Three-Dimensional Reconstruction of Historical Costumes of Dyak E.I. Ukraintsev's Chambers Owners: historiographical and source analysis

Taktasheva Elvira Edgarovna ORCID: 0009-0000-6902-0999 Independent researcher 119992, Russia, Moscow, Lomonosovsky Prospekt, 27, building 4, Shuvalov Building of Moscow State University taktasheva.era@gmail.com

Gerts Emiliya Vladimirovna Associate Professor; Department of Stage Costume; V.I. Nemirovich-Danchenko Studio School (Institute) at the Chekhov Moscow Academic Art Theater Associate Professor; Faculty of Art Department; S. A. Gerasimov All-Russian State University of Cinematography Stage costume designer, Historical costume restorer 117593, Russia, Moscow, Novoyasenevsky ave., 19 building 1 megalord93@mail.ru

Introduction

Virtual 3D reconstruction is a significant area in the field of studying and preserving cultural heritage sites ^[1]. Its use makes it possible to restore not only the architectural appearance of individual historical buildings and complexes, but also the visual image of material objects of the past in its "human dimension" ^[2]. This article is a continuation of the project of virtual 3D reconstruction of the White City of Moscow, implemented under the leadership of Corresponding member. RAS of L. I. Borodkin ^[3]. The project brought together the efforts of historians, archaeologists, architects, geoinformatics specialists, and virtual reality specialists and was aimed at a detailed reconstruction of the historical landscape of the center of Moscow using modern 3D modeling and visualization methods. The virtual reconstruction of the White City covers the period of the XVI–XVIII centuries and includes the reconstruction of the dominant objects of its historical development, where the chambers of the deacon of the Embassy order of E. I. Ukraintsev (the end of the XVII century) became one of the central buildings ^[3].

The article is the first of two works devoted to the virtual reconstruction of historical costumes of the owners of the chambers by E. I. Ukraintsev. It solves the following tasks: studying the history of the urban estate of E. I. Ukraintsev in the White City, identifying key figures associated with this cultural heritage site, as well as their role in the fate of the estate; a source study of material, visual and textual materials on the history of the costume of representatives of the nobility of the period under review.

The following article, which will be based on this work, will be devoted to the topic of choosing historically correct patterns and the very process of creating a virtual reconstruction of a historical costume. Based on the analysis of existing approaches and current trends in the study of historical costumes and their virtual recreation, it will describe the development of 3D models of elements of the costumes of Field Marshals M. M. Golitsyn and A.M. Golitsyn, as well as the creation of their virtual reconstructions. In addition, visualization of the created reconstructions in the virtual environment of the White City will be demonstrated.

The virtual reconstruction of a historical costume is a little-explored topic, which determines the novelty of the work ^[4]. Special attention is paid to the anthropological aspect: how the presence of virtual characters can complement the reconstruction of the historical urban environment ^[5].

1. Chambers of the Deacon of the Embassy Order by E. I. Ukraintsev: owners and epoch

Yemelyan Ignatievich Ukraintsev (c. 1641-1708) was one of the outstanding Russian diplomats of the second half of the XVII – early XVIII centuries. The coat of arms of the Ukraintsev family is placed in the "General Coat of Arms of the noble families of the All-Russian Empire" ^[6].

The formation of Ukraintsev's career began with service in the Embassy Order in 1665 with the rank of dean of the New Couple. In 1672, he became a clerk of the Embassy Order, working under the leadership of Afanasy Lavrentyevich Ordin-Nashchokin ^[7]. In 1662-1663 . Ukrainians participated in the embassy to Warsaw and the conclusion of the Andrusovo Truce in 1667 ^[8].

In 1675, he was appointed deacon of the Embassy Order, as well as the Vladimir, Galician and Novgorod families, which significantly increased his powers: he provided visits to foreign diplomats, conducted ongoing negotiations and coordinated the texts of state documents ^[9].

In March 1681, Ukrainians became a duma clerk and took an active part in events of national significance: he announced the conclusion of an armistice with Turkey and Crimea in 1681 ^[10], signed an act on the destruction of locality in 1682 ^[10], was engaged in the inventory of the treasury of Tsar Fyodor Alekseevich ^[11]. In the political struggle of 1682, Ukrainians supported Prince V. V. Golitsyn, with whom he actively corresponded about events in the capital, informing him about the sentiments among the Streltsy and the Posadsky people ^{[12, 13]}.

From 1689 to 1699, Ukrainians were led by an Embassy Order, effectively directing Russia's foreign policy. His activity peaked in the 1690s: almost every outgoing document had a mention of him ^[14]. One of the most significant missions was his embassy to Constantinople in 1699-1700, which resulted in the conclusion of a favorable peace treaty with Turkey for Russia ^[15].

Ukrainians enjoyed the great confidence and favor of Peter I. Their correspondence has been preserved, in which important state issues were discussed ^[16]. The tsar generously rewarded the diplomat: he bestowed estates and patrimonies, and gave valuable gifts ^{[17, 18, 19]}. For his participation in the conclusion of Eternal Peace with Poland in 1686, Ukrainians received a silver cup, an expensive sable coat, cash payments and lands ^[10].

Ukraintsev's high status is evidenced by his chambers in the center of Moscow (now Khokhlovsky Lane, 7). The chambers are a two–story building that has preserved the appearance of pre-Petrine architecture and is one of the most famous monuments of civil architecture in Moscow and the early Petrine era ^[15] (see Fig. 1).

1. Photograph of E. I. Ukraintsev's chambers in the 1880s. (at that time, it was noteprinted by P. I. Yurgenson)

Source: two-volume album "Tchaikovsky. 1840-1893", Moscow, Muzyka, 1990 (vol. 1, p. 52)

The architectural style of the building, which was also located at the highest point of the terrain, was quite expressive. The entrance to the courtyard was always on the west side, and the relief enhanced the impression of the chambers open to the city. The facade facing the street did not look particularly elegant. The front facade and the front porch were located on the western side facing the courtyard – this feature of the chambers was preserved in the future ^[20].

Despite extensive research, the exact date of the chambers' construction is still unknown. Most of the information about it is only indirect. The first mention of Ukraintsev's court in the parish of the church of Nicholas in Klenovo dates back to 1700 ^[21]. Records were also found of his purchase of a large number of bricks in 1686 and 1690.^[22] In 1698, the Austrian ambassador repeatedly visited Ukraintsev in his chambers ^[22].

Based on this information, it can be said that the approximate date of the chambers' construction is determined by the period between 1686 and the early 1700s. The architectural features of the house confirm this: a simple style with minimal decoration in the form of framed windows and cornice consoles typical of that period ^[22].

After Ukraintsev's death in 1708, the chambers were transferred to the treasury, and then were transferred to Prince M. M. Golitsyn ^[21].

Field Marshal M. M. Golitsyn and the fate of the Chambers under him

Mikhail Mikhailovich Golitsyn (1675-1730) belonged to a noble family and made a successful career, becoming one of the key figures of the era of Peter the Great and one of his closest associates ^[23].

He was born on November 1, 1675, in the family of the boyar and voivode Prince Mikhail Andreevich Golitsyn, the founder of the Mikhailovich branch. Having started serving at the age of 12 in the Guards Semenovsky regiment as a drummer, Golitsyn participated in the main campaigns of the Northern War, showing bravery and talent, which contributed to his career growth ^[24].

Mikhail Golitsyn's first military exploits are attributed to the events related to the siege and capture of Azov in 1695-1696, for which he was awarded the rank of captain-lieutenant ^[23]. His military abilities were especially evident during the siege of Schlisselburg (Noteburg) in the autumn of 1702. To Peter I's order to retreat, Golitsyn replied, "I do not belong to you, my lord, now I belong to God alone," and led his troops on a decisive assault, which ended with the capture of the fortress. Despite his disobedience, Peter rewarded him with the rank of colonel of the Semenovsky regiment, land and a sum of money ^[23].

Golitsyn also participated in the conquest of Ingermanland and the Baltic States, defeating the Swedes at Dobrom (1708), Lesnoy (1708), Narva (1704) and Poltava (1709) ^[25]. In the battle of Dobry, he defeated a superior enemy force and captured 6 banners, for which Peter promised Golitsyn "whatever he wanted." To this, Golitsyn asked the emperor to reduce the salt tax and accept his opponent, Prince Repnin, who was in disgrace with Peter, "into his former favor." This episode shows the high moral qualities of M. M. Golitsyn, who distinguished himself not only on the battlefield, but also showed virtues in peaceful life. After that, Peter awarded Mikhail Mikhailovich the Order of St. Andrew the First-Called ^[26].

From 1714 to 1721, Golitsyn operated in Finland, defeating the Swedish troops and navy: at Lappola (1714), at sea at Gangut (1714) and Gringam (1720) ^[26]. For the victory at Lappola, he received the rank of general-in-chief and a letter of thanks from Peter the Great ^[23]. The naval battle of Gringam was one of the last major Russian victories in the Northern War, where Golitsyn also managed to prove himself, for which he was awarded a sword and a cane decorated with diamonds ^[23].

Golitsyn's military achievements earned him top military and government positions. In 1725, he became a field marshal general and a knight of the Order of St. Alexander Nevsky, and was also president of the Military College, a senator, and a member of the Supreme Privy Council ^[23].

The period when Golitsyn owned the estate was the time of its greatest prosperity. After receiving land grants from Peter the Great, he rebuilt and decorated his Moscow residence. The house has been transformed into a palace, with a grand staircase, a grand entrance hall and a redesigned room layout. An interesting fact is the existence of a wooden passage from the chambers to the Trinity Parish Church in Khokhlovka. The exact design of the passage is unknown, but it is assumed that it started from the northern halls of the house and went to the roof of the neighboring building connected to the church ^[27].

Field Marshal A.M. Golitsyn, the history of the chambers under him and their subsequent fate

Prince Alexander Mikhailovich Golitsyn (1718-1783) was the third son of Mikhail Mikhailovich Golitsyn. Like most representatives of a noble family, Alexander Mikhailovich was destined for public service from an early age ^[28].

Enlisted as a soldier, he lost his father at the age of 13, but managed to find a worthy mentor in the person of the Austrian commander Prince Eugene of Savoy, under whose patronage his military career began ^[28]. However, the first years of Alexander Mikhailovich's service were spent mainly in the diplomatic field. After being in the retinue of the Russian ambassador in Constantinople in 1740, he soon received the chamberlain's key and was appointed minister plenipotentiary in Saxony ^[29].

A new stage in the career of Prince Alexander Mikhailovich began after the death of his mother, Princess Tatiana Borisovna, in 1757. Freed from the need to comfort a "gentle parent," as Bantysh-Kamensky writes, Golitsyn "flew to the field of honor," seeking glory in the Seven Years' War ^[28]. Under his command, Russian troops won a number of victories over the Prussian army, including the sieges of Thorn and Frankfurt am Oder.

The apogee of Alexander Mikhailovich's career occurred during the reign of Catherine II. From the first days of her reign, the prince entered the circle of the Empress' most trusted people, becoming an adjutant general and a member of the Imperial Council. The award of the Order of St. Andrew the First-Called in 1762 on the day of his coronation marked a new stage in Golitsyn's rise ^[28].

With the outbreak of the Russian-Turkish War of 1768-1774. He was appointed commander-in-chief of the 1st Army, which was to operate against the Ottomans in the western direction. Catherine II did not hide that she had high hopes for Golitsyn, wishing him "paternal happiness" ^[28]. Despite his successful actions, Golitsyn was unable to take full advantage of the situation and retreated across the Dniester three times after the occupation of Khotyn. Dissatisfied with his passivity and unaware of Khotyn's successes, Empress Catherine II removed Golitsyn from the post of army commander and appointed P. A. Rumyantsev in his place ^[30]. At the end of the 1769 campaign, his successes were appreciated, for which Alexander Mikhailovich was awarded the rank of field Marshal general ^[28].

Since 1775, Golitsyn was a senator and a member of the Council at the Imperial Court. He actively participated in the political life of the Russian Empire, including being a deputy of the Moscow Province in the Commission for drafting the Code of 1767.^[31] Golitsyn served as Governor-General of St. Petersburg in 1775 and 1780-1783, took an active part in public life and contributed to the improvement of the capital ^[31]. On his initiative, in 1780, the nobility of the St. Petersburg province proposed to assign Catherine II the title of "Great Mother of the Fatherland", which the Empress refused ^[32].

Being a major dignitary and landowner, Alexander Mikhailovich Golitsyn could not help but pay attention to his numerous patrimony, including the chambers inherited from his father. One can get an idea of what the estate looked like in the second half of the 18th century from the preserved plan of the property, dating back to 1766 ^{[33, 34]}. It shows: the courtyard of the then owner, general-in-chief A.M. Golitsyn, with stone chambers, servants, wooden stables and residential and non-residential buildings; the Church of the Holy Trinity in Khokhly; the neighboring courtyard and garden of Colonel Islentyev; driveways; courtyards of various owners and a guardhouse (see Fig. 2).

2. The plan of the courtyard of Prince A.M. Golitsyn.

Source: RGADA F. 931. Op. 2. D. 3519

Thus, the plan provides the first documentary evidence of the construction and layout of the estate in the middle and second half of the XVIII century. It can be assumed that the main stone and wooden buildings (chambers, servants' quarters, stables) have been preserved since the time of M. M. Golitsyn.

Fig. 3. Chambers of E. I. Ukraintsev.

Source: Belokurov S. A. "Moscow Archive of the Ministry of Foreign Affairs in 1812"

In 1768, Catherine II acquired the chambers for the Moscow Archive of the College of Foreign Affairs ^[35]. The drawing of the chambers and the 1769 plan have been preserved (see Fig. 3) ^[36]. Later, the classrooms of the Moscow Conservatory ^[37] and the printing house of P.I. Yurgenson ^[38] were located here, which his grandson Boris Petrovich studied in the 1920s ^[39]. The chambers are now privately owned ^[40].

2. Review of the sources and literature necessary for the virtual reconstruction of M. M. Golitsyn and A.M. Golitsyn's costumes

The study of historical costume has a rich tradition both in Russia and abroad. In Russia, the first systematic research in this field can be identified starting from about the XVIII century, which was associated with the general development of historical science and interest in national culture. A significant contribution was made by the work of V. N. Tatishchev, who in his "History of Russia" described the clothes of various classes, from peasants to princes ^[41]. F. G. Solntsev's fundamental work "The Antiquities of the Russian State" contains detailed descriptions and images of costumes of various eras and classes ^[42]. I. E. Zabelin in his work "The domestic life of Russian tsars in the XVI and XVII centuries" paid special attention to the royal costume and the clothes of courtiers ^[43].

Special attention in early studies was paid to the study of military costume. The fundamental works were A. V. Viskovatov's "Historical description of the clothing and weapons of the Russian troops", containing detailed descriptions of the military and civilian costume of the Russian troops for the period from 862 to the reign of Emperor Nicholas I ^[44]. P. I. Savvaitov in "Description of ancient Russian antiques, clothes, weapons, military armor and horse equipment" provided valuable information about materials and techniques of making Russian antiquities ^[45]. Ya. Lida's album "Image of the uniforms of the Russian Imperial Army" demonstrates military uniforms from ordinary soldiers to representatives of the generals of the late 18th century ^[46].

During the Soviet period, the works of M. N. Levinson-Nechaeva "Clothing and fabrics of the XVI–XVII centuries" became significant, where, based on a wide range of sources, an analysis of the development of Russian costume in the pre-Petrine era was carried out ^[47]. The work of L. V. Efimova and T. S. Alyoshina "Russian Folk Costume", based on the collection of the State Historical Museum, provides rich illustrative material and descriptions ^[48].

Modern research is characterized by an interdisciplinary approach and the use of the latest technologies. In particular, costume historians actively cooperate with anthropologists, sociologists, and computer technology specialists, exploring costume not only as a material artifact, but also as a sociocultural phenomenon associated with national identity and power ^[49].

The study of costume has also gone a long way abroad. The work of Ch. became significant. Vecellio "Ancient and modern clothing from different parts of the world", which was one of the first attempts at comparative costume studies ^[50]. J. E. Kishra in "The History of costume in France from ancient times to the end of the XVIII century" presented an extensive analysis of French fashion ^[51]. G. Weiss in the multi-volume "History of Costume Culture" and F. W. Fairholt's "Costume in England" laid the foundations of modern costume studies ^{[52, 53]}.

In the second half of the 20th century, there was an "anthropological turn" in the study of costume. A prominent representative of this trend was R. Barth, whose work "The Fashion System" analyzes fashion as a special language that creates social meanings ^[54].

A key role in the development of research in the field of historical tailoring was played by N. Vo's book "The Cut of men's Clothing: 1600-1900" ^[55]. The author traces the evolution of men's suits based on patterns from authentic museum exhibits, supplemented by quotations from diaries, traveler reports and tailor accounts.

For an accurate reconstruction of the costumes of Field Marshals M. M. and A.M. Golitsyn, dating back to the beginning and middle of the XVIII century, it is necessary to trace the changes in military costume in Russia throughout the century, starting from the time of Peter the Great. This will allow us to identify the characteristic features of the general's uniform, as well as to understand how the requirements for the uniform of senior officers of the Russian army have changed.

In addition to the previously mentioned studies ^{[44, 45, 46]}, a number of modern works related to the subject of military costume can be identified. One of the interesting examples is the dissertation of E. Y. Moiseenko on the integration of European elements into the men's costume of Russia during the reforms of Peter I ^[56], as well as the work of S. A. Letin, who collected significant aspects of the history of military uniforms with archival photographs and his own illustrations ^[57].

L. E. Shepelev's fundamental work explores the system of estate and official ranks, describes the history of the development of insignia of military and civilian uniforms ^[58]. The evolution of the insignia and military ranks of the Russian army is discussed in detail in an article on the resource "Sapper" ^[59].

Russian Russian military uniform A. Yurasovsky describes in detail the development of the Russian military uniform of the XVIII century ^[60], and G. E. Vvedensky in the book "Five Centuries of the Russian military uniform" presents changes in military uniforms with illustrations and an analysis of the impact of political changes on the design of uniforms ^[61].

General principles of military costume construction of the XVIII–XIX centuries. Russian Russian costumes are described by V. N. Malyshev with author's illustrations of the elements of the ceremonial ensemble ^[62]. B. L. Shapiro analyzes the evolution of Russian costume during the transformation of Russia from a kingdom to an empire ^[63] and explores the changes in the clothes of the Russian horseman after Peter the Great's reforms ^[64].

Description of the evolution of military costume in the XVIII century.

In the early 18th century, during the massive transformations of Peter the Great and the creation of the regular army, the Russian military costume underwent drastic changes. The uniforms of the advanced European armies were taken as a model. The Western European men's costume, introduced by Peter I in Russia, was formed in the 1670s and consisted of three main items: a caftan ("justaucorps" - justocore ^[55]), a camisole ("camisole") and generational trousers ("culotte" - culottes).

The Justocore was an outer garment, about knee-length. It had a small turn-down collar, pocket flaps, wide cuffs on the sleeves with buttons, voluminous pleats on the floors and long tails ^[44]. Later, during the evolution of the military costume, the abi appeared, a type of caftan that was a shorter and more comfortable version of outerwear ^[62]. The abi usually reached to the middle of the thigh, had narrower sleeves and less ornate decorations compared to the justocore. This reflected the general trend towards simplification and adaptation of European costume to Russian realities.

The doublet was worn under the caftan and was an integral part of the costume. At the beginning of the 18th century, the cut of the doublet almost repeated the cut of the caftan, but was only slightly shorter (about to the knee): it was somewhat narrower, the buttons were smaller, there were no wide cuffs on the sleeves, and there were no fan-shaped folds in the side slits of the floor ^[65]. It is important to note that during the period under review, the doublet necessarily had sleeves. Sleeveless camisoles began to appear later: in officers' suits from the 1760s, and for lower ranks - only under Paul I, from 1796 ^[65].

The trousers (culottes) were knee-length. The costume was complemented by a white shirt with cuffs, a tie, stockings and shoes. An important attribute was also the sword on the belt.

It was possible to distinguish an officer from a private by the gold braid on the collar and cuffs, as well as by the officer's badge: a scarf or a headband ^[66]. The uniform of the Guards regiments of Preobrazhensky and Semenovsky served as a model for all parts of the Russian army ^[44].

The costumes of generals, especially senior ones (generals and field marshals), were less regulated than the uniforms of junior officers and privates. The generals had the opportunity to vary some details of their uniforms, since they were directly subordinate to the monarch, and not to the military collegium. At the same time, the basic elements of the general's costume were the same as those of other officers ^{[66, 57]}.

In 1720, the military college established new rules for army uniforms, which, however, did not lead to radical changes. Small turn-down collars appeared on caftans, and pocket flaps began to be made not jagged, but straight, with three buttons. These changes also affected the general's uniforms ^[44].

Under the successors of Peter I, the uniform of the Russian army continued to change gradually, following the pan-European fashion. In the 1730s, under Peter II, leather shoes, white cuffs, and powdered wigs became common ^[44]. The military costume of the 18th century reached its heyday in the Elizabethan period (1740s-1750s), when it acquired specific features characteristic of the Rococo style: elegance of lines, richness of decoration, splendor and some pretentiousness. Since the middle of the century, officers began to wear a single doublet instead of a caftan in the summer, so that the main color of the uniform was red, not green ^[66].

The reason for the proliferation of bright colors of military uniforms in the 18th century was a practical necessity: dense powder smoke in battles made it difficult to see, and the bright colors of the uniforms helped military leaders and soldiers better navigate the battlefield.

An important evidence of the existence of a special uniform for the generals before 1764 was revealed in the work of F. F. Veselago "Materials for the History of the Russian Navy". The minutes of the Admiralty Board meeting of May 17, 1745, mention that it was proposed to introduce caftans and doublets for flagships and officers in brigadier ranks "following the example of the land generals, rich doublets with wide gold braid" ^[67]. This indicates that by 1745, the army had a special general's uniform, different from the uniforms of other officers.

The most significant uniform reform for the generals was carried out in 1764, at the beginning of the reign of Catherine II. According to the new rules, the ceremonial general's uniform had to have special embroidery in the form of gold or silver leaves on the collar, cuffs, pocket flaps and tails. The rank of general was easily determined by the pattern of this sewing. For example, a field marshal had a wide braid running along all the seams of his caftan, while other generals had it only on the collar and cuffs. The general's everyday uniform had red lapels and a different number of buttons on the cuffs: from one for the brigadier to four for the field marshal general ^[66].

The uniform remained virtually unchanged until 1796, when Emperor Paul I, striving for uniformity of form and cost savings, greatly simplified the military costume, especially for the highest ranks ^[58]. The luxurious and expensive gold embroidery on their uniforms was abolished, and generals began to wear the same clothes as staff officers, differing from them only in some details ^[58].

Visual and material sources for the reconstruction of the costumes of M. M. Golitsyn and A.M. Golitsyn

Since the original ceremonial uniforms of the field marshals of the XVIII century (known to the authors) have not survived to our era, for reconstruction we had to turn to the preserved samples of officer and guard suits of the same time, as well as to the uniforms of Peter I and other high-ranking officials. These items, although they did not belong directly to the field marshals, allow us to get an idea of the cut, materials and decoration of military uniforms of this era, which subsequently made it possible to recreate the appearance of the ceremonial uniforms of representatives of the Golitsyn family in the form of virtual 3D models.

Important pictorial sources are the portraits of M. M. Golitsyn and A.M. Golitsyn in full-dress uniforms (see Figures 4 and 5). In the portrait of Field Marshal Mikhail Mikhailovich Golitsyn (see Fig. 4) the full dress suit of the highest military rank of the Russian Empire of the first half of the XVIII century is captured. His image includes an alange wig and a red silk robe trimmed with ermine fur, which indicates his high status. An embroidered star of the Order of St. Andrew is placed on the chest, and a blue moire ribbon is thrown over the shoulder. You can also pay attention to the visible red ribbon, presumably the badge of the Imperial Order of St. Alexander Nevsky. Under the mantle is a dark green caftan (the same justocore), decorated with gold embroidery and braid. A special feature of the caftan are metal gold buttons in the Baroque style, as well as often decorative, non-slit loops. Under the caftan, there was usually a doublet with sleeves, which repeats the cut of the caftan, but has a smaller size, however, it is not visible in this portrait. M. M. Golitsyn's shirt is made of the finest linen (linobatista), a complex and labor–intensive production, and the degree of whiteness of the fabric was also an indicator of its value. It had a distinctive design with a chest incision 18 centimeters from the jugular fossa, which was crowned with a heart-shaped fastener made of the same fabric. The cuffs of the shirt were fastened with a cord threaded through small holes, and could be complemented with removable lace elements for special occasions. A scarf made of the same cambric, tied with a characteristic knot, was tied over the shirt.

The portrait also features a cuirass. According to the works of M. M. Khrenov, R. T. Zubov and I. F. Konovalov, "The cuirass, a metal armor covering the chest of a warrior, had a suede lining on the inside, metal spikes on the edges, a red cloth or velvet edge, a copper or gilded plaque with the royal monogram and straps with which it was attached to the rider's chest. A cuirass was worn over a colette and weighed about 10 kg" ^[68].

4. Portrait of M. M. Golitsyn. An unknown artist based on the original of the early 18th century. It dates back to the 19th century .

Source: Collections of the State Historical Museum

5. Portrait of A.M. Golitsyn. A copy of P. Shembarev from the original by A. Roslen in the middle of the XVIII century. The end of the XVIII century.-the beginning of the XIX century.

Source: collections of the Simferopol Art Museum.

The second portrait depicts Alexander Mikhailovich Golitsyn (see Fig. 5). The wig of the Field Marshal General is similar in design to the English major's wig, which has three rows of horizontal curls and a braid tied with a silk ribbon, but differs in its more magnificent styling and silver powder, characteristic of for his high status.

He is dressed in a dark green military uniform of the second half of the 18th century (caftan or abi) with gold embroidery in the form of golden oak leaves (one row of narrow and two rows of wide stitching, and, in addition, one row of wide stitching along all seams of the caftan) and red trim on the collar. The stand-up collar of the uniform has a cardboard lining typical of military uniforms (made of linen glued in several layers), which provides rigidity.

From under the collar, a shirt made of thin linoleum with an elegant lace frill is visible, which was specially sewn along the slit of the shirt and peeked through the vest. Lace, being an expensive element of the costume, was often made removable for safety. A dark moire ribbon is draped over his shoulder, and an embroidered Order of St. Andrew the First-Called is located on his chest. A red doublet with a rich pattern, also decorated in the form of golden oak leaves, can be seen from under the uniform.

In addition to portraits of the representatives of the Golitsyn family themselves, images of other iconic historical figures dating back to the same time have survived to this day. Some of them have also been awarded the rank of Field Marshal General, so they can serve as important landmarks for recreating the full-fledged appearance of a ceremonial uniform.

When analyzing the pictorial sources, some similarities were noted between M. M. Golitsyn's ceremonial uniform, shown in the above portrait, and the uniform in the portrait of Peter I by Louis Caravac (see Fig. 6). On it, the sovereign is depicted in the uniform of the Preobrazhensky regiment with the ribbon and star of the Order of St. Andrew the First-Called. The portrait allows us to draw conclusions about the color, framing and cut of the uniform, in particular, about the structure of the sleeves.

6. Portrait of Louis Caravac "Peter I", 1720

Source: storage of the Ramenskoye Museum of History and Art

For more information about the uniform of Alexander Mikhailovich Golitsyn, you can consider the uniforms of his contemporaries (see Figures 7 and 8), Field Marshals Peter Alexandrovich Rumyantsev and Burkhard Khristoforovich von Minich.

They are dressed in green uniforms with red trim and gold embroidery, similar to the one shown in the portrait of A.M. Golitsyn. In the portrait of Minich, unlike the portraits of Golitsyn and Rumyantsev, the cuffs on the sleeves are decorated with similar gold embroidery, as well as the cuffs of the shirt made of translucent linen fabric.

7. Portrait of Field Marshal P. A. Rumyantsev-Zadunaisky. Unknown artist. The 1770s.

Source: Collections of the State Historical Museum

8. Portrait of Count B. K. Minich by G. Buchholz. Around 1764-1765 .

Source: collections of the State Hermitage Museum

It is necessary to take into account the artistic tradition characteristic of the XVIII century, and the fact that often portraiture depicting representatives of the upper classes was largely objective, since there were no other means of accurately capturing the appearance.

Fig. 9. The appearance of the Field Marshal.

Source: Ya. Lide "Image of the uniforms of the Russian Imperial Army, consisting of 88 illuminated persons." St. Petersburg, 1793, p. 12

The pictorial sources of this period are represented by both ceremonial portraits and illustrations of military uniforms. A striking example of the latter is the work of J. Lide "Image of the uniforms of the Russian Imperial Army, consisting of 88 illuminated faces" in 1793, which presents a full-length image of the Field Marshal General ^[46]. It is possible to notice characteristic elements like the ornament, which are also present in the portrait of A.M. Golitsyn (see Fig. 9).

The already mentioned work by A.V. Viskovatov contains an illustration showing a conversation between three personalities with the ranks of Chief General, Lieutenant General and Major General (see Fig. 10) ^[44]. The portraits and illustrations allow us to conclude that the basis of the uniform was typical both at the beginning and in the middle of the 18th century, but the details could differ significantly.

10. The appearance of the Chief General, Lieutenant General and Major General. Source: Viskovatov A.V. Historical description of the clothes and weapons of the Russian troops, compiled by the supreme command. Part 4: ^[1762-1796] St. Petersburg, 1900. p. 551

Since the topic of this work has a rather narrow focus, the question arises about the surviving originals, on the basis of which it is possible to create a reconstruction of costumes. As mentioned earlier, only a few ceremonial items of clothing (doublet, caftan) important for this work have been preserved for people with the rank of general during the XVIII century. Many extant military costumes, which can be found in museum collections, for representatives of the rank of field Marshal date back to the 19th century, which is beyond the scope of this study, therefore, the main reference point for us are the military uniforms of various military ranks belonging to the ranks below.

A number of typical costumes of that period have been preserved, presented in the form of staffages, dressed on mannequins and correctly placed, according to the trends or regulations of that time and the class to which the owner belonged.

Moscow's museums, such as the State Historical Museum (GIM) and the Armory, as well as St. Petersburg's Hermitage, contain authentic or reconstructed objects that are a significant part of the heritage of the eras and an echo of bygone centuries. At permanent or temporary exhibitions, you can get acquainted not only with the biographies of famous personalities, but also expand your understanding of them by immersing yourself in everyday life, observing household items, personal wardrobe, displayed in paintings or presented in installations. Many of these subjects were contemporaries and witnesses of important events.

The catalog of uniforms of the Russian and Soviet armies of the XVIII–XXI centuries includes Peter the Great's caftan in the uniform of a colonel of the Preobrazhensky Regiment of the Life Guards, dating from 1720-1725. It is a green single-breasted uniform decorated with gold braid and smooth gilt buttons (see Fig. 11). Its length is 126.5 cm.

11. A caftan in the uniform of a colonel of the Preobrazhensky Regiment of the Life Guards.

Source: collections of the State Historical Museum.

Inv. no. T-195

In addition to the exhibits of the State Museum of Fine Arts, important military uniforms from Peter the Great's time are kept in other museums. Of particular interest is the officer's doublet of the Guards Infantry, dating from 1720 ^[65], from the collection of the Military Historical Museum of Artillery, Engineering Troops and Signal Troops in St. Petersburg (see Fig. 12). This dark single-breasted doublet, decorated with light edging and a row of metal buttons, reflects the style of officers' uniforms of the early 18th century. Its length, reaching approximately to the knees, is typical of the military fashion of that period.

Fig. 12. A doublet from Peter's Guards officer's kit. 1720

Source: collections of the Military Historical Museum of Artillery, Engineering and Communications Troops. Inv. No. 12/1605

These exhibits allow us to get an idea of the shape and details of the costume needed to reconstruct the appearance of Mikhail Mikhailovich Golitsyn. In the case of Alexander Mikhailovich's costume, no such close analogues were found, however, there are a number of sources that help determine the main characteristics of the attire of that time.

The evolution of military costume in the middle of the XVIII century can be traced by the example of the uniform of an officer of the Life Guards Semenovsky Regiment of 1761-1762 from the collection of the Pavlovsk State Art and Architectural Palace and Park Museum ^[65] (see Fig. 13). This sample demonstrates how the cut and style of military uniforms have changed compared to the beginning of the century. You can see the color and framing similar to the costumes of Peter the Great, which is significantly different from those shown in the portrait of Alexander Mikhailovich. However, this outfit allows us to draw conclusions about the change in cut compared to the beginning of the century.

13. The uniform of an officer of the Life Guards Semenovsky regiment. 1761-1762 .

Source: Collections of the Pavlovsk State Art and Architectural Palace and Park Museum-Reserve. Inv. No. CX-4273-II

The suits of the Major General are close analogues of the uniform of A.M. Golitsyn (see Fig. 14) and the Lieutenant General (see Fig. 15), dating back to the end of the XVIII century, which also allows us to identify important elements relevant to our reconstruction. The length of the suit in this case is typical and is 102 cm for a caftan, and 79 cm for a doublet. The identity of the second suit to the Lieutenant General is confirmed by a tag with an old inscription: "The uniform of Lieutenant General Ivan Alekseevich Potapov in 1777" ^[57].

14. The uniform of a major general from the infantry of the 1764 model.

Source: collections of the A. V. Suvorov Museum. Inv. No. MS-660 and MS-699

Thanks to the material sources that have come down to our days, we can prepare the basis for the reconstruction of the military uniform of field marshals. Parameters such as cut, fit, material, and even coloring were largely identical, but thanks to the previously reviewed visual and written sources that contain portraits, sketches, and descriptions of important wardrobe elements, we have the opportunity to complement the recreated look with the missing distinctive elements.

It should be noted that the manufacture of uniforms at the beginning of the XVIII century was carried out individually, which led to noticeable differences in the quality of execution even within the same regiment. The officers were given cloth for self-sewing, and the coloring of the materials was carried out by various dyeing companies, which created variability in shades. It was only by the 19th century that specialized artels appeared for sewing military uniforms, which led to a greater unification of appearance.

Fig. 15. The uniform of a lieutenant General from the Infantry, 1764

Source: collections of the A. V. Suvorov Museum. Inv. No. MS-660 and MS-691

Conclusion

The conducted research allows us to draw a number of important conclusions about the possibilities of virtual reconstruction of historical costume and its role in the study and preservation of cultural heritage.

The focus of this study was on the chambers of the Duma deacon E. I. Ukraintsev, one of the key sites of the significant historical territory of Moscow, the White City. The history of the chambers and their owners was reviewed. The paper considers the task of constructing a virtual 3D reconstruction of the appearance of the owners of the estate, field Marshals M. M. Golitsyn and A.M. Golitsyn. Here, the anthropological aspect of reconstruction becomes particularly important in the context of the evolution of the urban environment.

The article analyzed the experience of historical costume research and collected a set of medieval historical sources on the topic of military uniforms of the XVIII century, which allowed us to create a well-founded virtual 3D reconstruction.

It should be noted that this article is the first of two devoted to the virtual reconstruction of historical costumes of the owners of the chambers of E. I. Ukraintsev. Based on the analysis of existing approaches and methodologies in the field of studying historical costumes and their virtual recreation, the following article will present the patterns and sketches of costume elements used for reconstruction, as well as a direct description of the process of creating a virtual reconstruction of historical costumes and the appearance of Field Marshals M. M. Golitsyn and A.M. Golitsyn. In addition, visualization of the created reconstructions in the virtual environment of the White City will be demonstrated.

The author of the reconstruction expresses his gratitude to the corresponding member. To L. I. Borodkin, Head of the Department of Historical Informatics, Faculty of History, Moscow State University, for his advice and advice.