character played an important part in the evolution of the Petersburg Text technique in Russian literature (Princess N. P. Golitsina's House at 10 Morskaya Street is traditionally considered the house where Pushkin's old countess lived). Pushkin's Petersburg addresses are: from 1817-20: 185 Fontanka River Embankment (memorial plaque); 1831 - Tsarskoe Selo, Kolpinskaya Street (the town of Pushkin, 2 Pushkinskaya Street; memorial plaque; (today Pushkin summer cottage museum); 1831-32: 53 Galernaya Street (memorial plaque); 1832 — Furshtatskaya Street (the house has not survived, section of house 20); 1832-33: 26 Bolshaya Morskaya Street; 1833-34: 5 Panteleymonovskaya Street (today Pestelya Street), 1834-36 — 32, Frunzenskaya Embankment (today Kutuzova Embankment), (memorial plaque); 1836-37 —12, the Moika River Embankment (memorial plaque; today Pushkin memorial museum-flat). Pushkinskaya Street (since1881) and a number of streets in Pushkinsky, Pavlovsky, Kolpinsky, Kurortny, Krasnoselsky districts are named after Pushkin. In 1937-89 Birzhevaya Square was called Pushkinskaya. The Children's Library, the Russian State Academic Drama Theatre (see Alexandrinsky Theatre), the Russian Literature Institute of the Russian Academy of Sciences (Pushkin's House), where the poet's manuscript legacy is reposited, a metro station and a number of other objects are also named after Pushkin. In 1937 Detskoe Selo (formerly Tsarskoe Selo) was renamed into Pushkin. See also the article Pushkin's monuments.

References: Гордин А. М., Гордин М. А. Путешествие в пушкинский Петербург. Л., 1983; Осповат А. Л., Тименчик Р. Д. Печальну повесть сохранить...: Об авторе и читателях Медного всадника. М., 1985; Иезуитова Р. В., Левкович Я. Л. Пушкин и Петербург: Страницы жизни поэта. СПб., 1999; Сурат И. З., Бочаров С. Г. Пушкин: Крат. очерк жизни и творчества. М., 2002.

Д. Н. Ахапкин, D. N. Cherdakov.

The town of Pushkin, the Catherine Park, the Great Lake.

Architect: Antonio Rinaldi (1709-1794)
Sculptor: I. Schwartz
It was built in 1771-1778
Materials: Olonets pink and white marble for the column stern with rostrums; Olonets gray marble for the pedestal; red marble for the base; Serdobolsk granite for the foundation; bronze for the eagle, spoils of war, bas-reliefs; brass for letters.


Inscriptions were made with letters on the plaque from the southern side of the foundation:
“In the memory of sea victories achieved in the archipelago between Asia and Chio Island on 24 June 1770 when ten Russian Navy ships and seven frigates under the heading of General Count Aleksey Orlov and Admiral Frigory Sviridov defeated and put to flight the Turkish Captain-Pasha Zhefir-bey with sixteen battleships. There were more than a hundred frigates, galleys, brigantines and small ships of the Turkish fleet.
All this fleet was burnt in the port of Chesma by Rear-Admiral Greyg with a sent squadron of the victorious fleet from 2 to 4 November of 1770 at the presence of Russian troops under the leadership of General Count Aleksey Orlov landed on Mitilina Island in the Mediterranean Sea. During putting in flight the enemy and capturing a suburb, the admiralty and surroundings the residuary of the Turkish Navy , two seventy cannons battleships and storehouse for different supplies and tacking , were burnt.
The monument was devoted to the victories of the Russian Navy Fleet in the Russo-Turkish War of 1768-1774 at Khios, Mitilina and especially the famous military event as burning the Turkish Fleet in the Chesma Bay on 25-26 June 1770. Episodes of the Chesma battle were painted by the painter F. Gakkert in the series of pictures ordered by Catherine II for the Great Peterhof Palace. A road palace near Petersburg was named the Chesma Palace. The Chesma Obelisk was erected in Gatchina in the estate of Count G.G. Orlov, a brother of the hero of Chesma battle. In the palace the Chesma Gallery was placed.
The construction of the foundation for the column erected in the center of the Great Lake in Tsarskoye Selo was done under the direction of the architect A.F. Vist. The water in the pond was let out. The sculptor details of the monument was made of bronze according to the sculptor I. Schwartz’s model. The column was decorated with six marble rostrums , symbols of sea victories. The monument was crowned with the bronze figure of an eagle , the symbol of speed, power and courage. On the foundation there are cast bronze high relieves picture: the battle of Khios , on the eastern side, and the battle of Chesma , on the northern side, and the battle of Mitilena Island , on the west side. The Chesma Column was poetized by A.S. Pushkin:

Over strong mossy rock
The monument was raised.
A young eagle with extended wings is landing there.
And heavy chains, and crushing arrows
Were wound three times round the menacing column
Around the foundation noising gray waves settled in bright foam.
During World War II the high relieves of the foundation were lost. They were restored in the 1990s.
The high of the monument is 14 metres. Catherine II, Empress
Orlov Grigory Grigorievich, Count
Pushkin Alexander Sergeevich
Rinaldi Antonio
Wist Alexander Franzevich
Ekaterininsky Park/Pushkin, town Большой пруд

A design of an one-storied house with a mezzanine and garden was developed in 1926 by the architect V.M. Gornostayev for Ya.V. Kitayev, a valet of emperors Alexander I and Nicholas I. When Ya.V. Kitayev was a young man he was Paul I favourite hairdresser and a master of curling. The wooden house was built in two years. However this house is more famous as a country house of A.S. Pushkin, where the museum of the poet is placed now. Here A.S. Pushkin and his wife spent the summer and a part of the autumn of 1831. Kitayev died soon and the house was passed from his widow to Privy Councillor F.I. Pryanishnikov, a famous patron of art and an owner of a picture gallery. Since 1877 it was owned to O.I. Ivanova who enlarged the house, added entrance rooms on sides and tambours, and removed the main entrance to Dvortsovaya Street. In 1910 the marble plaque with the inscription “A.S. Pushkin lived here from 25 May until 20 October 1831” was installed on the house façade according to the owner approval. In 1949 the house was restored. Interiors of the first floor, sitting and dining rooms, were restored to the design of V.M. Gornostayev and furnished with the furniture of Pushkin’s time style. The memorial museum was opened in 1958. Gornostaev Vasily Maximovich
Kitayev, Ya.V.
Pushkin Alexander Sergeevich
Pushkinskaya Street/Pushkin, town, house 2

VIELGORSKY MIKHAIL YURYEVICH AND VIELGORSKY MATVEY YURIEVICH, Counts, musicians, patrons of art, brothers ("brothers of harmony"). Born in St. Petersburg. Their father authored drama and musical works, worked as a parlour musician, and became the honorary director of the Petersburg Philharmonic Society. Mikhail Yuryevich Vielgorsky (1788-1856), composer (The Gypsy opera, two symphonies), pianist and organist, Actual Privy Counsellor (1827). Received an excellent musical education. From 1827, he lived and worked in St. Petersburg; in 1828 he became the Stallmeister of the Court of Grand Princess Elena Pavlovna, and played a key role in A.G. Rubinstein's career, and the Imperial patronage to the Russian Musical Society (RMS). He was also a prominent Mason (Master of Grand Provincial Lodge, adherent of occult sciences). Vielgorsky's musical-artistic salon became the centre of St. Petersburg's musical life. Visiting virtuosos and singers of Italian and Russian operas gave performances there, as well as symphonic concerts: all of L. Beethoven's compositions were performed, R. Schumann conducted, C. Schumann performed F. Mendelssohn's concerto, F. Liszt sight-read and played Ruslan's score for M.I. Glinka. As a member of the Imperial Theatres Board and Stallmeister of the court, Vielgorsky had significant influence on state theatres and appointment of actors to court service. H. Berlioz called his house the "Ministry of Music." Matvey Yurievich Vielgorsky (1794-1866), Stallmeister of the Grand Princess' Court, then of Empress Maria Alexandrovna's Court, Ober-Hofmeister, member of the Imperial Theatres Board, prominent violoncellist, playing solo and in ensembles in his brother's salon, at court, for charitable evenings, and at gatherings of the Concert Society. He associated with J. Field, H. Vieuxtemps, K. Lipinsky, H. Wieniawski, M. Pleiel, A.F. Lvov, and many others. One of the founders and first directors of the Russian Musical Society. Developed a unique collection of stringed instruments, including the quintette by A. Stradivari. In the late 1820s - early 1830s, the Vielgorsky brothers lived at 84 Moika River Embankment, then at 3 Mikhailovskaya Square (today Iskusstv Square) (1833-37), 5 Mikhailovskaya Square (1837-44) and 4 Mikhailovskaya Square (from 1844). The last residence belonged to Matvey Vielgorsky and was known as the Vielgorsky House, an architectural monument to Classicism (1830-32, architect A.M. Bolotov, facade was designed by K.I. Rossi). In the 1830s, E.A. Karamzina (the widow of N.M. Karamzin) lived at the residence, and Alexander Pushkin was a frequent guest. In the middle of the 19th century, A.K. Tolstoy also lived in this house. Today, the building houses the Gymnasium of the Russian Museum. The assembly hall of Vielgorsky's salon was renovated and is now a venue for concerts. The premises have been turned into a small museum dedicated to the Vielgorskys. The Vielgorsky brothers are buried at the cemetery of Alexander Nevsky Lavra (Mikhail in the Lazarevskaya burial vault, Matvey in the Blagoveschenskaya burial vault).

Reference: Щербакова Т. А. Михаил и Матвей Виельгорские: Исполнители. Просветители. Меценаты. М., 1990.

A. L. Porfiryeva.

ZHUKOVSKY Vasily Andreevich (1783-1852), poet, translator, member of the Russian Academy (1818), member of the Petersburg Academy of Sciences (1841; honorary member from 1827), privy counsellor (1841). Graduated from Noble Boarding School of Moscow University (1800). For the first time came to St. Petersburg in 1796, lived here intermittently and served at the court in 1815-41. From 1826 he was a tutor to the crown Prince, the future Emperor Alexander II. From 1841 in retirement, lived in Germany. In St. Petersburg many original works by Zhukovsky and his translations were published (including five collections of Poems, 1815-57), that (mainly, ballads, elegies, idylls, military patriotic lyrics) that played crucial role in the development of Russian Romanticism as a national literary phenomenon. From the middle of the 1810s Zhukovsky was a central figure of St. Petersburg literary life. A member of Arzamas. Petersburg flats of Zhukovsky are (1818-19: the house of Bragin in Kolomna, today 43 Rimskogo-Korsakova Avenue, here his literary Saturdays took place; 1820: the Anichkov Palace; 1822-26: the House of Menshikov, 64 Nevsky Prospect; 1827-40: Shepelevsky House, Millionnaya Street, the lot of building 35, on the site of the modern New Hermitage) were attended by the cream of literary St. Petersburg. Zhukovsky took an active part in the lives of many writers and poets: A.S.Pushkin (to whom Zhukovsky was a lose friend and later an executor of his will), E.A. Baratynsky, A.I. Herzen, T.G. Shevchenko, et al. He sketched drawing and set engraving of the sights of St. Petersburg outskirts (some of them were published in an album of 1823, twelve were included in the book by P. Storh The Guidebook around the Garden and the Town of Pavlovsk, 1843), and a number of poems featuring romantic descriptions of St. Petersburg suburban landscapes. (Slav Woman, 1815, etc.) Died in Baden-Baden (Germany), buried at Necropolis of Art Masters. There is a bust to Zhukovsky in the Alexander Garden (1887, sculptor V.P. Creitan). From 1902 the former Malaya Italyanskaya Street has been named after Zhukovsky.

References: Иезуитова Р. В. Жуковский в Петербурге. Л., 1976; В. А. Жуковский в воспоминаниях современников. М., 1999.

D. N. Cherdakov.

The Hause of Kannobio ( the wooden house, a splendid example of the Russian Classicism) was built according to the design of V.I. Geste in Leontyevskaya Street (its present address is 18 Leontyevskaya Street).

8 January. Aleksandr Pushkin red his poem "Recollections in Tsarskoye Selo" during the public examination at the Lyceum, and the poet G.R. Derzhavin, who was at the exam, was delighted by this poem.

19 September. V.A. Zhukovsky informed P.A. Vyazemsky "I had the pleasant first introduction to the our young miracle-worker Pushkin. I was one minute at him in Tsarskoye Selo <…> We must all be united to help this future giant to grow, he must outgrow all". Derzhavin Gavriil Romanovich
Hastie Vasily Ivanovich (William)
Pushkin Alexander Sergeevich
Vyazemsky Peter Andreevich, Duke
Zhukovsky Vasily Andreevich
Leontievskaya Street/Pushkin, town

12 March. Tsarskoye Selo's coat of arms, the gold monogram of Catherine I under the crown on the red field, was established.

25 May. A.S. Pushkin after the wedding with N.N. Goncharova went to Tsarskoe Selo from Petersburg and settled in a cottage of Kitayeva.

10 June. A.S. Pushkin wrote the poem " In front of the Holy Tomb…".

19 June. Cordons were placed around Tsarskoye Selo in connection with the cholera epidemic.

5 July. The religious service was performed before the Icon of the Mother of God "The Holy Sign" about the delivering of the city from cholera.

Circa 20 July. A.S. Pushkin had the conversation with the Emperor in the park and the Emperor order to take the poet for the work in the Foreign College with the right to work in archives for writing the history of Peter I was as a result.
24 July. The funeral service for Grand Duke Konstantin Pavlovich (after 40 days of his death) was performed in the Church of the Great Palace.

16 August. A.S. Pushkin's poem «To the Slanderer of Russia" was published.

29 August. А.S. Pushkin wrote the poem "The Fairy Tale about Tsar Saltan".

29 August. The three-weeks long Alaksandrovskaya fair, it was established in 1826, was opened on the square at the Gostiny Dvor.

4 September. Prince А.А. Suvorov, grandson of the famous commander, brought the dispatch about the capture of Warsaw, which was rebellious, by troops under the command of Field Marshal Count Paskevich- Erivansky. 5 September. The gratitude religious service for the capture of Warsaw was performed in the Palace Church . А.S. Pushkin wrote the poem "Anniversary of the Battle of Borodino".

14 September. The cholera quarantine around Tsarskoye Selo was removed.

Middle of October. Pushkin moved from Tsarskoye Selo to Petersburg.

19 October. Pushkin wrote the poem "Than more often the Lyceum celebrates…" Goncharova Natalia Nikolaevna
Pushkin Alexander Sergeevich
Suvorov Alexander Vasilievich, Count

26 May. The liturgy and pannychis in honour of the 100th anniversary of the birth of A.S. Pushkin were performed in the Cathedral of St. Catherine in Tsarskoye Selo. The memorial plaque was placed on the building of the Lyceum and the laying of the monument to A.S. Pushkin took place in the Lyceum Garden. Innokenty Annensky, director of the Nicholas Gymnasium and poet, made a speech on "Pushkin and Tsarskoye Selo" at the event devoted to A.S. Pushkin in the Chinese Theatre.

19 December. The altar of the Upper Church of the Church of St. Julian of Tarsus, Martyr ( The Cuirassier Church) was consicrated in the presence of the Emperor. Father Ioann of Kronstadt was present during the consicration. The Church was constructed using the money of I.K. Savenkov, merchant of the 1st guild. Annensky Innokenty Fedorovich
Pushkin Alexander Sergeevich
Sergiyev (Kronshtadsky) Ioann Ilyich, the Saint
Dvortsovaya Street/Pushkin, town Лицейский сад