Tapestries in Russian domestic interiors in the second half of the 19th century

At the beginning of the nineteenth century Russian culture was influenced by the Romantic ideas of Western Europe. Here it was the brilliant city of St Petersburg and the imperial court, which embraced all European innovations. In addition to the imperial family, the aristocracy, the bourgeoisie, the bureaucracy and the well-to-do intelligentsia commissioned interiors in the neo-Gothic style, which the Romantics were particularly fond of.

The fascination for the neo-Gothic also spread to Moscow. However, it was not as widespread as in St. Petersburg because of the conservative nature of Moscow society and its slow reaction to everything new. Nevertheless, some Muscovites did not fail to decorate their homes in accordance with the fashion of the capital. The role of personal tastes of the clients was reflected in the layout of the interiors.

During the period of new architectural aesthetics and the new style of the second half of the 19th century which was called historicism, special attention was given to architectural and artistic design of residential interiors evoking literary and historical associations among educated people.

The tastes of the large Moscow merchant class had a considerable influence on the organisation of the Neo-Gothic residential interiors. They commissioned new buildings in the Gothic style from F.O. Shekhtel (1859-1926) and P.S. Boitsov (1849 - after 1918) who paid particular attention to the selection of historical models as the prototype for a particular room - strictly according to its purpose. The use of heavy velvet fabrics, soft carpets and tapestries in the interiors helped to create a cosy and warm atmosphere.

While designing the interiors of the mansions of S. Derviz (1888-1890; 6 Sadovaya-Chernogryazskaya Street) and P. Kharitonenko (1891-1893; 14/12 Sofiyskaya Embankment), Shekhtel decorated the walls of the main staircase with French scenery tapestries with popular scenes of nature.

Main staircase of the S.P. von Dervis mansion. 1886.
Interior design by F.O. Schechtel.
Photo: V. Sklyarov

Panorama of the grand staircase of the P.I. Kharitonenko's mansion. 1891-1893.
Interior design by F.O. Shekhtel.
Photo: V. Sklyarov

The exact configuration and dimensions of the tapestries, taking into account the characteristics of layouts and mounting in specially prepared neiches, indicate that Schechtel made special orders for the tapestries in the weaving workshops of France. Especially noteworthy are two tapestries - featuring hunting and strolls - in the mansion of P.I. Kharitonenko, which repeat the themes of the Maximilian's Hunt series (Brussels, first half of the 16th century, the workshop of Willem Dermoien), housed in the Louvre.

Tapestry "Hunting in Gränendal (Month of September)". A reproduction of the 19th century series "Maximilian's Hunt".
Based on cartoons by Bernard van Orley (1488-1541) and Jan II Tons (circa 1500 - 1569/70), Brussels, 1531-1533.
France, Aubusson (?), late 19th century.
Cotton, wool, silk, tapestry weaving, 460 × 720 cm.
Photo: A. Kudryavitsky.

Tapestry «The Stag Chase (Month of August)». A reproduction of the 19th century series «Maximilian’s Hunt». Based on cartoons by Bernard van Orley (1488-1541) and Jan II Tons (circa 1500 — 1569/70), Brussels, 1531-1533. France, Aubusson (?), late 19th century. Cotton, wool, silk, tapestry weaving, 460 × 720 cm. Photo: A. Kudryavitsky

The French Art and Industry Exhibition held in Moscow on Khodynka Pole in May and October 1891 probably also contributed to this. A special section of the exhibition was devoted to French art, as well as the products of workshops specialising in the manufacture of furniture, carpets, tapestries, furniture fabrics, bronze, ceramics and porcelain, silver, gold and precious stones. The organisers of the exhibition made every effort to establish business contacts between French manufacturers and Russian customers. Seeking to obtain lucrative orders, trade representatives of the largest weaving workshops in France and Belgium printed and distributed special albums with reproductions of famous tapestry series in imaginary and historical interiors.

Illustrated description of the French exhibition in Moscow / [Ed. by N. Borisov].
1891. № 1. [Moscow], 1891. 43.

Plan of the pavilion arrangement at the French Exhibition in Moscow in 1891.

Reproductions of famous tapestries for later use in interior decoration.
Based on watercolors by Adrien Simonetone.
From: Tapisserie. Pilon, Huet & Ricotard, Editeurs — Paris. SA

Petr Boytsov decorated the interiors of the mansion of S.P. Berg (1897-1898; Money Lane, 5), N.V. Igumnov (1893-1894; Bolshaya Yakimanka Street, 43), the castles of N.A. Verigina near Moscow in Podushkino (1885-1887) (fig.10), and B.Svyatopolk-Chetvertin in Uspenskaya (1881-1884). ) and B.V.Svyatopolk-Chetvertinsky in Uspenskoye (1881-1884) and used used tapestries that belonged to the owners themselves. In deciding on the decoration of the rooms, he masterfully integrated the "woven stories", along with other works of fine and decorative art, into the overall style of the interior.

As part of the entire artistic complex, the tapestries became an important part of the elaborate mythological, literary and scenographic interior programme, as well as of the compositional effects designed to have a certain impact on the viewer, as if they were suddenly transported into a fairytale world.