Natasha's Dance

2

The Sheremetev palace on the Fontanka river is a legendary symbol of the Petersburg tradition. The people of that city call it 'Fountain House'. The poet Anna Akhmatova, who lived there, on and off, in an annexe flat from 1926 to 1952, thought of it as a precious inner space which she co-inhabited with the spirits of the great artistic figures of the past. Pushkin, Krylov, Tiutchev and Zhukovsky - they had all been there.

I don't have special claims

On this illustrious house,

But it happens that almost my whole life

I have lived under the celebrated roof

Of the Fountain Palace… As a pauper

I arrived and as a pauper I will leave…²⁵

The history of the palace is a microcosm of the Petrine plan to set down Western culture on Russian soil. It was built on a plot of marshland granted in 1712 by the Tsar to Boris Sheremetev, the Field Marshal of Peter's army at the battle of Poltava. At that time the site was on the edge of Petersburg and its forests gave the palace a rural character. Peter's gift was one of several to distinguished servitors. They were ordered to construct European-style palaces with regular facades on the Fontanka side as part of the Tsar's plan to develop Petersburg. Legend has it that the land was empty in 1712. But Akhmatova believed that a Swedish farmstead had been there, since she distinguished oak trees from pre-Petrine times.²⁶

By the beginning of the eighteenth century the Sheremetev family was already well established as a hugely wealthy clan with close connections to the court. Distantly related to the Romanovs, the Sheremetevs had been rewarded with enormous tracts of land for their loyal service to the ruling house as military commanders and diplomats. Boris Sheremetev was a long-standing ally of Peter's. In 1697 he had travelled with the Tsar on his first trip to Europe, where he remained as Russian ambassador to Poland, Italy and Austria. A

veteran of the wars against the Swedes, in 1705 he became Russia's first appointed count (graf) - a title Peter imported from Europe as part of his campaign to Westernize the Russian aristocracy. Boris was the last of the old boyars, the leading noblemen of Muscovy whose wealth and power derived from the favour of the Tsar (they had all but disappeared by the end of Peter's reign as newly titled nobles superseded them). Russia did not have a gentry in the Western sense -an independent class of landowners that could act as a counterbalance to the power of the Tsar. From the sixteenth century the state had swept away the quasi-feudal rights of the local princes and turned all nobles (dvoriane) into servants of the court (dvor). Muscovy was conceived as a patrimonial state, owned by the Tsar as his personal fiefdom, and the noble was legally defined as the Tsar's 'slave'.* For his services the nobleman was given land and serfs, but not as outright or allodial property, as in the West, and only on condition that he served the Tsar. The slightest suspicion of disloyalty could lead to demotion and the loss of his estates.

Before the eighteenth century Russia had no grand noble palaces. Most of the Tsar's servitors lived in wooden houses, not much bigger than peasant huts, with simple furniture and clay or wooden pots. According to Adam Olearius, the Duke of Holstein's envoy to Muscovy during the 1630s, few Russian noblemen had feather beds; instead, 'they lie on benches covered with cushions, straw, mats, or clothes; in winter they sleep on flat-topped stoves… [lying] with their servants… the chickens and the pigs'.²⁷ The nobleman seldom visited his various estates. Despatched from one place to another in the Tsar's vast empire, he had neither the time nor the inclination to put down roots in one locality. He looked upon his estates as a source of revenue, to be readily exchanged or sold. The beautiful estate of Yasnaya Polyana, near Tula, for example, exchanged hands over twenty times during the seventeenth and early eighteenth centuries. It was lost in games of cards and drinking bouts, sold to different people at the same time, loaned and bartered, mortgaged and remortgaged, until after

*Even as late as the nineteenth century noblemen of every rank, including counts and barons, were required to sign off their letters to the Tsar with the formulaic phrase 'Your Humble Slave'.

2. Seventeenth-century Muscovite costumes. Engraving, 1669

years of legal wrangling to settle all the questions of its ownership, it was bought by the Volkonsky family in the 1760s and eventually passed down through his mother to the novelist Tolstoy.²⁸ Because of this constant state of flux there was little real investment by the nobles in the land, no general movement to develop estates or erect palaces, and none of what took place in Western Europe from medieval times: the gradual concentration of a family domain in one locality, with property passed down from one generation to the next, and ties built up with the community.

The cultural advancement of the Muscovite boyars was well behind that of the European nobles in the seventeenth century. Olearius considered them 'among the barbarians… [with] crude opinions about the elevated natural sciences and arts'.²⁹ Dr Collins complained that 'they know not how to eat peas and carrots boiled but, like swine, eat them shells and all'.³⁰ This backwardness was in part the result of the Mongol occupation of Russia from about 1230 to the middle of the fifteenth century. The Tatars left a profound trace on boyar customs

and habits. For over three hundred years, the period of the Renaissance in the West, Russia was cut off from European civilization. The country which emerged from the Mongol period was far more inward-looking than it had been at the start of the thirteenth century, when Kievan Rus', the loose confederation of principalities which constituted the first Russian state, had been intimately linked with Byzantium. The old princely families were undermined and made more servile to the state of Muscovy, whose economic and military power provided the key to Russia's liberation from the Mongol khans. The Russian nobleman of the Muscovite era (c. 15 50-1700) was not a landed lord in the European sense. He was a servant of the Crown. In his material culture there was little to distinguish him from the common folk. He dressed like the merchant in the semi-oriental kaftan and fur coat. He ruled his family, like the merchant and the peasant, via the patriarchal customs of the Domostroi - the sixteenth-century manual that instructed Russians how to discipline their households with the Bible and the birch. The manners of the Russian nobleman were proverbially boorish. Even magnates such as Boris Sheremetev could behave at times like drunken louts. During Tsar Peter's trip to England his entourage resided at the villa of the diarist John Evelyn at Sayes Court, Kent. The damage which they caused in their three-month stay was so extensive - lawns dug up, curtains torn, furniture destroyed, and family portraits used for target practice by the visitors - that Evelyn was obliged to present the Russian court with a large bill.³¹ The majority of the nobility could not read and many of them could not even add up simple sums.³² Little travelled or exposed to Europeans, who were forced to settle in a special suburb in Moscow, the nobleman mistrusted new or foreign ways. His life was regulated by the archaic rituals of the Church - its calendar arranged to count the years from the notional creation of the world (with the birth of Adam) in 5509 bc* With Peter's reformation of society, the nobleman became the agency, and his palace the arena, of Russia's introduction to European

* Peter the Great introduced the Western (Julian) calendar in 1700. But by 1752 the rest of Europe had changed to the Gregorian calendar - thirteen days ahead of the Julian calendar (which remained in force in Russia until 1918). In terms of time, Imperial Russia always lagged behind the West.

ways. His palace was much more than a noble residence, and his estate was far more than a noble pleasure ground or economic entity: it became its locality's centre of civilization.

Peter laid the basis of the modern absolutist (European) state when he turned all the nobles into servants of the Crown. The old boyar class had enjoyed certain rights and privileges that stemmed from its guardianship of the land and serfs - there had been a Boyars' Council, or Duma, that had approved the Tsar's decrees, until it was replaced by the Senate in 1711. But Peter's new aristocracy was defined entirely by its position in the civil and military service, and its rights and privileges were set accordingly. Peter established a Table of Ranks that ordered the nobles according to their office (rather than their birth) and allowed commoners to be given noble status for their service to the state. This almost military ordering of the nobles had a deep and lasting effect on their way of life. As readers of Gogol will know, the Russian nobleman was obsessed by rank. Every rank (and there were fourteen in Peter's Table) had its own uniform. The progression from white to black trousers, the switch from a red to a blue ribbon, from silver to gold thread, or the simple addition of a stripe, were ritual events of immense significance in the nobleman's well-ordered life. Every rank had its own noble title and mode of address: 'Your High Excellency' for the top two ranks; 'Your Excellency' for those in ranks three and four; and so on down the scale. There was a strict and elaborate code of etiquette which set out how nobles of each rank should address the other ranks, or those older or younger than themselves. A senior nobleman writing to a younger nobleman could sign off his letter with simply his surname; but the younger nobleman, in his reply, was expected to add his title and rank to his surname, and failure to do so was considered an offence which could end in scandal and a duel.³³ Etiquette further demanded that a nobleman in the civil service should pay his respects at a superior civil servant's household on the namedays and the birthdays of his family, as well as on all religious holidays. At balls and public functions in St Petersburg it was considered a grave error if a young man remained seated while his elders stood. Hence at the theatre junior officers would remain standing in the slips in case a senior officer entered during the performance. Every officer was said to be on duty at all times. G. A. Rimsky-

Korsakov (a distant forebear of the composer) was kicked out of the Guards in 1810 because at a dinner following a ball he loosened the top button of his uniform.³⁴ Rank also carried considerable material privileges. Horses at post stations were allocated strictly according to the status of the travellers. At banquets food was served first to the higher-ranking guests, seated with the hosts at the top end of the Russian P(n)-shaped table, followed by the lower ranking at the bottom end. If the top end wanted second helpings, the bottom ends would not be served at all. Prince Potemkin once invited a minor nobleman to a banquet at his palace, where the guest was seated at the bottom end. Afterwards he asked him how he had enjoyed the meal. 'Very much, Your Excellency,' the guest replied. 'I saw everything.'³⁵

The Sheremetevs rose very quickly to the top of this new social hierarchy. When Boris Sheremetev died in 1719, the Tsar told his widow that he would be 'like a father' to his children. Pyotr Sheremetev, his sole surviving son, was brought up at the court, where he became one of the few selected companions to the heir to the throne (Peter II).³⁶ After a teenage career in the Guards, Sheremetev became a chamberlain to the Empress Anna, and then to the Empress Elizabeth. Under Catherine the Great, he became a senator and was the first elected Marshal of the Nobility. Unlike other court favourites, who rose and fell with the change of sovereign, Sheremetev remained in office for six consecutive reigns. His family connections, the protection he enjoyed from the influential courtier Prince Trubetskoi, and his links with Catherine's diplomatic adviser Count Nikitza Panin, prevented him from being made a victim to the whim of any sovereign. He was one of Russia's first noblemen to be independent in the European sense.

The fantastic wealth of the Sheremetev clan had a lot to do with this new confidence. With land in excess of 800,000 hectares and more than 200,000 'census serfs' (which meant perhaps a million actual serfs), by the time of Pyotr's death in 1788, the Sheremetevs were, by some considerable distance, the biggest landowning family in the world. In monetary terms, with an annual income of around 630,000 roubles (?63,000) in the 1790s, they were just as powerful, and considerably richer than, the greatest English lords, the Dukes of Bedford and Devonshire, Earl Shelburne and the Marquess of Rockingham, all

of whom had annual incomes of approximately ?50,000.³⁷ Like most noble fortunes, the Sheremetevs' was derived in the main from enormous Imperial grants of land and serfs in reward for their service to the state. The richest dynasties of the aristocracy had all stood near the summit of the Tsarist state during its great territorial expansion between the sixteenth and the eighteenth centuries and had consequently been rewarded with lavish endowments of fertile land in the south of Russia and Ukraine. These were the Sheremetevs and the Stroganovs, the Demidovs and Davydovs, the Vorontsovs and Yusu-povs. Like a growing number of magnates in the eighteenth century, the Sheremetevs also made a killing out of trade. In that century the Russian economy grew at a fantastic rate, and as the owners of vast tracts of forest land, paper mills and factories, shops and other urban properties, the Sheremetevs earned huge profits from this growth. By the end of the eighteenth century the Sheremetevs were almost twice as rich as any other Russian noble family, excluding the Romanovs. This extraordinary wealth was in part explained by the fact that, unlike the majority of Russian dynasties, which divided their inheritance between all the sons and sometimes even daughters, the Sheremetevs passed the lion's share of their wealth to the first male heir. Marriage, too, was a crucial factor in the Sheremetevs' rise to the top of the wealth league - in particular the brilliant marriage in 1743 between Pyotr Sheremetev and Varvara Cherkasskaya, the heiress of another hugely wealthy clan, through whom the Sheremetevs acquired the beautiful estate of Ostankino on the outskirts of Moscow. With the immense fortune that was spent on it in the second half of the eighteenth century by their son Nikolai Petrovich, the first great impresario of the Russian theatre, Ostankino became the jewel in the Sheremetev crown.

The Sheremetevs spent vast sums of money on their palaces - often much more than they earned, so that by the middle of the nineteenth century they had amassed debts of several million roubles.³⁸ Extravagant spending was a peculiar weakness of the Russian aristocracy. It derived in part from foolishness, and in part from the habits of a class whose riches had arrived through little effort and at fantastic speed. Much of this wealth was in the form of Imperial grants designed to create a superb court that would compare with Versailles or Potsdam.

To succeed in this court-centred culture the nobleman required a fabulous lifestyle. The possession of an opulent palace, with imported works of art and furniture, lavish balls and banquets in the European style, became a vital attribute of rank and status that was likely to win favour and promotion at court.

A large part of the Sheremetevs' budget went on their enormous household staffs. The family retained a huge army in livery. At the Fountain House alone there were 340 servants, enough to place a chamberlain at every door; and in all their houses combined the Sheremetevs employed well in excess of a thousand staff.³⁹ Such vast retinues were the luxury of a country with so many serfs. Even the grandest of the English households had tiny servant numbers by comparison: the Devonshires at Chatsworth, in the 1840s, had a live-in staff of just eighteen.⁴⁰ Foreigners were always struck by the large number of servants in Russian palaces. Even Count Segur, the French ambassador, expressed astonishment that a private residence might have 500 staff.⁴¹ Owning lots of servants was a peculiar weakness of the Russian aristocracy - and perhaps a reason for their ultimate demise. Even middling gentry households in the provinces would retain large staffs beyond their means. Dmitry Sverbeyev, a minor civil servant from the Moscow region, recalled that in the 1800s his father kept an English carriage with 6 Danish horses, 4 coachmen, 2 postilions and 2 liveried footmen, solely for the purpose of his short annual journey to Moscow. On the family estate there were 2 chefs, a valet and an assistant, a butler and 4 doormen, a personal hairdresser and 2 tailors, half a dozen maids, 5 laundrywomen, 8 gardeners, 16 kitchen and various other staff.⁴² In the Selivanov household, a middling gentry family in Riazan province, the domestic regime in the 1810s continued to be set by the culture of the court, where their ancestor had once served in the 1740s. They retained an enormous staff - with eighty footmen dressed in dark green uniforms, powdered wigs and special shoes made from plaited horse-tail hair, who were required to walk backwards out of rooms.⁴³

In the Sheremetev household clothes were another source of huge extravagance. Nikolai Petrovich, like his father, was a dedicated follower of continental fashions and he spent the equivalent of several thousand pounds a year on imported fabrics for his clothes. An

inventory of his wardrobe in 1806 reveals that he possessed no less than thirty-seven different types of court uniform, all sewn with gold thread and all in the dark green or dark brown cashmere or tricot colours that were fashionable at that time. There were 10 sets of single-breasted tails and 18 double-breasted; 54 frock coats; 2 white fur coats, one made of polar bear, the other of white wolf; 6 brown fur coats; 17 woollen jackets; 119 pairs of trousers (53 white, 48 black); 14 silk nightgowns; 2 dominoes made of pink taffeta for masquerades; two Venetian outfits of black taffeta lined with blue and black satin; 39 French silk kaftans embroidered in gold and silver thread; 8 velvet kaftans (one in lilac with yellow spots); 63 waistcoats; 42 neck scarves; 82 pairs of gloves; 23 tricorn hats; 9 pairs of boots; and over 60 pairs of shoes.⁴⁴

Entertaining was a costly business, too. The Sheremetev household was itself a minor court. The two main Moscow houses - Ostankino and the Kuskovo estate - were famous for their lavish entertainments, with concerts, operas, fireworks and balls for several thousand guests. There was no limit to the Sheremetevs' hospitality. At the Fountain House, where the Russian noble custom of opening one's doors at mealtimes was observed with unstinting generosity, there were often fifty lunch and dinner guests. The writer Ivan Krylov, who dined there frequently, recalled that there was one guest who had eaten there for years without anybody ever knowing who he was. The phrase 'on the Sheremetev account' entered into the language meaning 'free of charge'.⁴⁵

Nearly everything in the Sheremetev household was imported from Europe. Even basic items found abundantly in Russia (oak wood, paper, grain, mushrooms, cheese and butter) were preferable, though more expensive, if from abroad. Information about Peter Sheremetev's foreign purchases between 1770 and 1788 has been preserved in the archives. He bought from foreign merchants in St Petersburg, or through agents especially commissioned to import goods for him. Clothes, jewels and fabrics came directly from Paris, usually from the tailor to Versailles; wines came from Bordeaux. Chocolate, tobacco, groceries, coffee, sweets and dairy products came from Amsterdam; beer, dogs and carriages from England. Here is one of Sheremetev's shopping lists:

kaftan of downy material

camisole sewn with gold and pearls

kaftan and trousers made of silk in puce plus yellow camisole

kaftan made of red cotton with blue on both sides

blue silk camisole sewn with gold

kaftan and trousers in fabric with camisole in raspberry silk sewn

with gold and silver kaftan and trousers in chocolate colour with green velour camisole black velvet frock coat tails in black velvet with speckles tails with 24 silver buttons 2 pique camisoles sewn with gold and silver 7 arshins* of French silk for camisoles 24 pairs of lace cuffs for nightshirts

12 arshins of black material for trousers and 3 arsbins of black velvet various ribbons

150 pounds of superior tobacco 60 pounds of ordinary tobacco 36 tins of pomade 6 dozen bottles of capillary syrup golden snuffbox 2 barrels of lentils 2 pounds of vanilla 60 pounds of truffles in oil 200 pounds of Italian macaroni 240 pounds of parmesan 150 bottles of anchovies 12 pounds of coffee from Martinique 24 pounds of black pepper 20 pounds of white pepper 6 pounds of cardamom 80 pounds of raisins 160 pounds of currants 12 bottles of English dry mustard various kinds of ham and bacon, sausages

* One arshin is 71 centimetres.

moulds for blancmange

600 bottles of white burgundy

600 bottles of red burgundy

200 bottles of sparkling champagne

100 bottles of non-sparkling champagne

100 bottles of pink champagne.⁴⁶

If Boris Sheremetev was the last of the old boyars, his son Pyotr was perhaps the first, and certainly the grandest, of Russia's European gentlemen. Nothing demonstrated more clearly that a nobleman had made the transition from Muscovite boyar to Russian aristocrat than the construction of a palace in the European style. Under its grand roof the palace brought together all the European arts. With its salon and its ballroom, it was like a theatre for members of the aristocracy to play out their airs and graces and European ways. But it was not just a building or a social space. The palace was conceived as a civilizing force. It was an oasis of European culture in the desert of the Russian peasant soil, and its architecture, its paintings and its books, its serf orchestras and operas, its landscaped parks and model farms, were meant to serve as a means of public enlightenment. In this sense the palace was a reflection of Petersburg itself.

Fountain House, like Russia, was originally made of wood, a single-storey dacha hurriedly erected by Boris Sheremetev in his final years. Pyotr rebuilt and enlarged the house in stone during the 1740s - the beginning of the craze for palace building in St Petersburg, after the Empress Elizabeth had ordered the construction of her own great Imperial residences there: the Summer Palace on the Fontanka river (1741-4), the Great Palace at Tsarskoe Selo (1749-52), and the Winter Palace (1754-62) which we know today. All these baroque masterpieces were built by the Italian architect Bartolomeo Rastrelli, who had come to Russia at the age of sixteen. Rastrelli perfected the synthesis of the Italian and Russian baroque styles which is so characteristic of St Petersburg. That essential style - distinguished from its European counterparts by the vastness of its scale, the exuberance of its forms and the boldness of its colours - was stamped on the Fountain House, which may have been designed by Rastrelli himself; certainly the building work was overseen by Rastrelli's main assistant at

Tsarskoe Selo, Savva Chevakinsky, a minor nobleman from Tver who had graduated from the Naval School to become Russia's first architect of note. The classical facade was ornately decorated with lion masks and martial emblems trumpeting the glories of the Sheremetev clan, and this theme was continued on the iron railings and the gates. Behind the palace were extensive gardens, reminiscent of those at Tsarskoe Selo, with paths lined by marble statues from Italy, an English grotto, a Chinese pavilion, and, with a more playful touch, fountains to reflect the house's name.⁴⁷

Inside, the house was a typical collection of European sculpture, bas-relief, furniture and decor, reflecting a taste for expensive luxury. Wallpaper (from France) was just coming into fashion and was used, it seems, for the first time in Russia at the Fountain House.⁴⁸ Pyotr Sheremetev was a follower of fashion who had the house redecorated almost every year. On the upper floor was a grand reception hall, used for balls and concerts, with a parquet floor and a high painted ceiling, lined on one side by full-length windows that looked on to the water and, on the other, by enormous mirrors with gold-leaf candelabras whose wondrous effect was to flood the room with extraordinary light. There was a chapel with valuable icons in a special wing; a parade gallery on the upper floor; a museum of curiosities; a library of nearly 20,000 books, most of them in French; a gallery of family and royal portraits painted by serf artists; and a collection of European paintings, which the Sheremetevs purchased by the score. The galleries contained works by Raphael, Van Dyck, Correggio, Veronese, Vernet and Rembrandt. Today they are found in the Hermitage of the Winter Palace.⁴⁹

Not content with one palace, the Sheremetevs built two more, even more expensive ones, at Kuskovo and at Ostankino, on the western outskirts of Moscow. The Kuskovo estate, to the south of Moscow, though it had a relatively simple wooden house which gave the place a rural feel, was extraordinarily ambitious in its conception. In front of the house there was a man-made lake, large enough to stage mock sea battles watched by up to 50,000 guests; a hermitage that housed several hundred paintings; pavilions and grottoes; an open amphitheatre for the summer season; and a larger inside theatre (the most advanced in Russia when it was constructed in the 1780s) with a seating capacity of 150 people and a stage deep enough for the scene

3. The Sheremetev theatre at Ostankino. View from the stage. The parterre is covered by the floor, which was used for balls

changes of French grand opera.⁵⁰ Nikolai Petrovich, who took the Sheremetev opera to its highest levels, had the theatre rebuilt at Ostankino after the auditorium at Kuskovo burnt down in 1789. The Ostankino theatre was even larger than the Kuskovo one, with a seating capacity of 260 people. Its technical facilities were much more sophisticated than those at Kuskovo; it had a specially designed contraption that could transform the theatre into a ballroom by covering the parterre with a floor.