Who was the owner of the estate before Glinka. Bruce's estate: from a noble estate to a dacha village. Usachev, paid for Glinka all his life

"Glinki" is the oldest manor house in the Moscow region, which belonged to the "father of Russian artillery" Yakov Willimovich Bruce (1670-1735), who died here. It is located at the confluence of the Vorya River with the Klyazma, on the territory of the modern city of Losino-Petrovsky, not far from the Monino station. The buildings of the estate were occupied by the sanatorium "Monino".

The architectural ensemble of Glinki began to form in 1727 - 1735, when Bruce retired and moved to Glinki.

The Glinka estate is an extremely rare example of the civil architecture of the Peter the Great Baroque in Central Russia.

The village of Glinkovo ​​was granted to Count Bruce on the occasion of the signing of the Nystadt Peace Treaty. After retiring in 1726, Bruce left both capitals and retired from the world behind a fence and a reliable guard in his estate near Moscow, where he transported a collection of astronomical instruments from St. Petersburg and where he indulged in household chores.

Back in the 19th century, there was a story in Glinki about how a fire-breathing dragon flew into the window at night to Bruce, who had a reputation as a magician and warlock, as well as the belief that “on a hot July day, he turned a pond in the park into skating rink and suggested skating. " In 1735, Peter's associate died at his Glinka estate and was buried in the German settlement.

Following this, the field marshal's possession was inherited by his nephew, Count A.R. Bruce, then his son Yakov, who died in 1791. At the beginning of the 19th century, the estate was owned by his son-in-law, Count Musin-Pushkin-Bruce, head of the Astrea Masonic lodge. He was in a difficult financial situation and did little to do with the estate. After his death, the dilapidated Glinka often changed owners. As a rule, these were merchants who sought to squeeze more profit from Bruce's house. As Aleksey Grech says in the book "Wreath for estates",

“First, it was the merchant Usachev, then some landowner Kolesova, who ordered, for the sake of modesty, to throw into the pond all the naked Bacchuses and Venuses that adorned the paths of the garden. After Kolesova, the estate passed into the hands of the merchant Lopatin, who built a huge factory here. It is reported that the remaining marble figures were used as a buta in the dam during his reign. A lightning strike on the house, which Lopatin turned into a cotton warehouse, set off a devastating fire in it; And so, obeying the superstitious, Lopatin not only repaired it all - albeit again as a warehouse, but even restored in it, as he could, a watch tower, of course, absurd in the "barn". Soon the Lopatinskaya factory burned down, now gaping on the banks of the Vori with the broken walls of its buildings. Bruce's spirit seemed to hover over the estate, punishing the attitude of the owners to its antiquity. "

The outlandish architecture of Bruce's home likely reflects his academic interests. From the north there is an open loggia with twin columns of the Corinthian order, which, it is assumed, made it possible for the owner to observe the heavenly bodies with the help of long telescopes. The same purpose was served by a similar loggia on the south side (the upper columns collapsed) and open areas in the wings of the second floor, now laid.

As V. Yakubeni and M. Karpova established in 1981, the house was originally one-story, with a spacious hall in the very center. In this case, the wooden turret built over the house could not serve as an observatory under Bruce. On the second floor there was a room for natural science experiments, equipped with a large hearth. The castle stones are made in the form of demonic masks with protruding tongues. The old interiors were destroyed in a fire in 1889.

The layout of the manor house, which is new for the Moscow region, is of a palace style, characterized by symmetry. The author of the project is unknown. A cozy manor house of relatively small size is located in the center. The front yard in front of him is formed by three wings, one of which is commonly called the storeroom, and the other - Bruce's laboratory. One of the wings houses a modest museum exposition.

The minor objects were designed in the same style as the main house. They did not retain their original appearance: the guardhouse of the times of the first owner was built on, the greenhouse was adapted for housing, the three-storey office building was depersonalized by restructuring, the stables of Catherine's time were restored in the Soviet period.

In 1756, the church of St. John the Theologian was built at the estate, which was rebuilt inone of the buildings of the former sanatorium.Currently, the building is destroyed. The church has not yet been restored. The pearl of this temple was the figured tombstone by I. P. Martos over the grave of Countess Praskovya Bruce; in 1934 it was transported to the Donskoy Monastery. The marble tombstone "Brusshee" was decorated with an epitaph:

Always grow flowers on this coffin.
The mind is buried in it, beauty is hidden in it.
In this place lie the remnants of a perishable body,
But Bruce's soul flew up to heaven

Here was the church of St. John the Evangelist, rebuilt.

Bruce's ponds

Glinka's estate- the oldest in Moscow suburbs dating back to the times of Peter the Great. It belonged to the Bruce for a century (until 1791). The ancestor of Bryusov was Yakov Vilimovich - an associate of Peter I - a military and statesman, scientist and diplomat. The architectural ensemble of Glinka was created in 1727 - 1735, when Ya.V. Bruce has retired.

Yakov Vilimovich Bruce

Yakov Vilimovich Bruce, the son of a Scottish nobleman who found himself in the Russian service during the reign of Tsar Alexei Mikhailovich, was the closest associate of the first Russian emperor. He proved his loyalty to him even during the Streletsky revolt, when he came to the rescue of young Peter in the Trinity-Sergius monastery. Together they took part in many military campaigns.

Famous for his scholarship Bruce He was considered the best expert in cannon business in the Russian army, and it was not by chance that he bore the honorary title of General Feldzekhmeister - Chief of Artillery. He was also the president of the Berg-i Manufacturing Collegium and the founder of the famous Navigation School, located in the Moscow Sukharev Tower. Finally, many generations of Russian people built their way of life according to the "Bryusov calendar".

But under the successors of Peter the Great, the count was out of work and submitted a letter of resignation. In the rank of Field Marshal, received in parting, he, having left Petersburg, moved to the estate he bought near Moscow "Glinka"... And soon, according to local peasants, miracles began to work there. People passing by the manor house, built in the style of the Italian Baroque, which is unusual for these places, more than once noticed its owner, standing on the roof and looking at the sky through a huge chimney. Only hardly any of them guessed that this is a telescope through which you can study the stars.

So when a thunderstorm began in a day or two, everyone thought: it was the wizard Bruce who sent bad weather. His personality began to grow into legends. So many fables were told about him. They saw him flying astride an iron dragon, then in the park gazebo, at his behest, the sounds of a harp were suddenly heard ...

Even after his death, the count-warlock, according to legend, continued to frighten those who settled in his estate. Therefore, the new owners "Glinka"- first the merchant's wife Usacheva, and then the manufacturer Lopatin - they decided to destroy all the statues of naked ancient goddesses and heroes that once adorned the park. Some were simply thrown into a pond, others were walled up in a dam. And then "Bruce's revenge" was not long in coming. The count began with the fact that at night he began to appear in the bedroom of Usacheva in the master's house, and she soon had to move to live in an outbuilding.

Yakov was fluent in six European languages, and his "cabinet of curious things" was the only one of its kind in Russia, and after Bruce's death he joined the Cabinet of Curiosities of the Academy of Sciences.

Architectural features of the estate

Glinka's estate belongs to one of the earliest surviving estates near Moscow, but Bruce did not feel like a landowner, but a scientist. Almost all the rooms of the estate were turned into offices, where he studied physics, mathematics, natural science, astronomy. He spent all his money on the purchase of new-fangled instruments and devices for experiments, so the servants considered the master strange and behind his back called him "an unsociable nobleman."

The peasants whispered that he was a sorcerer: there were legends that their landowner, on a hot summer day, with one word froze the water from the ponds to go ice skating. And the appearance of the main building of the estate greatly contributed to the spread of rumors: the first floor of the house was stylized as a medieval castle, and the hewn stones framing the windows of the first floor looked like demonic masks in the dark.

The whole the manor ensemble was made in the Baroque style, still fashionable in the first third of the 18th century: the outbuildings were located strictly symmetrically in relation to the manor house, and a regular park with a neat pond and pavilions was laid out opposite the main entrance ... the garden pavilion, which served as Bruce's laboratory, has been preserved in its original form.

Glinka's estate built in the style of palace and park architecture, with features of the European baroque. At the present time, two stone complexes have survived - the front one and the utility one. The front yard is formed by the main house and three wings. The economic courtyard was thoroughly rebuilt at the end of the 18th century and is no longer of artistic interest.

A small two-storey, rectangular house (20-30s of the 18th century) can be considered the oldest surviving in the Moscow region. It is distinguished by restrained solemnity. The arched portal is rusticated, the beveled corners of the building are framed by pilasters. The window frames are beautifully designed, with demonic masks on the key stones above the windows of the first floor, and a bow-shaped eye - above the windows of the second. The second floor on both facades is marked with open loggias, with paired columns. On the roof is a light wooden turret specially designed for Bruce's astronomical observations.

Bruce's Laboratory

Bruce's Laboratory, or as it is also called - "Petrovsky House" - is a one-story park pavilion that has preserved the decoration of the Peter's era. On the sides of the main entrance are semicircular arched niches for statues, framed by paired pilasters with white-stone capitals of a composite order. The rocaille shells that adorn the niche conchs are good. The decorative furnishings of the pavilion are complemented by wide pilasters and curly platbands.

Sanatorium "Monino"

Nowadays, the buildings of the old manor occupy sanatorium "Monino"... In the western wing, thanks to the efforts of local ethnographers, a Museum of J.V. Bruce, which is open on Sundays from 10 am to 2 pm.

It's easy to get to the estate - turn to Monino from Gorkovskoe highway, then through the village of Losino - Petrovsky. At the high church, turn at the traffic light, and then turn at the sign " sanatorium Monino".

Glinka's estate after Bruce

After the death of Yakov Vilimovich, his nephew Alexander Romanovich became his heir, who in 1740 also passed the count's title of uncle. Alexander Romanovich retired with the rank of lieutenant general in 1751, and only after that he actually began to visit Glinki and take care of the estate. It was Alexander Romanovich who rebuilt the observatory building into a living room, adding rooms on the second floor as risolites, in place of open areas that served Ya. V. Bruce as an observatory. The only thing that has been preserved from the observatory is an open area on the northern park façade, which looked like a niche until 1934. In Soviet times, when the building was rebuilt into a dormitory for a holiday home, this open area was laid and an extension was made there in the form of a terrace.

On September 2, 1753, Alexander Romanovich Bruce made a petition to the highest name, and on September 22 to the Moscow Ecclesiastical Consistory, where it is noted that “in the Moscow district in the Koshelev camp, in my patrimony in the village of Mizinovo, in the Vokhonskaya tithe there is a church in the name of St. John the Apostle. , which began to be dilapidated, the whole bricks are falling and it is dangerous to send divine service ... ".

It must be said that Mizinovo was acquired by Ya.V. Bruce in 1733. According to the well-known researchers V. and G. Kholmogorov, in Mizinovo “a temple was being built at the request of the clerk Mikhail Grigorievich Gulyaev, who bought Mizinovo in 1706–1708”. Since 1710, divine services began in the church consecrated in the name of the holy apostle and evangelist John the Theologian with the chapel of the blessed prince Alexander Nevsky.

In his petitions, A. R. Bruce notes that the walls of the temple began to undermine the underground waters, from that the walls became damp, therefore "it is dangerous to send divine service," and asks that he be allowed to dismantle this temple, transport the brick to Glinki and build the same church on the territory of the estate. Mizinovo is 7.5 kilometers from Glinka (four versts are indicated in petitions) and the transfer of the parish to such a distance, especially to the central estate, was not unusual. Therefore, in 1754, A.R. Bruce began to move the temple from Mizinov to Glinka. The temple was consecrated in 1756.

The church was small. The altar part was a quadrangle with an area of ​​100 square meters (10 × 10) with an altar apse, a small refectory that had two floors with a wooden ceiling. On the second floor of the refectory, there was a warm chapel of the holy noble Prince Alexander Nevsky. The entrance here was from under the bell tower, that is, there was no room under the bell tower. This somewhat set off the room in the refectory. You had to climb to the second floor by the stairs, which were here, in the refectory. In fact, the warm side-chapel was used only in winter. The refectory was much narrower in size than the main four. It was 9 meters long and 7.5 meters wide.

In 1760 the temple builder died. They buried Alexander Romanovich not far from the temple. His widow Natalya Fyodorovna Kolycheva built the building of the tomb, in all likelihood, hoping that it would be a family tomb. But apart from Natalya Feodorovna herself, who died in 1777, no one else was buried in the tomb.

In the same 1777, the wife of Yakov Alexandrovich Bruce, a famous lady of state at the court of Empress Catherine the Great, Praskovya Alexandrovna Rumyantseva-Bruce (1729-1786), settled in Moscow and often visited Glinki. Nearby, on the territory of the modern city of Balashikha, there was the Rumyantsevs' family estate Troitskoye-Kainardzhi, in which her elder brother P.A.Rumyantsev-Zadunaisky was buried.

Perhaps, according to the researchers, the lady of state in Glinki led a hermitic lifestyle. However, a large number of buildings made in these years shows that there was an active activity here until 1786. In all likelihood, this is due to the appointment in 1784 of Praskovya Alexandrovna's husband, Yakov Alexandrovich Bruce, as governor-general of Moscow, who used the estate as a country residence. It is no coincidence that it was during this period that the number of buildings increased from ten in 1767 to thirty-three (21 stone and 12 wooden) by the beginning of the 19th century. Knowing the sad fate of the heiress, it can be assumed that the buildings that came to I. T. Usachev in 1815 were built under Ya. A. Bruce.

P. A. Bruce died in 1786. She was buried in Glinki in the estate church. The husband ordered the famous sculptor I.P. Martos a tombstone monument, which is considered one of his best works. This monument is a five-meter pyramid of gray granite, on which there is a finely executed white marble bas-relief of the Countess. In the foreground, on a stepped pedestal, there is a sarcophagus, to which a warrior, symbolizing the husband of the deceased, fell in a grievous impulse; on the sarcophagus there is a shield and a helmet. The stele is engraved with verses attributed to Ya.A. Bruce:

TO WIFE AND FRIEND

Always grow flowers on this coffin,

The mind is buried in it, beauty is hidden in it.

In this place lies the remnant of a perishable body,

But Bryusov's soul flew up to heaven.

A. Grech wrote about this tombstone as perhaps the best and most mature work of Martos: “... the interior of the temple is, as it were, illuminated by the rays of art from the excellent monument to Countess Praskovya Alexandrovna Bruce ... The historical and artistic significance of this tombstone is enormous. It is the best expression of the scheme of triangular composition, which found its implementation in a number of works by Russian and foreign masters of the 18th - early 19th centuries.

A tall flat triangle of gray granite serves as the backdrop to the monument, towering on a stepped base. Above, there is a portrait medallion framed by two bronze laurel branches - the profile of Countess P. And Bruce, clear as an antique cameo. Below, on a slab of reddish granite, rises a sarcophagus faced with purple marble with yellow bonding heads on it. On the left, a man's figure falls to him in impetuous movement, personifying a husband killed by grief, with his head bowed low on his wrung hands. The face is not visible - and nevertheless, in the back, in the impetuous movement, in the gesture of bent arms, such a drama is manifested, which cannot be achieved by any expression of suffering in the face. This figure of Parian marble and the helmet placed on the lid of the sarcophagus are clearly drawn among the colored granites. Judging by Andreev's drawing, which, by a happy coincidence, ended up in our collection, on the other side of the coffin there was - or was only designed - a smoking antique censer. Bronze coats of arms and inscriptions adorned the monument ... "

Here A.N. Grech also cites the legend about this tombstone, in which, as it should be, the main person involved is our hero:

“A touching legend informs, merging together various historical figures, that Earl Bruce, returning from the campaign and learning about the recent death of his wife in his absence, hurried to church, rushed to the coffin and turned to stone beside him, heartbroken. His figure turned out to be with his back to the altar. They moved him three times, but he again returned to his original position, until the bishop blessed him to leave him in the same position. "

Unfortunately, the fate of the burials and tombstones in Glinki turned out to be tragic. When the church was destroyed in 1934, the tombstone of P. A. Bruce was taken to the Donskoy Monastery. There, in the Church of the Archangel Michael, it stood until 2000. Then it was disassembled in parts, put in boxes and transported to the building of the Museum of Architecture named after AV Shchusev on Vozdvizhenka street, house 5. All these years the boxes have been in the basement of the museum. The very burial of P. A. Bruce was destroyed. As, however, the burials of A.R. Bruce and his wife N.F.Kolycheva were destroyed, and the building of the tomb was dismantled and even the foundation was torn down in 1934. There were no reburials at the estate.

It was at the end of the 18th century that the estate's regular park was actively used, the only description of which was given by Aleksey Nikolaevich Grech, who visited the estate in the 1920s. He discovered unusual delights in the park “with its regular curly paths, in plan forming interesting complex figures in which one can see Masonic signs. Schematically, the layout of this small French garden is reduced to four squares the width of the main house, separated by three wide avenues. The first alley of lindens goes along the slope, as if continuing the line of the guardhouse and the pavilion; the second passes by the rear street facade of the house, the third limits the park from the inside. In the quadrangle in front of the house is inscribed a polygon consisting of century-old lime trees; together with the intersection of the path and the main alley, it forms a figure close to the planetary sign of Venus. The distant quadrangle is occupied by a square reservoir, along the axis of which further, behind the park, there is a church. Two other rectangles to the right of the middle alley are occupied by one star-shaped intersection of the alleys - by the other lawn, where, according to popular belief, there was a gazebo with spontaneously playing music. Perhaps the aeolian harp was installed here by the owner of the estate, as is known, a prominent scholar of his time. One must think that once these two-hundred-year-old lindens, now high-growth, were trimmed, and marble statues were white in the walls of greenery, as expected. "

At the beginning of the 19th century, the estate began to decline, as evidenced by the repeated references cited by A. N. Grech in the “Moskovskie vedomosti” of that time, the announcement of the sale of horses from Glinka's economy.

In 1815, the Kaluga merchant Ivan Tikhonovich Usachev became the owner of Glinka. In 1791, his father acquired from Yakov Aleksandrovich Bruce a plot of land on the Vore River near the village of Glinkovo, where there were two dams that remained from Elizar the Chosen, and part of the buildings from the former tannery of Afanasy Grebenshchikov.

Having repaired the production premises, Usachev in 1796 equipped them with a stationery factory, which produced writing, postage, printing, wallpaper, wrapping, card and other types of paper. This factory was considered one of the best in the Moscow province. At the first Russian exhibition of manufactured goods in 1829, the best grades of its paper were awarded a large silver medal. At subsequent exhibitions, Glinka paper was awarded a gold medal.

In 1853, the Alekseev brothers became the owners of the factory, and in 1854 they were replaced by young heirs, and the factory was practically taken over by the Bogorodsk Zemstvo Council, although it was registered with the Alekseev Trading House.

In 1862, the factory together with the estate was acquired by the Kolesovs' company. A completely different story of the estate begins.

The park began to turn into a wild forest. During the development of the enterprise, the owner built a new dam on the Vore River. When laying the dam, in view of the fact that it was not possible to find a rubble stone for its foundation, Kolesova ordered to demolish the Bryusov sculptures that adorn the park of the estate and buildings from the pedestals, split them and throw them to the bottom of the river. Apparently, the destruction and reconstruction of manor buildings began during her reign.

Perhaps this happened due to the fact that many different legends about Bruce as a sorcerer and warlock were written in the estate and its surroundings, it was then that they began to talk about the estate as a witchcraft place. The deeply religious mistress of the estate took these stories at face value, she never lived in the estate.

At the same time, the number of parishioners of the church increased due to the development of industrial enterprises and surrounding settlements. So, in the statement of the church for 1866, it is indicated that the parish includes 230 courtyards of the villages of Savinskoe, Mityanino, Korpus, Mityanino, Kabanovo, and the number of parishioners is 943 males and 991 females. There were also many donors from among the entrepreneurs who had their factories in the vicinity of Glinki. Suffice it to say that only on the territory of Losina Sloboda, located one verst from the estate, in 50 years - from 1851 to 1900 - 21 textile enterprises were created. Many of the entrepreneurs had relatives in the villages of the parish of St. John the Theological Church.

For several decades, the head of the church of St. John the Theologian was the owner of a silk-weaving factory in the village of Korpusa Vasily Averyanov, who, in all likelihood, initiated the restructuring of the church in the early 1880s.

In 1882, the community appealed to the construction department under the Moscow provincial government of the Bogorodsky district to allow them to make a partial restructuring, "without touching the real Theological Church", to expand the meal "by 7 ? arshin to the right and left sides with the length of both sides being 7 arshins; to demolish the chapel in the name of St. Alexander Nevsky from the present place and place it on the left side of the new meal, on the right to re-arrange the chapel in the name of the Bogolyubsk Icon of the Mother of God, leaving both the bell tower in the same place, having entered the meal, and another temples from under it, from the western side. " The petition also noted that the amount of 17 thousand rubles collected for these works is quite enough.

The Moscow Ecclesiastical Consistory gave a positive answer to this request on September 16, 1882.

However, a year later, the restructuring plan was completely changed.

The number of those wishing to help the temple increased, which was reflected in the petition of the rector of the temple and the headman, dated May 13, 1883. In it, the petitioners note that “we asked for such permission, meaning only those funds that we had or could correctly count on, although we understood that the requested expansion of the temple would still not be entirely sufficient for those who visit it.

Now, owing to the desire of some parishioners and having secured their willingness to donate a rather significant amount for this, we dare to bother Your Grace with the most humble request for permission for us to have the following to the previously uninvited:

1. Break the bell tower and attach it to the temple in order to provide more light to those who are praying;

2.In the same views, increase the new refectory church by one in width and two arshins in length, and

3. The chapel, originally intended in honor of the Bogolyubskaya Icon of the Mother of God, is dedicated to the Transfiguration of the Lord. "

As can be seen from the petition, the restructuring plan not only changed dramatically, the name of one of the side-altars also changed. Instead of the proposed chapel in honor of the icon of the Mother of God "Bogolyubskaya", it is now supposed to make a chapel of the Transfiguration of the Lord.

The temple, rebuilt in the Empire style, with the main altar in the name of the Apostle and Evangelist John the Theologian and the side-altars of the Transfiguration of the Lord and Alexander Nevsky, stood until 1934, until it was rebuilt into the sleeping building of the rest house of the People's Commissariat of the Food Industry created on the territory of the estate.

This building, now better known as building No. 2, was used as a sleeping building for a rest home, a hospital (1941-1945), a sanatorium (1947-1986), now stands in a collapsed state, since the reconstruction of the building begun in 1991 was stopped and the destruction of the building by local residents began. Only in 2006 a community was formed in Glinki, in 2009 a wooden church dedicated to the Protection of the Most Holy Theotokos was consecrated and a new history of church life began in Bruce's estate.

This text is an introductory fragment.

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Glinka's estate(Russia, Moscow region, Shchelkovsky district, Losino-Petrovsky, san. Monino) - the oldest in the Moscow region, dating back to the times of Peter the Great

According to the latest information, the estate is not available for visiting

How to get there? Travel by car. Turn to Monino from Gorkovskoe highway, then through Losino - Petrovsky. At the high church, turn at the traffic light, at the sign "Sanatorium Monino".

It belonged to the Bruce for a century (until 1791). The ancestor of Bryusov was Yakov Vilimovich - an associate of Peter I - a military and statesman, scientist and diplomat. The architectural ensemble of Glinka was created in 1727 - 1735, when Ya.V. Bruce has retired.
The estate was built in the style of palace and park architecture, with features of the European Baroque. At the present time, two stone complexes have survived - the front one and the utility one. The front yard is formed by the main house and three wings. The economic courtyard was thoroughly rebuilt at the end of the 18th century and is no longer of artistic interest.

A small two-storey, rectangular house (20-30s of the 18th century) can be considered the oldest surviving in the Moscow region. It is distinguished by restrained solemnity. The arched portal is rusticated, the beveled corners of the building are framed by pilasters. The window frames are beautifully designed, with demonic masks on the key stones above the windows of the first floor, and a bow-shaped eye - above the windows of the second.
The second floor on both facades is marked with open loggias, with paired columns. On the roof is a light wooden turret specially designed for Bruce's astronomical observations.
"Bruce's Laboratory", or as it is also called - "Petrovsky House" - is a one-story park pavilion that has preserved the decoration of the Petrine era. On the sides of the main entrance are semicircular arched niches for statues, framed by paired pilasters with white-stone capitals of a composite order. The rocaille shells that adorn the niche conchs are good.
The decorative furnishings of the pavilion are complemented by wide pilasters and curly platbands. Today the buildings of the old manor house are occupied by the sanatorium "Monino". In the western wing at one time the museum of Y.V. Bruce, it is now closed (see comments).
Perhaps, not a single estate near Moscow is associated with so many legends and beliefs, so many folklore creativity, as with the Glinka. This estate belonged to Field Marshal Yakov Vilimovich Bruce. A prominent statesman and military leader, a remarkable scientist of his time, he was one of the closest associates of Peter I. Mentioning the name of Bruce in the poem "Poltava", A. Pushkin writes:

These chicks of Petrov's nest -
In the face of the earthly lot,
In the labors of power and war
His comrades, sons.

From a young age, Bruce showed an inquisitive interest in science and mathematics. He gave them all his free time from office work. Bruce began military service early and from 1683, at the age of 13, was in the ranks of Peter's "amusing". In 1704 Peter I entrusted him with the leadership of the Russian artillery. Commanding artillery, Bruce took part in the capture of Narva and Ivangorod (1704), Riga (1710). Under the command of Bruce, the Russian artillery brilliantly acted in the Battle of Poltava on June 27, 1709. The historian of this heroic battle writes: "... a terrible fire that snatched a mass of casualties from the enemy's ranks in a short time - all this made a tremendous impression on the enemy." On the field of "Poltava Victoria" Peter I solemnly awarded Bruce the Order of St. Andrew the First-Called. Under the supervision of Bruce, fortresses were built, the casting of guns was carried out and their battle was tested at the training grounds. At the suggestion of Bruce, an artillery and engineering school, an astronomical observatory were created.

Peter I also trusted him with responsible diplomatic affairs. So, in 1721, thanks to the persistence and firmness of Bruce, the Treaty of Nystadt was signed, ending a long war with Sweden. "Our Russia has never received such a useful peace!" - Peter I wrote to Bruce.
Contemporaries called Bruce "the husband of a high mind." He was a man of comprehensive and deep knowledge. In 1706 Peter I commissioned him to be in charge of book printing in Russia, to edit geographical maps, globes of the earth and the celestial sphere. In 1709, under the supervision of Bruce, the librarian and publisher V. A. Kupriyanov published the famous "Bruce calendar".
After the death of Peter I, as the biographer of Bruce writes, he "could not indifferently look at the intrigues of the nobles, Menshikov's unlimited lust for power." In 1726 Bruce left the headquarters and settled in Glinki. He lived in solitude, communicating with few people, spending all his time in scientific experiments and experiments. It is known that during these years Bruce worked at his Glinka estate on the search for accurate methods for determining the specific gravity of metals, looking for ways to clean them from impurities.

But with particular enthusiasm the scientist worked on the problems of practical optics. Metal mirrors and telescopes made by Bruce's "own diligence" amaze today with their technical qualities.
The unusual routine of Bruce's life, the long light at night in the windows of the house, disturbing noises and sparks in the laboratory, the unusual appearance of scientific equipment - all this contributed to the emergence of fantastic legends about Bruce. In them, the advanced scientist appears as a "sorcerer", "sorcerer", "warlock". Folklorists still record legends about how Bruce discovered the "living water" so often mentioned in Russian fairy tales and showed Peter I its action, how on a hot July day he turned a pond in the park into an ice rink to the delight of guests and offered to skate. how the trees of this park were planted according to the signs of a certain "gibberish", the secret of reading which has been lost. In Glinki, there was a story about how a fire dragon flew to Bruce at night, which he, in anger, turned into a stone statue on one of the lawns. Who knows, maybe it was these legends that led to the destruction of the park's decorative sculpture.

Bruce died in 1735. During the 19th century, his estate passed from one merchant's hands to others. There was a paper mill in the 1840s, which was converted into a paper mill in the 1850s. In 1899, the manor house, adapted for storing cotton, burned out inside from a lightning strike. In the same years, the owner of Glinka, perhaps under the influence of prevailing beliefs, ordered the entire sculpture of the park to be thrown into Vorya, thereby destroying the wonderful estate ensemble. One of the visitors to Glinka writes in 1926: “Traces of this barbarity of an ignorant manufacturer are still visible, - wandering along the river bank, you come across a hand peeping out of the ground, then a woman's torso, then an antique profile of a man's head ... "

Until the end of his days, Bruce was concerned about the benefits of Russian education. He dreamed that the laboratory he created with such love and numerous collections would continue to serve the noble cause of his native science. According to the biographer, “the office of Count Bruce, which consisted of various mechanical, astronomical and physical machines and instruments, as well as stones, ores, ancient medals, coins and other rarities, was revered as the first in Russia. He bequeathed him and his entire library to the Imperial Academy of Sciences for the benefit of the public. "
During the Soviet years, Bruce's house in Glinki was restored. For many years it has been a sanatorium. This appointment of Bruce's orphanage of the last days of Bruce can best express the memory of Peter's companion, who so highly esteemed science and so zealously strived to serve man with it.

A source:
S. Veselovsky, V. Snegirev, B. Zemenkov Moscow Region. Memorable places in the history of Russian culture of the XIV-XIX centuries. M., 1962 p. 330-333

A.N. Grech "Wreath for estates" GLINKA

If Glinka, estate of gr. I'M IN. Bruce, a famous associate of Peter, was abroad - she would have long been the subject of a monographic study and, of course, would have been included in all popular Bedekers and guidebooks. In our country, very few people know the estate, despite its extremely interesting architectural monuments and the tombstone preserved in the church - perhaps the best and most mature work of Martos. Time and the vicissitudes of fate have left, alas, a too noticeable mark on the estate, which now has more than 200 years of existence. Indeed, the Glinka, granted to Bruce in 1721 for the Peace of Aland with Sweden, were built in the 20s of the 18th century by a master, unfortunately unknown to us, but skillful and not badly familiar with Italian architecture. One can only guess about his name - whether it was the foreigner Michetti or the Russian architect Eropkin - now, without having any plans or archival news, it is impossible to say.

One thing is certain, Glinka is a small palace estate, planned according to the principles of Peterhof and Oranienbaum. A feature of the location of the buildings in this once tastefully arranged Bryusov estate are two axes of orientation of the buildings, located at right angles to each other. Probably, these conditions were prompted by the area - the confluence of the picturesque Vori into the Klyazma. The main axis of the estate is directed perpendicular to the latter. First of all, it passes through a courtyard, a quadrangular cour d "honneur, enclosed by a house, and then, cutting through its middle, continues in the park's layout, cuts a square pond and ends with a somewhat later emerged church.

The courtyard in front of the house on three sides was built up with small one-story services - the outbuilding directly opposite the house was subsequently built on, while the others on the sides still have the character of their original purpose - the right living quarters, the left guardhouse, that is, the guardhouse, where a platoon of soldiers stood according to the rank of General Feldzheichmeister worn by the owner c. I'M IN. Bruce. Thus, there is a complete symmetrical arrangement of buildings in the yard. But already in the park a deviation from this principle is noticed. To the left of the main axis is a stone amusement pavilion that does not have a "friend" on the other side. This building is in connection with another transverse axis of the estate. From a distance, from the side of the old Losiny plant, located on the opposite bank of the Klyazma, the second and, in fact, almost the main starting point of the planning is most clearly revealed. Here, in the center - the narrow facade of the house, as we will see below, especially elegantly processed, and on the sides - the external facades of the guardhouse and the park pavilion, located at a completely equal distance from the center and completely equally processed on this side, despite the absolutely different purpose of these two buildings. The whole architecture is rather wide spread out on a hillock, which at first forms a terrace, where a large rectangular artificial pond is arranged with a bridge once thrown across it along the planning axis; below is a wide meadow, where a river flows like a blue ribbon. Once upon a time, the hillock and the terrace were interconnected by architectural shoots on the sides of the grotto structure, shoots oriented according to the facade of the house, which brought a decoratively connected foundation under the entire architectural composition. Thus, the slope of the soil was used here in the same way as the moraine coast in the compositions of the Strelninsky, Peterhof and Oranienbaum palaces.

True, now it takes some effort of imagination in order to mentally remove the boardwalk, restore the lost parts, imagine the original architectural ensemble. Nevertheless, it is clearly preserved in its main parts.
It has already been said more than once that Russian suburban construction is not very rich in architectural monuments of the Baroque style. The buildings in Glinki, the house in Svatov, the Grotto, the Orangery house and the Hermitage in Kuskovo, the palace in Novlyanskoye over the Moskva River, and finally, the buildings in Yasenevo - that is, in essence, the entire repertoire of monuments known to us, of course, if we exclude palace estates under Petersburg and the construction of Rastrelli in Mitava and Ekaterinental.

Craftsmen - Germans, Italians, Dutch, French, Swedes - left traces of their construction activities in Russia in the first half of the 18th century. The task of the future historian of Russian art is to connect their buildings in the far Russian North with the character and style of architecture of the country of which they were representatives, just as it was done in relation to the Archangel Cathedral of the Moscow Kremlin or to the works of some masters of classicism. And maybe then the roots of Western European baroque architecture grafted by Russia will be precisely defined in the works of De Valya, Schlüter, Leblond, about which much has already been written, and Karl Hörliman, whose influence on Peter's architecture through the Scandinavian masters seems to us absolutely beyond doubt. However, a careful examination of the forms and details of the Glinka buildings does not allow them to be attributed to any of the known foreign and Russian architects of the first half of the 19th century. It would not be too surprising if the owner of the gr. J.W. Bruce, an outstanding and versatile scientist of his time, whose library, as we learn, contained the works of Palladio, Serlio, Scamozzi and many other theorists of architecture. Count Bruce's closeness to art probably led to the fact that it was he who was commissioned by Peter I in 1711 to find artists and artisans abroad.

The house in Glinki is two-storey; the lower one has an emphatically basement character - the upper one, which is lighter in processing and decoration, is the main one. On both sides, three arches on rusticated pylons cut into the facade, respectively, which are located at the top of two open columnar loggias. Thus, the house in the circuit gives a figure in the form of two arrays with a narrower jumper between them. The fields of the side walls are surrounded by rusticated columns at the bottom, corresponding to which pilasters are placed on the upper floor, crowned with peculiarly colored Ionic capitals. Each field contains two large windows with patterned platbands. The windows of the lower floor rest on shelves supported by brackets and are encircled on both sides and on top by rods of rusticated stones with triangles protruding at the top. The flat arch of the ceiling is crowned with a keystone with a grimacing, tongue-sticking mask on it - the same grotesque masks are carved on the stones against which the vault rests. The castle stones of the vaults are also decorated with relief masks carved in stone - each with an individual, unique facial expression. The windows of the second floor, separated from the first by juicy, multi-shaped cornices, are processed in a simpler and easier way, forming a pattern that is quite common for baroque art. On the second floor, on the narrow side of the house, in the center of the front layout, there is a large window-door under a luscious arch-arch with a small binding of the window frame. Apparently, there was once a small hanging balcony on brackets, which perfectly emphasized the central point of the architecture. This window-door corresponds to Bruce's office. Comparing this facade with the opposite angle clearly shows the difference in finish depending on the planning conditions. The garden side of the house was laid out in general terms similar to the yard side. But if there, under the arches, there was some semblance of a vestibule with a door leading to the lower hall, then here, judging by the decoration of the inner walls with hewn and wild stone, most likely there was some semblance of a grotto, possibly once trimmed with tuff, a piece and even shells. The columns of the upper loggia on this side collapsed, and instead of it there was an open terrace. Once the center of the building was marked at the top by a turret lantern, most likely wooden, now non-existent, where, probably, the astronomical observatory of Gr. I'M IN. Bruce and watch.

The turret, as well as almost all the interior decoration of the house, was destroyed by fire. In the central lower hall there is still a huge Dutch-type hearth, in which, it would seem, you can roast a whole wild boar, a hearth of the type that is in Monplaisir, Marly and Petrovsky house in the Summer Garden. There are no floors, so from below you can see the surviving fragments of stucco molding in the grand upper hall. This decoration was very delicate and beautiful. In the wall adjacent to Bruce's office, there is a niche crowned with a once magnificent cartouche in the Rdgence style, where, judging by the remains, among the typical curls were putti cupids with garlands of flowers. An elegant and baroque bust by Rastrelli the elder asks for a niche. The blue fields of the walls encompassed white, fluted pilasters with capitals, where the volutes were interconnected by a garland of roses. The pilasters began at the height of the windows, leaning on the panel, and carried a cornice rich in breaks, which in turn served as an elegant delimitation of the not preserved, of course, a picturesque or also a stucco plafond. Fragments of decoration were still enough to restore the entire decoration of the ceremonial hall using them. These pieces of decorative wall decoration are the rarest examples in suburban Russian construction of examples of baroque and rocaille finishes that are born in them. Only in the Baltic provinces - in Ekaterinental near Revel, in the Mitava Palace, in the Ober-Palen estate - these missing links in the stylistic chain of the development of decorative art have survived. Nothing has survived in the other rooms of the Glinka house - there are also no floors here, and the plaster has been knocked down from the walls to brick. Most of the windows are walled up, and the rooms appear to be gloomy basements. From the main hall there was an exit to both loggias, where, towering on stone pedestals interconnected by gratings of a complex and whimsical pattern, there are paired columns topped with the same semi-ionic, semi-doric capital with volutes connected by garlands of roses.

Despite the devastating fire, the house in Glinki seems to be better preserved than other buildings that suffered from the ignorant, destructive hands of blind performers in 1917, thrown into the crowd of destructive slogans.
The architectural style of the house is continued by other buildings of the estate, of course, of the construction at the same time. The outer facades of both pavilions are on the sides of the main house - the guardhouse and the wing in the park. They are dissected into three parts by rusticated blades that frame the door under the arch in the middle and three windows in baroque platbands on each side; even in the spirit of Russian construction of the 17th century, bricks were loosened along all the bulges, giving a juicy, delimiting roof, a cut-off line. The opposite facades of these two symmetrical buildings are individualized according to their purpose. The facade of the guardhouse is designed by arches on pillars, some of which have now been destroyed, bringing the building closer to the type of trading rows that arose in the first half of the 18th century in St. Petersburg, and then repeated in many provincial cities. The façade of the park pavilion is designed exceptionally elegantly. Here, pilasters of the same type as in the house cut the wall into five parts; the pilasters are superimposed on wider blades, also with capitals, thus forming a group of pilasters and two half-pilasters in different planes. These elegant shoulder blades mark both ends of the wall and, approaching by two on the sides of the middle door, encompass a semicircular niche with a succulent shell ending, the delimiting cornice of which is cut with a ribbon by a rocaille curl. The original two-tone painting, statues of Cupid and Psyche that were once in niches, a balustrade with figures and vases, possibly completing the wall earlier - all this gave the building a special elegance in the palace style that was characteristic of the first half of the 18th century.

Inside, the pavilion splits into three rooms - the middle hall with niches in the corners oriented to the cardinal points and two rooms on both sides. There is an assumption that this pavilion was a Masonic lodge - in this case, the central room was the meeting room, the compartment on the left was the preparation room, and on the right was the room for the older brothers. One can think that the access to the cooking room was also through an underground passage that branched off from the grotto structure on the main, perpendicularly drawn axis of the estate, from where, apparently, it really led into the house. Be that as it may, be it a Masonic lodge or just a park Hermitage, the pavilion in the garden of Glinka Park is the most curious example of garden manor architecture of the first half of the 18th century. Two other outbuildings, in the courtyard of the estate, also retained their division with rusticated blades and, to a large extent, window frames. Separately, and already outside the symmetrical layout, there is a utility yard with buildings, apparently, the modern main buildings of the estate.

No less interesting than architecture is the park in Glinki with its regular ornamental paths, in terms of forming interesting complex figures in which you can see Masonic signs. Schematically, the layout of this small French garden boils down to four squares the width of the main house, separated by three wide avenues. The first alley of lindens goes along the slope, as if continuing the line of the guardhouse and the pavilion; the second passes by the rear street facade of the house, the third delimits the park from the inside. In the quadrangle in front of the house is inscribed a polygon consisting of age-old lime trees; together with the intersection of the path and the main alley, it forms a figure close to the planetary sign of Venus. The distant quadrangle is occupied by a square reservoir, along the axis of which further, beyond the park, there is a church. Two other rectangles to the right of the middle alley are occupied by one star-shaped intersection of the alleys - by the other lawn, where, according to popular belief, there was a gazebo with spontaneously playing music. Perhaps it was put here by the owner of the estate, as you know, a prominent scholar of his time, the Eolova Harp. One must think that once these two-hundred-year-old lindens, now high-grown, were trimmed and marble statues gleamed white in the walls of greenery, as expected. The fate of the park, as well as the fate of the house, reflected the vicissitudes of the historical life of Glinka. After the death of Ya.V. Bruce's estate passed to his nephew Alexander, the son of Roman Vilimovich, who in 1745 married a second marriage to the unfortunate bride of Peter II, king. E.A. Dolgorukoy.

They built a church and a small burial vault not far from it. Alexander Romanovich was succeeded by his son Count Yakov Alexandrovich (1742-1791), the famous Moscow governor-general, grandmaster of Freemasonry under Catherine II, married to c. P.A. Rumyantseva, sister of Field Marshal Rumyantsev, confidante of Catherine II. At this time, in the 90s of the 18th century, the estate was enriched with a magnificent tombstone by Martos, which is located in the church. The only daughter and heiress of Yakov Alexandrovich, Countess Yekaterina Yakovlevna, married a prominent freemason, head of Astrea's lodge, Vasily Valentinovich Musin-Pushkin-Bruce, who died without male offspring in 1836. However, the estate was already going through a period of decline at that time. In the "Moskovskie vedomosti" of this time, it is mentioned more than once, for example, about the sale of horses from Glinka's economy. Finally, the estate itself falls into the wrong hands. First, it was the merchant Usachev, then some landowner Kolesova, who ordered modesty to throw all the naked Bacchuses and Venuses that adorned the garden paths into the pond. According to legend, Bruce did not allow her to live in the house, and she moved to the outbuilding opposite, adding a second floor to it. After Kolesova, the estate passed into the hands of the merchant Lopatin, who built a huge factory here. It is reported that the remaining marble figures were used as a buta in the dam during his reign. A lightning strike on the house, which Lopatin had turned into a cotton warehouse, set off a devastating fire in it; and now, obeying superstitious [relatives], Lopatin not only repaired it all - albeit again as a warehouse, but even restored in it, as he could, a watch tower, of course, absurd in the "barn". Soon the Lopatinskaya factory burned down, now gaping on the banks of the Vori with the broken walls of its buildings. Finally, on the eve of the revolution, Glinka was bought by the merchant Malinin, who did not have time to firmly settle in it. Bruce's spirit seemed to hover over the estate, punishing the [free] attitude of the owners to its antiquity ...

The buildings of the church estate, although they date back to the 40s of the 18th century, that is, to a time somewhat later than the architectural ensemble of the house and the outbuildings, they show, however, the same Baroque style with its typical Glinka forms and details. A small church - cross-shaped in plan, with windows in two rows, walls, dismembered by pilasters, with a somewhat heavy dome - was later badly damaged by the addition of the bell tower and a complete internal "renovation". Curious angels' heads with wings are placed here on the keystones of the windows, replacing the grimacing masks in the window frames of the house. The small rectangular building of the tomb is also divided by pilasters, covering the door in the middle of the wall and windows on its sides. In this building one can feel the already well-known rudeness of the methods and manner of the builder, who tried to imitate the beautiful, nearby samples. Inside the tomb, along its narrow walls, there are the tombs of Alexander Romanovich and Ekaterina Alekseevna Bruce, two sarcophagi on pedestals, decorated with rich rocaille carvings on soft limestone with extensive inscriptions on the upper boards. There are also the remains of the old iconostasis of the church - the royal gates, carved in wood in the Baroque style, separate pieces of gilded carving and icons eaten by dampness. One cannot help but regret, of course, that this iconostasis was replaced in the church by another, marketable and tasteless. And yet, the interior of the temple is, as it were, illuminated by the rays of art from the excellent monument to Countess Praskovya Alexandrovna Bruce, made by Martos in the 1890s. The historical and artistic significance of this tombstone is enormous. It is the best expression of the scheme of triangular composition, which found its implementation in a number of works by Russian and foreign masters of the 18th - early 19th centuries.

A tall, flat triangle of gray granite serves as the backdrop to the monument, towering on a stepped base. Above is a portrait medallion framed by two bronze laurel branches - the profile of Countess P.A. Bruce, clear as an antique cameo. Below, on a slab of reddish granite, rises a sarcophagus, faced with purple marble with yellow bonding caps on it. On the left, a man's figure falls to him in impetuous movement, personifying a husband killed by grief, with his head bowed low on his wrung hands. The face is not visible - and nevertheless, in the back, in the impetuous movement, in the gesture of bent arms, such a drama is manifested, which cannot be achieved by any expression of suffering in the face. This figure of Parian marble and the helmet placed on the lid of the sarcophagus are clearly drawn among the colored granites. Judging by Andreev's drawing, which, by a happy coincidence, ended up in our collection, on the other side of the coffin there was - or was only designed - a smoking antique censer. Bronze coats of arms and inscriptions adorned the monument; one of them, a poetic one, which probably fell off over time, was restored with metal letters of a not very pleasant drawing:

Always grow flowers on this coffin.
The mind is buried in it, beauty is hidden in it.
In this place lie the remnants of a perishable body,
But Bryusov's soul flew up to heaven.

The naive-sentimental quatrain is surprisingly characteristic of the era, for the time of Russian sentimentalism, the years of creativity of Karamzin and Borovikovsky. Among the works of Martos, the monument in Glinki occupies a place in a chain of similar monuments - the tombstones of Sobakina in the Donskoy Monastery, Baryshnikov in Nikolsky-Pogorel in the Smolensk province, the monument to Beloved Parents in Pavlovsk and later - the monument to Spouse-Benefactor in the eponymous pavilion of T. de Thomon in the same Pavlovsk park. As we have seen, the idea of ​​such a monument is found not only in the work of Martos - a very close example is given in Yaropolts by the tombstone of ZG Chernyshev by A. Trapnel, with whom Martos could not help but meet in Rome. The same principle of a triangular pyramidal composition, only more voluminous, was carried out in a number of works by Canova and applied by Pigal in his monument to the Marshal of Saxony in Strasbourg. The type of this tombstone was repeated by Russian masters - Gordeev, Pimenov, Demut-Malinovsky.

Touching reports, merging together various historical figures, that Earl Bruce, returning from the campaign and learning about the recent death of his wife in his absence, rushed to the church, rushed to the coffin and turned to stone near him, heartbroken. His figure turned out to be with his back to the altar. Three times he was rearranged, but he again returned to his original position, until the bishop blessed him to leave him in the same position. In general, around Glinka and its owner, gr. A whole folklore was formed by J.V. Bruce - in Glinki they report about his ability to revive the dead, even chopped up bodies, about a dragon that flew to Bruce, the reason for which, it is true, was the fantastic creatures that adorned the ladder shoots of the grotto structure, and about the frozen in the summer under by Bruce's enchantment pond, where the owner was skating. Memory vaguely draws a picture somewhere met - of Bruce, skating with a cloak fluttering behind his back. They are looking for underground passages in the estate, they say that someone has a manuscript indicating the existence of a buried library of the famous warlock.

These are romantic stories. In fact, Bruce's book collection, which included many "magic" and "astrological" books, ended up in the Academy of Sciences - a list of them was published by Khmyrov, as well as a listing of some [physical] devices, "curiosities", and land charts belonging to the scientist Scotsman.
Like many other things, Bruce's house in Glinki could still be restored - it would not be difficult to place in it the things that were preserved in the Academy of Sciences and little needed for it, hang in the office the famous portrait of Bruce in a mantle and a hat with a feather, fill the house with furniture from the time of Peter the Great.
Only in the conditions of our time are these utopian dreams. Like everything else, Glinka are doomed to die like the most curious old, still Petrovsky factory - Losinoy factory on the opposite bank of the Klyazma. For several years now Empire wooden houses with columns have been broken here; the older one-story white outbuildings are dismantled into stone and destroyed every year.

This destruction is within the boundaries of a nature reserve protected by the Glavnauka. In the multi-verst forest of Losiny Island, several moose are still kept. Centuries-old even pines soar high into the blue sky with their dark green crowns. Strawberries ripen in the clearings under the hot sun. So from year to year. True, and now, as before. And through the meadows, the deep Klyazma flows like a blue ribbon past villages, villages, estates. Raek, Bolshevo, once the estate of the Campanari marquis, Kheraskovskoe Grebnevo, on the other side of Avdotino Novikov, Stoyanovo of the architect Bazhenov, Denezhnikovo Talyzins surround the Glinki in a wide circle. Almost everywhere there are only insignificant remains of manor architecture, monuments of bygone art living out their last days.

Rajok Manor is located high above the river. The open area, on which the old landowner's house stood, is fenced off along the slope by a parapet-balustrade; more recently, it was decorated with statues and figures of lions that resembled dogs. For many miles, a view of the Klyazma Valley opens up - a distant flood meadow, a forest and a sky covered with clouds, sounding a colorful symphony under the rays of the setting sun. In place of the old house there is a pretentious wooden dacha with balconies and towers, which does not fit in with the remains of the layout and architecture of the 18th century. The English park is laid out along a slope; now going down, now up, a winding path runs. A square pavilion, decorated with thin Tuscan columns along the facades, forming porch porches, gleams in the green of the trees. In the pavilion, light inside, with windows and glazed doors on all four sides, there was once a manor library. Painted sketches by the artist Eisman capture these remnants of antiquity, as well as the surrounding art, including the gravestone of Countess Bruce in Glinki. Only reproduction in paints makes it possible to judge the exceptional beauty of this remarkable monument.

We often come across factories around, some of them on the site of old estates; miserable settlements, crowded and stinking houses arose in the place of former gardens and parks, leaving almost no traces of the past. In Bolshev there are two churches - one high, two-light, XVIII century, the other one-story, decorated with pilasters with three-mast Empire windows under wide arches - probably a burial vault.
In Grebnevo, there is still a huge three-story house with galleries connecting it to the outbuildings; the gate in the form of a triumphal arch has been preserved, closer to those that were built by Lvov in the Glebovsky District of the Tver province. There is also a vast, neglected old park with half-asleep ponds that have fallen asleep.
In Avdotin Novikov, the old garden and the church with its historical graves in the fence have survived. The Talyzin Denezhnikovo quickly collapses. Here, a one-storey house with a colonnade flush with the facade surprisingly closely resembled the White House of Nikolsky-Uryupin, differing from it, for all the identity of the architectural style, in coarser details of execution. Galleries connected it with two towers of the feudal type, a naive tribute to the romance of the 18th century. Echoes of pseudo-Gothic, fashionable in the 70-80s of the 18th century, were combined here with early French classicism. The house is being destroyed into bricks - the furnishings have long been plundered, only in the hall there is a grand piano - an old typical "weathercock" of the beginning of the last century, with a torn up corpse. Old portraits, pastels of Bardou were sold out, scattered over Moscow and provincial museums. The park is still intact - regular, French. It smells of dampness and delicate purple and pink aquilegia bloom in the shade.

The Bazhenov estate Stoyanovo has not existed for a long time, maybe for a hundred years or more. And nevertheless, we managed to find it from old publications about the sale in Moskovskiye Vedomosti in the 60s of the 18th century. The newspaper ad in detail, in a colorful language, described the village of Stoyanovo with a manor house, a promising alley road leading to it for several miles, ponds rich in fish, on one of which an earthen "entertainment fortress" was indicated on the island. Who does not know from the researchers of the old art that earthen structures are what most staunchly resists time. Buildings disappear, plantations are cut down - only earthen ramparts and ditches remain unchanged. And so, based on this, it could be concluded that the earthen fortress in Stoyanovo survived to this day. And so it turned out in reality; a pond in the form of a quatrefoil with two longer bays retained its original shape, and in the middle of it an island, on which the ramparts retained the outline of an intricate fort. The baroque pattern of this structure, for all its insignificance, of course, in the history of Russian architecture complements with a curious touch the still unknown to us, still not really revealed face of the architect V.I.Bazhenov. But for the history of landscape gardening, this remnant of antiquity in a distant and little-visited part of the Moscow province has a certain meaning. He conveys the type of those structures from the ground on the islands, the appearance of which was prompted by considerations of a purely practical nature - the use of excess land when digging ponds. Similar structures were also on the pond of the Kuskovskoye lake, and, probably, also in the old estate of the Urusovs - Ostashov of the Volokolamsk district.

In different places to the east of Moscow, from Trinity to Bogorodsk and Bronnitsy, landowners' estates were scattered - either luxurious palaces like Grebnev and Denezhnikov, then stylish ensembles like Glinka, Akhtyrka or the pseudo-Gothic Maryinka118 Buturlin, then Masonic nests like Avdotino and Savvinskoye then, finally, the inhabited noble and bourgeois houses - Muranovo and Abramtsevo. All these places have made a feasible contribution to the history of Russian architecture, landscape gardening, sculpture, painting, literature, poetry, decorative arts ... And therefore, the historian cannot pass over in silence either the buildings of Glinka, or the tombstone of Martos, or the literary material of Muranov. All these are scattered grains of that unprecedented turmoil and unrest, trampled and swept away by years, which is called Russian culture ...

We went to the Bruce Museum, but it turned out .. it hasn't been working for a long time. At the entrance I was surprised ... anyone can enter the territory, take a walk and "catch" their feelings.
At "Cosmopoisk" this place is listed as anomalous ... We were met by a huge crow, busily walking along the path and willingly posing in front of the cameras. He "checked" backpacks, trying to find something interesting for him. It seemed to me that there were always crows and cats next to powerful sorcerers ...


They say that during the time of Yakov Vilimovich, many curious and inexplicable events took place. We saw him on a flying, iron dragon ... in the summer he entertained Peter's yard by skating on a frozen pond ... a mechanical servant served Jacob in the form of a real girl.



The count also created a nature calendar that predicted the weather for several years ahead.
There were many legends about his death - from the fact that he invented a certain drug that spliced ​​pieces of the body and another drug - revitalizing and rejuvenating ... Only a student, de was afraid to resurrect the count, because he died. There is another legend that speaks of the transmigration of a mortal spirit into the image of a tower, and then completely moved to live on Sukharevskaya Square, after the tower was dismantled. There are still other versions ... but they are so exotic that it is not even worth mentioning ...




STRANGE BIOGRAPHY: The direct heir to the Scottish throne (his ancestors fled Britain from the Cromwellian terror) Count Yakov Vilimovich Bruce was an engineer, mathematician, astronomer, topographer, military man, politician, diplomat. And, according to his contemporaries, he was a sorcerer. There are no records of when the offspring of the royal family was born in Moscow. Two dates are named: 1669 or 1670. At the age of 14, he spoke three languages, knew mathematics and astronomy. At the age of 16, Bruce enrolled in the amusing troops that Peter the Great created. The young sovereign, eager for knowledge, singled out the enlightened Scotsman. Having entered the service of Peter, Bruce rapidly climbed the career ladder. He led all the Russian artillery, at the age of thirty he received the rank of General Feldzheikhmeister, participated in all the military campaigns of the tsar. Peter took the enlightened foreigner to important diplomatic negotiations. Jacob Bruce became the first holder of the main award of the empire - the Order of St. Andrew the First-Called.


"Sanatorium" Monino ""
BOOK OF BRUCE: In gratitude for the royal honors, Peter asked the count to read his magic book, which, according to rumors, once belonged to King Solomon himself.
“Bruce had such a book that revealed all the secrets to him, and through this book he could find out what is in any place in the earth, he could tell who had what where where ...
This book cannot be obtained: it is not given to anyone and is in a mysterious room in the Sukharev Tower, where no one dares to enter, ”the writer Bogatyrev described one of the main mysteries of Jacob Bruce.

Bruce replied that he did not have any mysterious books, except for The Philosophy of Mysticism.
In 1735 the sorcerer died, and the heirs of Catherine I tried to find the book. They searched the observatory and turned over its scientific archive kept at the Academy of Sciences. But the magic book was nowhere to be found. They believed in the existence of the book, so that no one else could find it, they set up a guard at the tower. At first, even the Bolsheviks did not dare to remove this guard. Only in 1924 the post at the Sukharev Tower was dismissed, and a museum of public services was opened at the Bruce Observatory.

The Sukharev Tower, unlike other architectural monuments, was destroyed long and painstakingly. Stalin was fond of mysticism and wanted to find Bruce's book. He ordered to dismantle the tower brick by brick under strict control. But the book was never found. Lazar Kaganovich, who was present at the destruction of the tower, later told Stalin that he saw in the crowd a tall, thin man in a wig, who shook his finger at him, and then evaporated. But many of Bruce's works Stalin found and used them in the construction of modern Moscow.



SPIRIT OF BRUCE: After the death of Bruce, when the body was already buried in the crypt at the Lutheran Church of St. Michael in the German Quarter, every night in the observatory the lights were still on. Muscovites said that it was the spirit of the sorcerer who guarded his magic book. After the demolition of the tower, the spirit was seen in Bruce's estate near Moscow.


ELIXIR OF IMMORTALITY: Like any warlock, Bruce tried to unravel the mystery of life. There is a legend that Bruce died as unusually as he lived. The sorcerer died during experiments at his estate in Glinki. For rejuvenation, he ordered the servant to cut himself into pieces, and then pour the elixir of eternal youth, made according to the recipe of the same book. The experiment was almost a success, but when the body parts began to grow together, the servant was prevented from completing the experiment. The restless spirit along with the book moved to the Sukharev Tower.

ROBOT BRUCE: The same Pavel Bogatyrev wrote down the impressions of Bruce's contemporaries that the sorcerer had acquired "a mechanical doll that can speak and walk, but does not have a soul." An iron maid served the Count at his observatory. When Yakov Bruce retired and left the city, he took her to his Glinka estate near Moscow. The count's serfs, seeing the doll, fled at first, but then got used to it, and called each other "Yashkina Baba". After Bruce's death, a diagram of a mechanical robot was found among his papers. According to legend, Bruce gave the robot the appearance of a girl of extraordinary beauty. She knew how to do all the housework: she cleaned the rooms, cooked food, served coffee.

GRAVE OF BRUCE: Bruce's grave was destroyed during the reconstruction of old Moscow. In the thirties, on Radio Street, they began to dismantle the church and found a coffin with the body of the count in the crypt. He was identified by his family ring. The remains of the sorcerer were transferred to the laboratory of the anthropologist and sculptor Gerasimov. But the remains disappeared without a trace - only Bruce's ring, caftan and jacket remained. The clothes are now in the funds of the State Historical Museum. And the ring of the warlock was lost in time. An interesting fact - the church of St. Michael in the German settlement - the only church destroyed by the Bolsheviks in Moscow. The tower of the aircraft plant was built on its foundation.

THE SCIENCE: Jacob Bruce himself had a skeptical rather than a mystical mindset. According to one of his contemporaries, Bruce did not believe in anything supernatural. When Peter showed him the incorruptible relics of the holy saints in Novgorod Sophia, Bruce "attributed this to the climate, to the property of the land in which they were previously buried, to the embalming of bodies and to abstinent life."

MAP OF BRUCE: One of the graph's scientific achievements was the first map of the Russian territory from Moscow to Asia Minor. He also made astrological and geological-ethnographic maps of the city.

Bruce argued that Moscow should be built according to the principle of circles - this is the most reliable geometric figure. There is a version that the Bolsheviks, laying roads on the site of gardens and along the boulevards, used his astrological testament. The geological and ethnographic map has not survived. It disappeared in the middle of the last century, but its descriptions are in the Academy of Sciences.

Back in the 18th century, Bruce argued that it is impossible to conduct dense buildings on Dmitrovka, because there are many voids underground, and houses here have already collapsed. There is no need to build tall houses on the embankment of the Moskva River in the Vorobyovy Gory region, because landslides are possible, and the new building of the Academy of Sciences built here began to be strengthened immediately after construction, trying to stop the threat of collapse.

But on the other hand, Bruce marked this place as the most suitable for study, and on the Sparrow Hills under Stalin they began to build a new building of the Moscow State University. Best of all to live in Kuzminki, Bruce argued, and to have fun in Presnya. Bad places on the map of Moscow - Perovo and the beginning of Kutuzovsky Prospekt ... this is confirmed by the traffic police statistics.