Virtual reconstruction of the Tea Pavilion of the Usachevs’-Naydenovs’ city estate in Moscow of the 19th - 20th centuries: historiographical and source studies aspects

Yakovlev Fedor Vladimirovich Graduate student; Department of Historical Informatics; Lomonosov Moscow State University (MSU) 119991, Russia, Moscow, Lomonosovsky ave., 27 building 4, office G-423 fedoryakovlev@mail.ru

Introduction

The manor is an important element of Russian culture and architecture. Studying the history of a particular estate allows you to learn a lot of valuable things not only about its history, but also about its owners and their lives. Estates were often created according to the designs of famous architects who had a bright individual style, which was reflected in their projects.

Within the limits of present-day Moscow, many urban estates that once belonged to noble families have been preserved. Some estates were lost during the Soviet period.

This article is the first of two articles devoted to the digital preservation of the lost buildings of one of the famous Moscow city estates – the Usachev - Naydenov estates. The article aims to characterize the preparatory work for the creation of a virtual reconstruction of the Tea Pavilion of the estate, one of its lost buildings: to recreate the history of this cultural heritage site and its owners, to form a source base for virtual reconstruction, to assess the information potential of the complex of identified sources. The second article, based on the materials of this study, will aim to describe the development of 3D models of the elements of the Tea Pavilion, the creation of its virtual reconstruction.

1. The Usachev – Naydenov estate as an object of historical and cultural heritage

The creation of a fairly reliable virtual reconstruction of the Tea Pavilion of the Moscow city estate of the Usachevs – Naydenovs implies considering the Tea Pavilion and the estate as a whole in a historical and cultural context. In addition, it is supposed to describe the architectural appearance of the estate and the Tea Pavilion using a number of historical sources, including memoirs, reference and encyclopedic publications, drawings, plans, photographs, visual materials, periodicals, etc.

The history of the Usachev - Naydenov estate before 1917

During the XV – XVIII centuries, the territory on which the Usachev – Naydenov estate would later arise was owned by various noble and merchant families, including representatives of the Gagarin (see Note 1) and Sheremetyevo families ^[1]. Homestead plots within the Earthen Rampart have always been of high value, so that families who could afford to purchase them were considered quite wealthy ^[2]. Thus, Grand Duchess Elena Pavlovna Romanova, the wife of Mikhail Pavlovich Romanov, showed interest in acquiring the site ^[3].

The modern history of the estate dates back to 1828, when the widow of merchant Vasily Borisovich Nevezhin (1751-1817) ^[4] Stepanida Gavrilovna Nevezhina (1767—?), who owned a large plot of land extending to the banks of the Yauza River, decided to divide it into three plots and sell it to different families. The upper section was purchased on June 28 (July 11), 1828 by famous tea merchants in Moscow Vasily (1779-1851) and Peter (1784-1848) Nikolaevich Usachev ^[5], while the two lower sections were bought by the Naydenov family on February 28 (March 12), 1824 ^[6].

It was during the period when the Usachevs owned the estate that the Empire-style buildings of 1829-1831 were erected by Gilardi, including the Tea Pavilion (see Fig. 1a, 1b). Also, around the same time, a regular park appeared on the territory of the estate.

Fig. 1a. The front facade of the Tea Pavilion. Photography of the early twentieth century. Source: GNIMA. Inv. No. OF-4660/18

Fig. 1b.The rear facade of the Tea Pavilion. Photography of the beginning of the XX century. From open sources

After the death of Pyotr Nikolaevich Usachev in 1848, the estate eventually fell into disrepair, and in 1854 it was sold to Gerasim Ivanovich Khludov (1821-1885), a merchant of the first guild and a member of the Moscow City Duma in the period from 1863 to 1866.^[7]

The Khludov family (see fig. 2) was engaged in the production of textiles and spindles, and their products were in great demand on the international market ^[8]. The Khludovs became one of the first Russian hereditary merchants who conducted successful trade in European countries, and as a result of the annexation of Central Asia, they actively explored the emerging market for the development of the cotton industry ^{[9, p. 601]}. At the same time, cotton for their products was supplied mainly from the USA, and the Khludovs established their office in Liverpool in order to be able to conduct maritime trade between continents ^{[10, p. 343]}. Strikes took place at the Yartsevskaya and Yegoryevskaya paper spinning mills owned by the Khludovs in 1880 and 1893, which contributed to positive changes in the social and labor legislation of the Russian Empire ^{[11, p.317]}.

Fig. 2. The Khludov family. Gerasim Ivanovich Khludov is the first from the right in the top row (https://um.mos.ru/personalities/khludov_ +/)

In 1844, Gerasim Khludov married Pelageya Davydovna, with whom he lived for 41 years. They had 12 children in total, and 7 of them died at a fairly early age. Pelageya Davydovna spent most of her time at the manor, doing household chores, while Gerasim Ivanovich worked and traveled a lot, in particular, regularly traveled to other Russian cities, as well as on foreign trips.

In addition to entrepreneurship, Gerasim Ivanovich Khludov was known for his charity work. So, he founded a Poorhouse for the poor, which was located in Syromyatniki. Subsequently, in accordance with Gerasim Ivanovich's will, most of his fortune was left to the Charity Home. Khludov's daughters were also involved in charity work. For example, Alexandra Gerasimovna founded several almshouses, charity houses and provided free apartments to the poor.

Khludov showed interest in the palace and park ensembles and their arrangement, which explains the changes that the Usachev-Naydenov estate underwent. The main house was equipped with a heater and connected with pipes to the Mytishchi water supply. The appearance of a water pipeline eliminated the problem of lack of water, which the Usachevs tried to solve when creating a water pump, which was based on a horse-drawn drive.

In addition, during the period when the Khludovs owned the estate, a menagerie, a poultry yard, as well as winter greenhouses were built (the time of construction of greenhouses was the early 1880s), in which various plants grew: hydrangeas, roses, palm trees, pineapples, lemons, oranges, tangerines, Spanish cherries. Karelian birches, cedars, silver firs and thuja trees were planted in the park. It is generally believed that Khludov was fond of English culture and sought to ensure that the park itself and the interior of the estate were decorated in the English style.

Gerasim Ivanovich Khludov had only an incomplete secondary education. He received his junior education at the vernacular Adrian County School, after which he began studying at the Moscow Practical Academy of Commercial Sciences, but the death of Ivan Ivanovich's father and brother Taras Ivanovich prevented Gerasim Ivanovich from graduating from the academy due to problems with family finances. As a result, in 1837 Gerasim Ivanovich was forced to leave his studies and run the business of the company together with his brothers. Despite the lack of a systematic education, Khludov showed a serious interest in art, loved to read, regularly visited theaters, kept a diary for most of his life, communicated with both representatives of creative professions and high-ranking officials and often invited them to his estate ^[12].

Gerasim Ivanovich Khludov became one of the first Russian merchants to collect a private collection of paintings. Starting in the late 1850s, Khludov managed to purchase works by the following artists: Pavel Andreevich Fedotov ("The Arrival of the constable at the inquest" and "The First Rank of the sexton's Son", "The Picky Bride"), Yakov Fedorovich Kapkov ("The Widow"), Alexander Antonovich Rizzoni ("In the Tavern" and "Market"), Vasily Andreevich Tropinin, Vasily Grigoryevich Perov, Alexey Petrovich Bogolyubov and Ivan Konstantinovich Aivazovsky. In addition, the collection included a sketch by Karl Pavlovich Bryullov for the painting "Bathsheba" ^[13].

After the sudden death of Gerasim Ivanovich Khludov on June 7 (June 20), 1885 ^[14] the estate became the property of his wife Pelageya Davydovna and four daughters (married names are given in parentheses): Alexandra (Naidenova), Claudia (Vostryakova), Praskovya (Prokhorova) and Lyubov (Lukutina) ^[15]. Pelageya Davydovna Khludova died in 1887 and was buried in the Pokrovsky Monastery, as was her husband ^[16]. Starting in 1912, Alexandra Naidenova (1839-1924) became the sole owner of the estate, who bought it from her sisters ^[17].

After Khludov's death, his family gradually moved to the house on Pokrovsky Boulevard, but nevertheless, until 1917, Alexandra Gerasimovna monitored the safety of the estate. It is also known that during her life, Naidenova collected a large collection of porcelain in her house on Pokrovsky Boulevard.

Continuing the work of Gerasim Ivanovich, she and her husband Alexander Alexandrovich Naydenov (see Fig. 3) she was actively involved in charity work. The Naydenovs had 8 children in their marriage.

Fig. 3. Alexandra Gerasimovna Naydenova (nee – Khludova) and Alexander Alexandrovich Naydenov (from open sources)

At the beginning of the 20th century, the Usachev – Naydenov estate continued to attract attention from art historians. For example, the art critic and historian Yuri Ivanovich Shamurin wrote in 1914 about the great artistic value of the estate and put it on a par with the Moscow Kremlin, the Rumyantsev Museum and the Tretyakov Gallery building. Shamurin also believed that the estate of the Usachevs – Naydenovs surpasses in its aesthetic advantages the estate of the Princes Golitsyn in Kuzminki and the estate of the Sheremetevs in Ostankino ^[2].

The history of the Usachev – Naydenov estate from 1917 to the present

In 1917, as part of the policy of nationalization, Alexandra Gerasimovna Naydenova was deprived of ownership of real estate (including the Usachev – Naydenov estate) and, in accordance with the warrant, was evicted from the house on Pokrovsky Boulevard. She spent the last years of her life in the apartment of Elena Alexandrovna Naidenova's daughter, whom her husband received for military service ^[18].

After nationalization, a tuberculosis sanatorium called "High Mountains" appeared on the territory of the Usachev-Naydenov estate, on the basis of which the Central Research Institute of Tuberculosis at the Russian Academy of Medical Sciences was established in 1921. Later, the sanatorium "High Mountains" was reorganized into a tuberculosis dispensary ^[19].

In the 1950s, the estate underwent restoration under the leadership of I. Ruben and G. Solodka, during which outbuildings (stables, storerooms and a barn) were restored, and the main house was largely restored to its pre-revolutionary appearance, including lost decorative elements. Based on specially designed drawings, the Tea Pavilion was also restored, which needed to be restored after the 1949 fire.^[20] Later restorations were carried out, as in the case of the manor's storerooms (1970s), as well as the main house and barn (1990s) (see Note 2).

In 1960, in accordance with the Resolution of the Council of Ministers of the RSFSR "On further improvement of the protection of cultural monuments in the RSFSR", the estate was entered into the register of cultural heritage sites of federal significance. Thus, from this moment on, the estate is under state protection. In 2015, by order of the Department of Cultural Heritage of the City of Moscow under the Government of Moscow, the exact boundaries of the estate as an object of historical and cultural heritage were established.

In the 1970s, the place of the tuberculosis dispensary was taken by the Moscow medical and physical education dispensary, which since 1999 has been called the Moscow Scientific and Practical Center for Medical Rehabilitation, as well as Restorative and Sports Medicine ^[21].

At the end of the twentieth century, there was a fire in the Tea Pavilion. This time, the building was no longer subject to restoration and was in a ruined state for several decades, after which it was finally dismantled (see Fig. 4 and Fig. 5).

Fig. 4. The tea pavilion after the fire. Photography of the 1970s From open sources

Fig. 5. Ruins of the Tea Pavilion. Photo from 1987 From open sources

To date, century–old trees planted in the XVIII - XIX centuries and characteristic of the park culture of that time grow on the territory of the estate. Some park structures have been preserved: western and eastern rotunda gazebos, a grotto and sculptures in the form of sphinxes and lions.

The estate of the Usachevs – Naydenovs has always aroused great interest among representatives of creative professions. So, in 1878, Alexey Petrovich Bogolyubov painted the painting "View of Moscow from the Khludovsky Garden" (1878), which captures the view from the estate of the Usachevs – Naydenovs. In the XX – XXI centuries, the estate attracted attention from cinema figures. Thus, the territory of the Usachev – Naydenov estate was used as a location for filming such famous films and TV series as "The Star of Captivating Happiness", "The same Munchausen", "Pokrovsky Gate", "Guest from the Future", "Interdevochka", "Brigade", "The Master and Margarita" (2005 film adaptation).

Domenico Gilardi and Afanasy Grigoriev (architects of the estate) as representatives of the Moscow Empire

Let's turn to the main facts from the biographies and key works of Domenico Gilardi and Afanasy Grigorievich Grigoriev, the authors of the Usachev–Naidenov estate project and, in particular, the Tea Pavilion.

Domenico Gilardi (1785-1845) was the son of Giovanni Gilardi (1755-1819), an architect from Switzerland who worked in Russia as a staff architect at the Moscow Orphanage.

Domenico Gilardi's career began after the Moscow fire of 1812, when architects were especially in demand. Domenico Gilardi was actively involved in the restoration of Moscow and often worked on several complex architectural projects at the same time. So, Gilardi was part of the Expedition of the Kremlin building, within the framework of which he played an important role in the reconstruction of the bell tower of Ivan the Great.

Domenico Gilardi (like Afanasy Grigoriev) was also a member of the Commission on the Structure of Moscow and was one of its most active participants. Gilardi managed to implement a number of diverse projects ^[22].

Gilardi's contribution to the development of architecture was marked by a number of state awards: the Imperial Order of St. Anna, II degree and the Imperial Order of St. Vladimir, IV degree ^[23].

Afanasy Grigorievich Grigoriev (1782-1868) was born in Russia into a family of serfs. Nevertheless, he got the opportunity to go to Moscow and study architecture there with Giovanni Gilardi. While Domenico Gilardi studied abroad and drew inspiration from the ideas of the Italian Empire, Afanasy Grigoriev's style was largely shaped by the Moscow architectural tradition and Grigoriev's interest in the work of Giacomo Quarenghi.

In the late 1820s, Gilardi and Grigoriev began working on the project of the Usachev-Naydenov estate, and the history of the construction of the estate will be described in detail below.

The importance of Domenico Gilardi's architectural contribution to the development of Moscow should be emphasized. Gilardi was considered a master of the Moscow Empire, but unlike many architects, he never founded his own school. As a result, some of the unique methods that Gilardi used in his work were lost.

Features of the architectural appearance of the Usachev – Naydenov estate

As mentioned above, the main house and other architectural objects of the Usachev – Naydenov estate in the Moscow Empire style were built by Domenico Gilardi in collaboration with Afanasii Grigorievich Grigoriev.

There is an opinion that after Gilardi left Russia in 1832, Grigoriev continued to lead the project without his co-author until 1836. Thus, Gilardi is probably responsible only for the initial stage of construction, as T.A. Dudina and Yu.G. Klimenko write ^[24]. It should be noted in this regard that in 2017, students of the MARCHI under the scientific supervision of Yu.G. Klimenko made the first attempt at virtual reconstruction of the Tea Pavilion and the estate territory ^[24], the authors of which provide a detailed professional description of this architectural heritage object.

An album of drawings from 1829 by Gilardi has been preserved, which includes the general plan of the estate, which does not depict two rotunda gazebos, and the Tea Pavilion is depicted as a simple rectangle. Grigoriev's main contribution probably lies primarily in finalizing the designs of two gazebos and a Tea Pavilion ^[25].

To date, the following architectural objects have been preserved on the territory of the Usachev – Naydenov estate:

1) the main house (fig. 6)

2) the building in which the barn and the carriage house were located (Fig. 7, 8)

3) the building in which storerooms and living quarters were located, as well as stables and sheds (Fig. 9)

4) the western gazebo-rotunda (fig. 10)

5) the eastern gazebo-rotunda (fig. 11)

6) the grotto near the main house (fig. 12)

Fig. 6. The main house of the Usachev – Naydenov estate. 2023 The author's picture

Fig. 7. The carriage house. Zaitsev K. G. Paper, watercolor. 1946 Source: GNIMA. Inv. no. IR 5957

Figure 8. On the left is a barn and a carriage house. On the right are the stables. 2023 The author's picture

Fig. 9. Stables. The author's picture. 2023

Fig. 10. The western gazebo-rotunda. 2023 The author's picture

Fig. 11. The Eastern gazebo-rotunda. Photography of the 1920s – 1930s. Source: GNIMA. OF-4660/14

Fig. 12. The grotto and the main house. Photo from 1950 From open sources

There are also 4 sculptures of French work on the territory of the estate, symbolizing the seasons and referring to ancient mythology, as well as the pedestal of the lost sculpture "Boy with a goose". Of particular value are the fence (including the gate) and the lattice of the park, which date back to the XIX century.

The lost buildings include a Music pavilion (see Fig. 13) and the Tea Pavilion (see Fig. 14). Also, in connection with the expansion of the Garden Ring, according to the Master Plan of 1935, the front garden, located near the facade of the main house of the estate, was destroyed (see Note 2).

Fig. 13. The Music pavilion. Photography of the beginning of the XX century. Source: Federal State Budgetary Cultural Institution "State Museum and Exhibition Center ROSPHOTO". Inv. No. F 4263

Fig. 14. Tea pavilion. Photography of the beginning of the XX century. Source: GNIMA. Inv. no. AL-105/9

Description of the lost Tea Pavilion

Let's turn to a detailed and systematic description of the appearance of the Tea Pavilion, based on the scattered and contradictory data that are available today.

As already noted above, the Tea Pavilion belongs to the authorship not only of Domenico Gilardi (1785-1845), but also of Afanasy Grigorievich Grigoriev (1782-1868). After Gilardi left Russia in 1832, Grigoriev worked for several years on drawing up finishing versions of drawings and plans for the Tea Pavilion project, while largely based on Gilardi's work and sketches.

Famous art historians Yuri and Zinaida Shamurina admired the Tea Pavilion in 1913, noting its apparent simplicity, which at the same time creates an impression of solemnity and splendor – an impression that only the most outstanding works in the Empire style could evoke ^[26].

In fact, the Tea Pavilion (in some sources it is also called the Tea House) is the main park pavilion of the Usachev – Naidenov estate. The tea pavilion was located at the very end of the alley along the north-south axis, between the western and eastern gazebos-rotundas. Thus, all three buildings formed a single symmetrical architectural ensemble in the shape of a triangle ^[27]. To date, only two gazebos have been preserved, which are currently undergoing restoration, as well as park sculptures.

Sometimes the Tea Pavilion is also called the Music Pavilion, but this is historically incorrect, since the Music Pavilion was another building at the Usachev-Naidenov estate, which was lost in 1941.

Like other buildings of the Usachev- Naydenov estate, the Tea Pavilion was built in the Empire style. Nevertheless, the small architectural elements of the Tea Pavilion (ornament, decor) are distinguished by their eclecticism compared to the main part of the building. This is explained by the appearance of Moscow architecture in the 1820s and 1830s, when the popularity of Empire in large forms persisted, while small forms and decorations were significantly influenced by eclecticism, which was gaining popularity in Europe. Despite the above, the Tea Pavilion belongs to the Moscow Empire as one of the latest examples of a structure made in the traditions of this trend.

The tea pavilion was distinguished by such elements as Ionic colonnades and balconies, as well as a semicircular terrace overlooking the Yauza River. The tea pavilion had a dome (see Fig. 15), through an opening in the center of which the building was illuminated by daylight, while the rest of the dome was covered with paintings. The second floor of the pavilion included a ruined ceiling and a gallery. At the same time, the uniform design style of the grating of the inner gallery and the outer balconies is noticeable.

Fig. 15. The dome of the Tea Pavilion ^[28]

Let's move on to the characteristics of the sources that will form the basis for the development of a virtual reconstruction of the Tea Pavilion.

2. Source-based aspects of the study

A reliable virtual reconstruction of the Tea Pavilion of the Moscow city estate of the Usachevs-Naydenovs is not possible without intensive work with an extensive and reliable source base. In this regard, the author will consider the source aspects of the study, implying an analysis of the sources involved in the process of 3D reconstruction. The sources are represented by several groups. First of all, these are descriptive sources, including: Moscow address books of the XIX century; pre-revolutionary and modern encyclopedic reference books and dictionaries, both general and specialized (historical, architectural, art history); memoirs of people directly associated with the Usachev-Naydenov estate or who are relatives of the owners of the estate. This is not a complete list of descriptive sources that were worked on during the writing of this work.

Drawings and photographs of the Tea Pavilion, as well as the territory of the Usachev-Naydenov estate as a whole, form a separate place among the sources selected for the work. Drawings are extremely important for the implementation of 3D reconstruction, as they allow you to take a detailed look at the exterior and interior of the Tea Pavilion, determine the appropriate dimensions and proportions of all elements of the building. Virtual reconstruction involves working both with joint drawings and plans by Domenico Gilardi and Afanasy Grigoriev, dated the first half of the 1830s, and with measurements for reconstruction of the 1940s - 1950s, created by a group of Soviet architects.

The importance of photographs for authentic and historical 3D reconstruction is also great. Photographs from the second half of the 19th century to the end of the 20th century have been preserved, allowing us to trace changes in the architectural appearance of the Tea Pavilion up to the fire in the middle of the 20th century and the final loss in the last quarter of the 20th century.

In general, the extensive source base collected by the author allowed him to get a more complete picture of the object of research and use the resulting scans of drawings and photographs in the process of virtual reconstruction of the Tea Pavilion of the Usachev – Naidenov estate.

For historical 3D reconstruction, the issue of choosing the most reliable sources is of paramount importance. When forming a set of sources, the researcher needs to determine the value and reliability of each individual source. All identified sources can be divided into three groups: descriptive sources; drawings and plans; photographs.

The group of descriptive sources includes encyclopedic reference books and dictionaries, works of art and memoirs of people in one way or another connected with the Usachev–Naydenov estate itself or with its owners.

The second group of sources are drawings and plans of the Tea Pavilion and the Usachev–Naydenov estate as a whole. These include drawings and plans made by Domenico Gilardi together with Afanasy Grigoriev in the 1820s – 1830s. In addition, it was possible to find detailed architectural measurements of the 1940s and 1950s, made by Soviet restorers and concerning, among other things, elements of ornament and decor.

The third group consists of photographs of the Tea Pavilion and the territory of the estate of the Usachevs – Naydenovs. There are several dozen photographs taken at the turn of the XIX and XX centuries, where the Tea Pavilion is depicted in good condition. In addition, photographs taken during the Soviet period are available. The last photographs showing the Tea Pavilion in a ruined state date back to the late 1980s. After that, the Tea Pavilion was finally lost. Thus, from the subsequent photographs taken from the 1990s up to the present day, one can only get an idea of the landscape surrounding the Tea Pavilion. It is also possible to determine the place where the Tea Pavilion stood, since, according to the plan of Gilardi and Grigoriev, it was located between two preserved rotunda gazebos.

Separate (less significant) groups comprise normative legal acts and periodicals.

Descriptive sources

First of all, we note that when creating a virtual reconstruction, there is always a need to rely not only on visual (drawings, photographs), but also on descriptive sources. Textual information complements the virtual reconstruction with the necessary historical and cultural context, to restore in detail not only the history of the owners of the estate, but also to describe in detail all the changes that somehow affected the architectural appearance of the estate.

Reference books of various types have become an important group of descriptive sources in our work. These included address directories, which made it possible to more accurately determine the periods of ownership of the estate by certain families during the XIX – early XX centuries. In addition, the author found useful sources such as the List of Cavaliers of Russian imperial and royal orders of all names, as well as the Genealogical Book of the nobility of the Moscow province. These sources allow us to supplement information about the owners of the estate, who belonged to the nobility and were highly respected both in high society and by a number of tsarist officials.

The works of art critics turned out to be irreplaceable sources. They include both modern architectural encyclopedias and a number of pre-revolutionary art criticism works. If modern works describe the estate of the Usachevs – Naydenovs using professional architectural terminology, then pre-revolutionary works are of interest primarily as an art historical analysis of the estate in the context of the early twentieth century.

Another group of descriptive sources that need to be mentioned are encyclopedic reference books, which include pre-revolutionary, Soviet and modern editions. With their help, you can trace the history of how knowledge about the owners of the estate was gradually replenished. Special attention should be paid to the reference book of the authorship of Grand Duke Nikolai Mikhailovich "Moscow Necropolis", with the help of which it was possible to establish the years of life of several owners of the estate.

Let us note the importance of memoirs as descriptive sources created by relatives of the owners of the Usachev – Naydenov estate. The first important source in this group is the memoirs of Nikolai Alexandrovich Naidenov "Memories of what was Seen, Heard and Experienced", published in two volumes in the period from 1903 to 1905. Nikolai Alexandrovich Naydenov was the brother of Alexander Alexandrovich Naydenov, the husband of Alexandra Gerasimovna Khludova, who owned the Usachev–Naydenov estate. Nikolai Alexandrovich Naydenov was born and grew up in the estate of the Naydenov family, located next to the Usachev–Naydenov estate and later united with the Usachev–Naydenov estate after the marriage between Alexander Naydenov and Alexandra Khludova.

In his memoirs, Nikolai Alexandrovich Naydenov describes in detail his childhood and youth memories, including those associated with life in the Naydenov estate, as well as with the Usachev brothers and the Khludov family, who owned the Usachev– Naydenov estate during this period and were the actual neighbors of Naydenov. Thus, the memoirs contain a large number of details about how life was arranged in both estates and how their owners interacted. It is known that the hosts had good neighborly relations and they often visited each other.

Naidenov's memoirs also contain detailed descriptions of how the Naidenov estate, the Usachev– Naidenov estate and the surrounding area changed in accordance with urban planning policy in Moscow in the middle of the XIX century. For example, from Naydenov's memoirs it was possible to find out that by the time the Usachev–Naydenov brothers acquired the Usachev estate, an Earthen Rampart was dug as a fortification that had lost its main function.

Another example of a descriptive source related to the memoirs is the book by Elena Borisovna Novikova "Chronicle of five generations: Khludov, Naydenov, Novikov ...". Elena Borisovna Novikova is the great-granddaughter of Gerasim Ivanovich Khludov. Thanks to information that has been passed down from generation to generation, Novikova describes in detail the life of Gerasim Khludov, his daughter Alexandra Naydenova and her husband Alexander Naydenov – the three owners of the Usachev–Naydenov estate in the period from 1854 to 1917. Novikova also describes the fate of the estate after its nationalization in 1917 and the last years of Alexandra Naidenova until her death in 1924. Alexandra Naidenova was the grandmother of Elena Novikova, who spent her childhood in close contact with Naidenova.

Despite the fact that Elena Borisovna Novikova was not a direct eyewitness to most of the events described by her, the information contained in the memoirs allows you to get a more complete picture of the life of her owners.

Based on the above examples of descriptive sources, a reliable virtual reconstruction of the Tea Pavilion of the Moscow city estate of the Usachevs – Naydenovs seems possible. The information obtained makes it possible to restore the appearance of the Tea Pavilion with greater accuracy.

The sources of the pre–revolutionary periodicals are of some value, since the articles in the magazines "Historical Bulletin" and "Russian Antiquity", written by contemporaries of the owners of the Usachev - Naydenov estate, contain unique information that allows you to learn a lot of interesting things about the owners of the estate. For example, thanks to V. V. Stasov's article "Pavel Mikhailovich Tretyakov and his art Gallery" in the December 1893 issue of the magazine "Russian Antiquity", it was possible to find out that Gerasim Ivanovich Khludov became one of the first collectors of paintings in Moscow in the middle of the XIX century, and Pavel Mikhailovich Tretyakov followed his example, collecting an even more extensive collection painting. In his article, Stasov lists specific artists whose works Khludov kept in his estate. In some cases, the names of the paintings themselves are mentioned.

Separately, we note a group of normative legal acts (for example, the order of the Department of Cultural Heritage of the city of Moscow regulating the protection of the Usachev - Naydenov estate) and several acts of historical and cultural expertise. These sources contain many important details about the current state of the estate. In addition, these documents contain a description of the historical and cultural context accompanying the estate of the Usachevs - Naydenovs, including the names of the owners of the estate during the XV – XVIII centuries.

Drawings and plans of the Tea Pavilion

The virtual reconstruction of the lost Tea Pavilion of the Moscow city estate of the Usachevs – Naydenovs is not possible without studying its drawings, most of which are currently stored in the collections of the A.V. Shchusev State Museum of Architecture. Drawings and plans allow you to view an object from different points of view, understand its dimensions and proportions, and get information about the nature and color of the materials from which the object was built.

Undoubtedly, the fact of the complete loss of the Tea Pavilion presents a certain difficulty in creating a three-dimensional model. In this regard, the study of the object is reduced to sources depicting the Tea Pavilion in one form or another, whether textual or visual sources. The formed source base became the basis for creating a virtual reconstruction of the object.

Drawings and plans are an important source, but they often do not fully correspond to the final appearance of the object for which they were compiled. Deviations from the original design can be caused by both architectural and aesthetic factors, as well as the need to reduce costs by reducing the cost of materials or changing the size of the object.

Architectural measurements, which are made by specialists after the construction of the facility according to the initial drawings and plans, are of particular interest. Architectural measurements relate to an already built object, that is, the degree of conditionality here is much lower than in the case of the above-mentioned drawings and plans, which reflect the author's intention rather than the implemented project. Architectural measurements are able to convey the exact dimensions and proportions, which is especially indispensable in the reconstruction of an already lost object.

The drawings and plans of the Tea Pavilion are divided into two main groups. The first group consists of joint drawings and plans by Domenico Gilardi and Afanasy Grigoriev of the late 1820s - early 1830s, in accordance with which the pavilion was erected. The second group includes architectural measurements, which were carried out by a group of architects (Romanov, Mordvishov, Ignatiev, Tishkin) in 1944. For the restoration of the object in the 1950s. Thanks mainly to the above-mentioned groups of drawings and plans, it is possible to reconstruct the appearance of the Tea Pavilion as a 3D object.

Gilardi's drawings and plans were completed on the eve of his departure from Russia in the early 1830s, and their final completion was carried out by his co-author Afanasy Grigoriev. Unlike most other joint projects, in this case Grigoriev not only transferred Gilardi's sketches to a clean format, but also refined his ideas in some places. This was especially true of smaller architectural details (ornament, decor), which Grigoriev preferred to work on, while Gilardi emphasized the shapes of buildings and their large elements. In the situation with the garden and park buildings at the Usachev - Naydenov estate, it is generally believed that Grigoriev's creative contribution was especially important, since for several years after Gilardi left Russia, Grigoriev continued to work independently on projects for the Tea Pavilion and the Music Pavilion.

It is important to note that all the plans created by Gilardi and Grigoriev have been preserved, they have compiled an album dedicated to the Usachev – Naydenov estate and currently in storage at the Shchusev State Museum of Architecture. Most of the materials in the album are made up of plans, thanks to which it is possible to determine how the authors saw the Tea Pavilion and other buildings, as well as to consider how the landscape on the estate was conceived. In addition, the plans reflect the localization of the Tea Pavilion on the territory of the estate (see Fig. 16, 17, 18).

Fig. 16. Tea pavilion in the section. The album of Gilardi and Grigoriev's plans (https://odintsof.ru/index/vysokie_gory/0-308 )

Fig. 17. The plan of the territory of the estate of the Usachevs – Naydenovs from the side of the Earthen rampart. Gilardi and Grigoriev's album of plans; Tea pavilion at the right end of the plan (https://odintsof.ru/index/vysokie_gory/0-308 )

Fig. 18. The plan of the territory of the estate of the Usachevs – Naydenovs from the Yauza River. The album of Gilardi and Grigoriev's plans (https://odintsof.ru/index/vysokie_gory/0-308 )

Architectural measurements of the 1940s - 1950s, carried out as part of the restoration project of the Tea Pavilion, are distinguished by great attention to detail. Soviet restorers (Romanov, Mordvishova, Ignatieva, Tishkina, Danilyak) fixed the dimensions and proportions of the Tea Pavilion, including small elements. During the formation of the complex of sources, it was possible to find over 30 measurements, all of which are currently stored in the A.V. Shchusev State Museum of Architecture. The measurements include plans of the Tea Pavilion on four sides and from above, plans of the first and second floors, sketches of doors and windows, as well as sketches of both internal and external decor and ornament. In general, measurements of the 1940s and 1950s are a valuable source of scientific and technical documentation on the basis of which a virtual reconstruction is possible, conveying the features of the Tea Pavilion's appearance.

As in the case of Gilardi's plans, measurements were made using improvised means, which means that there are distortions in them. For this reason, during the 3D reconstruction, images of a number of drawings and plans were processed to correct the defects that occurred. In addition, it was necessary to edit the visual sources, since not all the pencil lines were clearly drawn by the authors during the work on them.

Photos of the Tea Pavilion

In addition to drawings and plans, photographs are of great importance for virtual reconstruction. Moreover, they have a number of advantages over other visual sources. For example, if drawings and plans depict an object with a certain degree of conventionality, and the author's idea may not always coincide with its implementation, then photographs show the object in a specific period of time. In this aspect, photographs are devoid of a number of drawbacks of drawings and plans, which are drawn up in a more conventional form. In addition, photographs are able to capture an object in different periods of time, which allows you to identify changes that have affected the architectural appearance of the object.

Photographs of the Tea Pavilion are an indispensable historical source in the process of creating a virtual reconstruction, which led to active work with them in this work. Since the Tea Pavilion was located on the territory of a large Moscow city estate, it attracted the attention of photographers all the time of its existence. As a result, several dozen photographs have been preserved, on the basis of which it is clearly visible how the Tea Pavilion was gradually changing. If it can be said from pre-revolutionary photographs that the Tea Pavilion was maintained in good condition (and this fully corresponds to the data from descriptive sources), then after the nationalization of 1917, the object gradually fell into disrepair and eventually suffered from a fire. The latest photographs capture the Tea Pavilion already in a ruined state, but they are also important for the tasks and goals of this work, since they were taken with the help of more modern photographic equipment, which means their higher quality compared to photographs of previous decades.

The author divided the photographs involved in the virtual reconstruction into two groups: pre-revolutionary photographs and photographs of the Soviet period. The first group consists of photographs taken from the end of the 19th century to 1917 (see Fig. 1a, 1b). At that time, the Tea Pavilion belonged to private owners who were interested in preserving it. For example, Alexandra Naidenova, as mentioned above, owned a manor, but did not live on its territory. Nevertheless, she made sure that all the buildings remained in good condition and were habitable.

The second group includes photographs taken after 1917, when the Usachev–Naydenov estate was nationalized. In the photographs from the 1920s, it is noticeable that the Tea Pavilion is already abandoned, but its condition at that time was still far from bad (Fig. 19).

Fig. 19. Photo of the Tea Pavilion in the 1920s. From open sources

After the restoration of the 1940s - 1950s, the Tea Pavilion was damaged by fire. Photographs from that time show that the main part of the building has not yet been lost, but the overall damage is significant. The most recent photographs showing the ruins of the Tea Pavilion are dated to the 1970s and 1980s. In fact, the building itself has already been lost, but some preserved elements still seem possible to consider.

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Thus, preparatory work has been carried out to describe the results of the construction of a virtual reconstruction of the Tea Pavilion. It was possible to collect and briefly characterize the complex of relevant sources, to restore in detail the history of the Usachev – Naydenov estate. Based on the conducted research, it seems possible to develop a virtual reconstruction of the Tea Pavilion, the results of which will be shown in our next publication.

The author is grateful to the corresponding member. To L. I. Borodkin, Head of the Department of Historical Informatics, Faculty of History, Moscow State University, for his help in working on the article.

Notes

Note 1

Act of the GCE "Project documentation for the preservation of an object of cultural heritage of federal significance "Usachev-Naydenov Estate: - Park with gates and bars" Address: Moscow, Central Administrative District, Zemlyanoy Val str., 53, building 1." dated February 10, 2023 // Official website of the Mayor of Moscow [Official. website]. URL: https://www.mos.ru/dkn/documents/discussions/view/17638221/

Note 2

The act of the state historical and cultural expertise of the section of documentation justifying measures to ensure the preservation of the object of cultural heritage of federal significance "The Estate of the Usachevs-Naydenovs, 1829-1831" and the object of cultural heritage of regional significance (a work of landscape architecture of landscape art) "The Estate of the Usachevs-Naydenovs" during the overhaul of the fencing of the territory of Branch No.1 GAU "Moscow Scientific and Practical Center for Medical Rehabilitation, Rehabilitation and Sports Medicine. URL: https://www.mos.ru/upload/documents/files/3528/AKTROSYsadbaYsachevih-Naidenovihspodpisu.pdf Department of Health of the city of Moscow", located at the address: Moscow, ul. Zemlyanoy Val, 53. M., 2019. pp. 9-10.

Note 3

Order of the Department of Cultural Heritage of the City of Moscow dated March 20, 2023 No. 117 "On approval of the subject of protection of an object of cultural heritage of regional significance (a work of landscape architecture and landscape art, ensemble) "Usachev-Naidenov Estate", located at (location): 53 Zemlyanoy Val str., Moscow". The official website of the Mayor of Moscow [Official website]. URL: https://www.mos.ru/dkn/documents/normativnye-pravovye-akty/view/283847220/https://www.mos.ru/dkn/documents/normativnye-pravovye-akty/view/283847220 / (date of access: 04/10/2024).