Four Cavaliers’ houses were built in 1752-1753 to the design of S.I. Chevakinsky according to Empress Elizabeth’s order given in 1748 about building dwelling houses in Sadovaya Street for arriving “cavaliers”. Originally all one-storied houses with mezzanines were equal, built in the Baroque style, they were joined with fences from Sadovaya Street and painted in the colour of the same with facades of the Catherine Palace. In 1784 I.V. Neyelov enlarged mezzanines, transformed them in the low second floor. In 1817 small front gardens were laid out in front of houses. The marshal’s house (6 Sadovaya Street) was rebuilt and doubled, in the middle of the 19th century the Tsarskoye Selo superintendent of Palace buildings lived here. The Study house (10 Sadovaya Street) was occupied by the office of the Governor of Tsarskoye Selo, Peterhof and Gatchina over a some period in the early 19th century, in the middle of the 19th century noncommissioned - Masters of the Horse lived here. The field-doctor’s house (12 Sadovaya Street) was used for living the historian N.M. Karamzin in 1817 according to Alexander I’s order. Afterwards a campaign noncommissioned - Master of the Horse lived here. Alexander I, Emperor
Chevakinsky Savva Ivanovich
Elizaveta Alexeevna, Empress
Karamzin Nikolay Mikhailovich
Neelov Ilya Vasilievich
Sadovaya Street/Pushkin, town
Sadovaya Street/Pushkin, town, house 6
Sadovaya Street/Pushkin, town, house 10
Sadovaya Street/Pushkin, town, house 12

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.

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.

Summer. N.M. Karamzin was visited in Tsarskoye Selo by his friends of the literary club "Arzamas": V.A. Zhukovsky, P.A. Vyazemsky, D.N. Bludov, F.F. Vigel, D.V. Dashkov, A.I. Turgenev and also K.N. Batyushkov. A.S. Pushkin visited him almost every day. Batyushkov Konstantin Nikolaevich
Bludov Dmitry Nikolaevich
Dashkov Dmitry Vasilievich
Karamzin Nikolay Mikhailovich
Pushkin Alexander Sergeevich
Turgenev Alexander Ivanovich
Vyazemsky Peter Andreevich, Duke
Wiegel Filipp Filippovich
Zhukovsky Vasily Andreevich